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The Scariest Things
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Rue Morgue Editor Andrea Subissati Interview at PHFF 2026
1w ago01:38:04Tap to summarizeAndrea Subissati, Editor of Rue Morgue and Podcaster for Faculty of Horror The Bloody Judge for the 2026 Portland Horror Film Festival was Andrea Subissati, the Executive Editor of Rue Morgue. She is one of the most compelling voices within the horror community, and is a powerful advocate for women within the genre. Andrea was kind enough to set some time aside to talk some terror with us between feature film showings at the festival. We at the Scariest Things take our work seriously, but let’s be real. Rue Morgue is the real shit. It is a top-shelf professional horror periodical, and Andrea is a charismatic pro guiding that ship. We dabble in the eddies of horror film criticism. Rue Morgue is the river of horror discussions and sets the standard for horror journalism. As Bloody Judge, she delivered the keynote address to the festival, interviewed George Mihalka on stage for his Q&A for My Bloody Valentine’s 45th anniversary. Most importalntly, she also applied her horror wisdom to pick her favorite film in the festival. She selected Alect Patchin’s short film, “The Bargain”, a short film involving child abuse, revenge, religion, and a summoning. Andrea Subisatti arrives on stage at the Portland Horror Film Festival to give the Keynote Address Interviewing George Mihalka for My Bloody Valentine’s 45th Anniversary Q&A I asked Heather Alexander, who is a huge Subissati fan, to write an essay about Andrea’s influence on her as a prologue to our interview: Andrea Subissati is among the luminaries of horror. As the executive editor of the Canadian horror magazine Rue Morgue, she not only has her finger on the pulse of all things horror but is also a profound feminist voice in the genre. I’ve been reading her editorials, celebrity interviews and articles since she began her Rue Morgue reign in 2017. Her voice and vision have made me laugh and cry. It’s given me perspective, made me feel seen, and inspired me creatively. Andrea has a master’s degree in sociology and uses her big brain to analyze horror in relation to gender dynamics, culture, history, and the general state of the world. Her academics come into full focus in her intimidatingly brilliant and award-winning podcast, The Faculty of Horror, which she co-hosts with Alexandra West. It’s here that these two brainy horror queens have thoughtful, feminist, and incredibly researched discussions on horror movies and the impact they’ve had on the genre. I’m a lot late to the podcast party in general, so it’s only recently that I’ve been a listener, but believe me when I tell you The Faculty of Horror is highly captivating. <p...
Transcribe →The Demonatrix (2026) Review: Portland Horror Film Festival
2w ago00:39:10Tap to summarizeLita (Hannah Fierman) is a dominatrix looking to get some cash on the side in The Demonatrix (2026) ★★★1/2 out of ★★★★★Intensity: 🩸🩸 out of 🩸🩸🩸🩸🩸Written and Directed by Jeff Farrell and Aurelio Voltaire The Demonatrix is a cheeky, lightly racy horror-comedy that reflects on the economic troubles of the time. A dominatrix looking to get some extra income turns to hosting fake séances to make ends meet. When things inevitably go awry, she turns to a priest working in a church across the street from her kink studio. It’s a silly, simple tale that features some great costumes and a couple of horror legends you will recognise. It’s hard to believe, but the film’s story is based on a true story. Unfortunately, the movie doesn’t open with that as a preamble, with that classic chestnut announcement. Aurelio Voltaire, a counterculture Renaissance Man, lived next to a dominatrix in New York, and there was a church across the street. This inspired him to lay the foundation for his first feature film. He ran into Jeff Ferrell, a director with a few independent horror movies under his belt, at a horror convention. The two agreed to combine their efforts, and The Dominatrix was formed. Voltaire is a charismatic showman, a musician, a stop motion animator, a comic book writer, and now a filmmaker. He looks like he stepped out of heavy-metal central casting, but in this movie, he plays Father Veto, a priest who seeks to banish a demon across the street from his church. The other part of the writing/directing duo, Ferrell, also stars in the film as Rhett, the submissive lackey. The premise of the movie is wacky, and the plot has some considerable limitations, but it is remarkable what these two filmmakers managed to pull off under micro-budget constraints. There are some familiar names who lend their efforts to the cause, elevating what could have been a strictly B-Movie. The production values are surprisingly impressive, and the movie features some components that would make other independent films jealous. Plus, there are two legendary horror actors whom you just might recognise in the cast. The Cast of The Demonatrix Hannah Fierman plays Lita, a dominatrix who, despite succeeding as a kinky dom, still needs a little extra cash to make ends meet. Aurelio Voltaire plays Father Veto, who is the head priest of a church across the street from Lita’s studio. Doug Bradley plays Edward MacGowan, a senior priest and exorcist, whom Father Veto confides in once it becomes clear that a demon has been summoned. Jeff Ferrell plays Rhett, Lita’s submissive lackey. He is very protective of Lita, and despite her demanding nature, is a loyal servant. Larry Fessenden plays Dino, a special-effects artist who assists Lita in setting up special-effects gags for her “fake” séance. Nivek Ogre plays The Incubus, a demon accidentally summoned by Lita. Nicholas Boeh plays Pablo, Father Veto’s assistant. Father Veto (Aurelio Voltaire) in The Demonatrix (2026) A Synopsis of The Demonatrix Lita has been running a successful business. Her business is inflicting humiliation and pain on those who want it. It’s a fun and rewarding job. She’s good at being a dominatrix and has a cadre of loyal boot-licking clients. But like many of us, money is tight, and even being a leather-clad dom isn’t quite enough to live comfortably. She informs her submissive servant Rhett that she intends to host fake séances. It would be a good blend with her current client base, and there are plenty of gullible potential yuppies and new agers with money to burn who might really be into a séance. To research how to communicate convincingly with the dead, she crosses the street to talk with the priest, who may know something about the spirit world. Father Veto tries to be understanding, but he warns Lita not to mess with such things. Entities can cross over, and you do NOT want a demon in the house. He has had experience with demons. He has a desiccated minor demon trapped in a wooden chest, and he is responsible for watching over the little abomination and keeping it in check. Lita does not heed his wa...
Transcribe →Landlord (2026): Portland Horror Film Festival Review
2w ago01:14:48Tap to summarizeAdama Abramson is a bounty hunter turned vampire hunter in Landlord (2026) Intensity: 🩸🩸1/2 out of 🩸🩸🩸🩸🩸Written and Directed by Remington Smith Landlord poses the question “If vampires can’t come into your home without an invitation, what happens if they own your housing?” A bounty hunter checks her conscience in order to save an orphaned boy from the predations of a vampire landlord consuming the tenants of a Lousiville housing complex. This gritty and moody debut from writer director Remington Smith was featured at the Portland Horror Film Festival. There is a proud tradition of horror movies couching sociological criticism in terms of monsters and villains preying upon the vulnerable. Race relations. Class struggle. Gender typing. Horror movies can place a mirror in front of us and force us to see some uncomfortable truths. George Romero made a living doing this, by way of zombies. David Cronenberg uses disease and body horror themes to shock and criticize. Remington Smith has picked up the baton and has delivered a gritty southern Gothic vampire tale, soaked in sweat and surrounded by chirping cicadas. Smith, who grew up in poverty, reflects on the plight of the rent-by-the-week class of citizens who eke out their existences in semi-shanties. These souls survive at the discretion of a blood sucking landlord who controls their lives. He can come and go as he wants, because he owns the buildings they reside in. Their lives are his to control. Still, some of the oppressed are willing to fight back, even the youngest among them. Hope lives, even in the projects. Adama Abramson plays an unnamed bounty hunter, who much like Clint Eastwood’s man with no name, provides a steely anti-hero who works in the moral gray areas and has to commit to doing the right thing to save a community. The Cast of Landlord Adama Abramson plays The Bounty Hunter, assigned to repossess a briefcase with unknown contents. She wanders into a lower-income Louisville residential complex where she has tracked the package. Cohen Cooper plays Alex, a boy living in the housing development. He’s clever, and a survivor, and he has been taking notes about how to beat a vampire. William McKinney plays John William Lawrence, the vampiric landlord who owns much of the neighborhood, and travels amongst his properties, consuming blood from his unfortunate helpless residents at night. Lance Gerard plays Chritopher, Lawrence’s manager of the complex, and his minion servant. Christopher desperately wants to be turned into a vampire. J Barrett Cooper plays Sherrif Conner, a crooked cop who provides legal protection for Lawrence, and knows what the vampire has been doing in town. Patrick Mitchell plays Reverend Micheaux, who offers sanctuary as best he can to those who need it. Meredith Frankie Crutcher plays Rachael, Alex’s mom who is a regular victim of Lawrence. Alex (Cohen Cooper) and The Bounty Hunter (Adama Abramson) are on the move in Landlord (2026) A Summary of Landlord: Following clues about her assigned target, The Bounty Hunter arrives by foot at the Lawrence Apartments, a rundown slum, where she has located the man toting the package she has been hired to recover. While staking out the situation, and waiting for her opportunity, she observes a number of violent domestic outbursts in the complex. Christopher, the manager tells her not to worry about it, and she concedes. This is not her fight… but still, she observes and she calls the cops. These weren’t ordinary domestic disturbances, however. These folks were being attacked by their Landlord, and the cops are being paid off to ignore it. Alex observes the strange new resident, and she in turn questions him about the goings on in the complex. He’s friendless, and not good at defending himself. Even some of the girls in the apartment project pick on him. The Bounty Hunter spots Christopher leaving the premesis. She hires a cab to tail him and discovers that he is delivering body parts to a pig farm to get rid of the evidence. When she returns to the apartments, she hears a commotion from Alex’s apartment. She breaks in to assist, and finds his mother dying on the floor, and Lawrence pinning Alex to his bed. Three bullets into the assailant, and he’s down… or at least for a moment. Lawrence gets back up, and bites The Bounty Hunter, but she manages to stab him with a pencil into the neck, and gets free. She and Alex abandon Rachel, and find a vacant apartment to hide in. But the vampire tropes start to kick in. The Bounty Hunter patches her neck wound, and splints Alex’s arm, and they bolt before the cops come. Now on the run from the cops, and a vampire, in a town he controls the newly bonded pair are on the run. But, she still has a job to complete, so she’s going to have to go back and risk everything. And now, the powers that be are on the lookout for this mysterious woman and her orphaned charge. Evaluation of Landlord: This is a confident movie, with confident characters. It plays out like a detective story, and for me this is a mash-up of <...
Transcribe →My Bloody Valentine at 45: An Interview with George Mihalka at PHFF 2026
3w ago01:38:34Tap to summarizeHarry Warden is here to see you! My Bloody Valentine (1981) My Bloody Valentine turns 45 years old this year. The director, George Mihalka, was the guest of honor at this year’s Portland Horror Film Festival. He was kind enough to speak with the Scariest Things, who are huge fans of the film. Lost cutting room footage was recently found when the producer was absorbed by Lionsgate, allowing some of the missing gory effects to be brought back into the movie. So, it’s time to revisit this movie and talk to the creator about why it remains important today. In my nine years of managing the Scariest Things, I have been honored to meet some of the best people in the horror movie industry. Mick Garris, David Dastmalchian, Darren Lyn Bousman, Ben Leonberg, Aaron Moorhead, Carter Smith, and Ted Geoghegan are all people whom I would consider friends of the Scariest Things, having met and interviewed them. But, after meeting George Mihalka, director of My Bloody Valentine (1981), I can firmly say that he is my favorite person in the genre. Talking with George felt like story time. He was warm and generous, and was eager to tell us all about how he did his movie. George is an outlier, as far as horror directors go. He produced a singular, momentous horror film and then had a long directorial career outside of the genre. His experiences with Jack Valenti and the MPAA, who censored his film, were a “death by a thousand cuts” quite literally. It may have scared him off from continuing as a horror specialist, even though he had the gift. Sadly, some of the most creative kills in the movie got edited to the point of bloodlessness. He likes to say that it became “My Anemic Valentine”. And that, “There is more blood in the title than there is in the movie.” Frame-by-frame slicing and dicing. The film became the fall-guy film for the industry as a reaction to random violence following John Lennon’s assassination. Somebody would have to be made an example of, and in this case, it was Mihalka and My Bloody Valentine. The Legacy of My Bloody Valentine Despite all the censorship, it still found an audience. And we can celebrate it 45 years later. It is a testament to the story, the amazing sets, and better-than-average performances that, despite having the most exciting parts of the movie excised, the film became iconic. It is the trope foundation for so many slasher films to come. I Know What You Did Last Summer comes to mind. Scream, with its multiple killer options, also owes a debt to this film. And those are just the big ones. Simply put, My Bloody Valentine is foundational horror. For me, it ranks only behind 1978’s Halloween for slasher movies of that era. You can see the family tree: Black Christmas, The Town That Dreaded Sundown, My Bloody Valentine, I Know What You Did Last Summer, Cold Prey, Heart Eyes. Silent human killers bent on revenge, in full costume, butchering their way through lots of pretty young adults. This is the model, and it works well when executed with focus and craft. My Bloody Valentine helped build the trope platform that so many slasher films have utilized. They may be cliches now, but along with Friday the 13th, The Burning, and Halloween, MBV established these themes: Masked killer (essential) The Hidden Villain Switcheroo Splitting up the group (OK, this one is as old as horror films have been around, but slashers really take advantage of this trope.) Sneaking off to have sex in the next room is really dangerous. Never leave a romantic interlude to get booze. Let’s go exploring a really dangerous place for the fun of it. A panicking mayor. The young people don’t listen to the cops. The cops don’t tell the people what they need to know. The mad prophet. (Happy, in this movie) The body in a cooler. (A nod to Rabid?) Childhood trauma made the killer. Remember. This is an early slasher film. MBV does all of these tropes better than most. Mihalka wanted to do Deer Hunter, slasher style. He knew what he was getting into and willingly admitted that this was a movie meant to be fun and make money. It wasn’t going to be an Oscar contender. But he took the ideas of The Deer Hunter and the disaffected blue-collar workers and crafted a story that, despite its drive-in bona fides, was as much about the community as it was about the killer. The film used a real mine in a wind-swept working-class Sydney, Nova Scotia. It has a simple, plausible story. And now that the film has recovered some of its cutting-room components, restored to a 4K Blu-ray Collector’s edition, it can be appreciated for the gory creativity that fans were denied in 1981. About George Mihalka George was a Hungarian immigrant to Canada, initially unable to speak English or French. He initially found it difficult to integrate into Canadian culture, but would eventually become a highly prolific director in both English- and French-language films. He has amassed over fifty credits. This includes long runs on Canadian TV shows: Crossbow, Scoop, Undressed, and 24-Hour Rental. However, he will always be known for My Bloody Valentine. You can find several of his interviews online, talking about this movie. (But of course, you found this one first, right?) Mihalka appears to be comfortable with his legacy. He’s had plenty of time to see his film first get threatened with an X-rating, then achieve moderate box-office success, receive a sequel, and become the moniker of a hugely influential post-punk shoegaze band. George genuinely seemed to glow at how much the fans appreciated his work all these years later. He isn’t a stranger to the festival and podcast interview circuit. His easygoing demeanor, combined with his wisdom and eagerness to share stories about the craft of filmmaking, makes for story time with Uncle George. This is why I love doing what I do. When you meet your heroes and they turn out to be wonderful people, it confirms that pursuing this hobby as a small-press horror blogger rewards the grind. The Interview: This is the recording from the Portland Horror Film Festival 2026 by Eric Li and Mike Campbell with George Mihalka. We recorded this in the green room for the Hollywood Theater before the big-screen presentation, with all the restored footage in 4K. I included an audio recording of the Q&A session with George, hosted by Andrea Subissati, editor of Rue Morgue and the Bloody Judge this year at the PHFF. 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Transcribe →Trash Queen (2027) Pre-Production Interview
May 2600:54:02Tap to summarizeTrash Queen Directors Emily Tullock and Gabrielle Rosson Indie horror filmmakers Gabby Rosson and Emily Tullock are creating Trash Queen, a sci-fi horror comedy, starring Tullock and legendary scream queen Lynn Lowery. They joined the Scariest Things to talk about what goes into developing a self-funded independent horror film. It is the journey of many an ambitious creator, and we talked about all of the joys and difficulties of crafting a horror movie. If you have ever wanted to produce a movie yourself, this may be an instructive conversation, so join us as we take a trip to the dump, for all the right reasons. Part of the Scariest Things’ mission is to provide an opportunity for independent horror filmmakers to reach audiences. Whether they are established short-film creators or launching their first feature film, independent filmmakers can struggle to build a fan base. Film festivals do a great job of this. But what about securing the resources to get the film made so it can screen at festivals? It’s a chicken-and-egg problem. You have to start somewhere. Creators Gabrielle Rosson and Emily Tullock found our Site through a recommendation from fellow filmmaker Luke Zwanziger, who participated in The Scariest Thing’s Overlook Short Film Roundtable in 2025. It’s all about building a horror community. A small horror press outfit needs to contact independent filmmakers. Movie folks need to get the word out about their movies. It’s like peanut butter and jelly. Gabrielle sent us a message, and the movie concept intrigued us. So, we arranged an interview. We had a chance to discuss their concept, their relationship to horror, and their creative process. Here is the elevator pitch for Trash Queen: Trash Queen is a blood-soaked, female-driven horror-comedy about what happens when a woman who’s spent her entire life being overlooked…finally becomes impossible to ignore. After a bite from a trash-dwelling alien cannibal leaves her craving human flesh, Sophia, a painfully underestimated office worker, spirals into a grotesque, hilarious transformation. When her washed-up musician boyfriend, Jack, is also infected and trapped in the Town Dump, she’s forced to chase after him and face off against the Trash King. To survive, Sophia must stop trying to fit in and fully become something else. Something powerful. Something terrifying. The Trash Queen. Both women have been in the film industry for about ten years. Rosson has several short films in her directing portfolio, and Tullock is a comedienne with several acting performances and a pair of directing credits to her name. This will be their first feature film direction for both of them. The two of them have finished their script, and, with a fair bit of chutzpah and moxie, they have assembled a cast. Emily Tullock plays Sophia, the film’s lead protagonist. Lynn Lowry (Shivers, The Crazies) plays Marcy, an off the grid resident of the woods. Kevin Keppy (Smile, Guillermo Del Toro’s Cabinet of Curiosities) plays Gordo, a monstrous figure. Jonathan Stoddard (The Roaring Games) plays Jack, Sophia’s boyfriend They are still casting for the movie, so if you are a Washington actor or actress and are wanting to be in a locally made horror movie, send your resumes to trashqueenfeaturefilm@gmail.com. The Fundraiser: If, after listening to them describe their project, you think this movie should be made, you can be part of their brand-new crowdfunding effort. In this day and age, it is the essential model for getting production off the ground. If you want to BE in the movie, there are pledge levels to be an extra in the movie, and even a speaking role! There are plenty of stretch goals, so if you’re feeling generous, there are plenty of rewards available. The Scariest Things will update you on the progress of making this movie. I hope we’ll be able to go up and visit them once the shoot is underway. We will update you with behind-the-scenes material and production footage! The Interview: Here is the interview link for the making of Trash Queen. You can also download this podcast from iTunes, Spotify, Google Play, or wherever you stream your podcasts. <img decoding="async" width="768" height="1024" src="https://scariesthings.com/wp-content/uploads/2026/05/Poster-1A-woman-in-power-is-an-alien-cannibals-worst-nightmare_-768x1024.jpg" alt="A woman with a distorted face, appearing as an alien cannibal's nightmare, over a smoky forest backg." class="wp-image-80471" srcset="https://scariesthings.com/wp-content/uploads/2026/05/Poster-1A-woman-in-power-is-an-alien-cannibals-worst-nightmare_-768x1024.jpg 768w, https://scariesthings.com/wp-content/uploads/2026/05/Poster-1A-woman-in-power-is-an-alien-cannibals-worst-nightmare_-225x300.jpg 225w, https://scariesthings.com/wp-content/uploads/2026/05/Poster-1A-woman-in-power-is-an-alien-cannibals-worst-nightmare_-75x100.jpg 75w, https://scariesthings.com/wp-content/uploads/2026/05/Poster-1A-woman-in-power-is-an-alien-cannibals-worst-nightmare_-770x1027.jpg 770w, https://scariesthings.com/wp-content/uploads/2026/05/Poster-1A-woman-in-power-is-an-alien-cannibals-worst-nightmare_-1152x1536.jpg 1152w, https://scariesthings.com/wp-content/uploads/2026/05/Poster-1A-woman-in-power-is-an-alien-cannibals-worst-nightmare_-1536x2048.jpg 1536w, https://scariesthings.com/wp-content/uploads/2026/05/Poster-1A-woman-in-power-is-an-alien-cannibals...
Transcribe →Crypticon Seattle: Comfort Horror Panel Recording
May 1501:00:14Tap to summarizeIs there anything more comforting in horror than the relationship between Ripley and Newt in Aliens (1987)? Comfort Horror. It’s a thing. It keeps the fandom fed. We come back time and again to get scared, and we love it. Why? This is the third of my series of Crypticon Seattle convention panel recordings. Panels are the lifeblood of this annual horror gathering, feeding the fandom’s macabre knowledge cravings. Horror movies are the bonds this community shares, and to understand why, this panel examines the lure of horror for many of us. In Kim Douthit’s panel, Comfort Horror, she asks her panelists the question, “Why do we replay the same nightmares? What movies bring us comfort in a time rife with anxiety?” It seems antithetical that many of us crave the experience of being scared. For some, it’s a ritual. A rite of passage. We overcome our perceived fears. Building up the courage to soldier through a horror movie is a peak emotional triumph for many people. For others, the familiarity of the repeated horror experience becomes a form of comfort. There are a few horror movies that I know, frame by frame, and each story beat and moment. I’ll bet that you have a movie or two where you have seen it so many times, you can recite the dialogue when watching it. Several of those movies were discussed on this panel. In an era where most people don’t get to feed their adrenaline through hunting or exploring, horror movies can fill that need. Curiosity is a challenge. Mysteries are meant to be uncovered. Horror movies show us what might be hiding under the bed, within the mirror, or sneaking around in the woods. Kids demand answers. For many in the horror community, these youthful questions persist, and horror offers some shocking responses. Some adrenaline junkies chase thrills by going on roller coasters, skydiving, or downhill skiing. Horror movies can provide those thrills without the threat of injury. The Crypticon Seattle “Comfort Horror” panelists (L to R): Tony Gee, Kim Douthit, Kennedy Rainer, Heather Alexander, and Melissa Leigh. Comfort Horror, a Crypticon Seattle Panel Recording This is the third panel recording from Crypticon Seattle 2026. If you enjoyed listening to this panel, I have two others you can listen to. Tiki Terrors and Tropical Horror, hosted by Brian Callahan, and Good Boy: Pets in Horror Movies, hosted by Brien Gorham. For those of you who don’t go to horror conventions, this gives you a flavor of what it’s like, and hopefully, you will come out to Crypticon one of these years. The Panelists: Kim Douthit, Host: Ghoulish Tendencies, CinemacrazeTony “SkeleTony” Gee: The Great Plot Podcast, Skeletony ArtKennedy Rainer: The Unorthodox PlayersHeather Alexander: The Portland Horror Movie Massacre, The Scariest ThingsMelissa Leigh: Seattle Horror Writers Association, Beneath the Rainshadow Movies Discussed within the Comfort Horror Panel: Hell House LLC (2015) Carrie (1976) <img decoding="async" width="1024" height="576" data-id="80176" src="https://scariesthings.com/wp-content/uploads/2026/05/fright-night-sarandon-1024x576.jpg" alt="" class="wp-image-80176" srcset="https://scariesthings.com/wp-content/uploads/2026/05/fright-night-sarandon-1024x576.jpg 1024w, https://scariesthings.com/wp-content/uploads/2026/05/fright-night-sarandon-300x169.jpg 300w, https://scariesthings.com/wp-content/uploads/2026/05/fright-night-sarandon-100x56.jpg 100w, https://scariesthings.com/wp-content/uploads/2026/05/fright-night-sarandon-770x433.jpg 770w, https://scariesthings.com/wp-content/uploads/2026/05/fright-night-sarandon-293x165.jpg 293w, https://scariesthings.com/wp-content/uploads/202...
Transcribe →Crypticon Seattle 2026: Tiki Terror and Tropical Horror Panel
May 1200:52:26Tap to summarizeFeel the sweat and the tropical breezes; it’s time to discuss Tiki Terrors and its tropical horror cousins. Transport yourself to an island in the South Pacific or the Caribbean. The exoticism and the removal from “civilization” provide the grounds for some evocative scares. These movies have been with us since the Golden Age. Think King Kong and The Island of Lost Souls. Embrace the mystery and heat, and learn from some veteran Crypticon panelists as they talk all things Tiki Terror. Friend of the Scariest Things, Brian Callahan, hosted a panel at Crypticon Seattle to guide us through a fateful trip to discover what lurks at the edge of the known world. Beware of cultural misappropriation and cultural stereotypes. Cultural sensitivity falls by the wayside here. The edge of the known universe gets short shrift when it comes to cultural respect. Context matters. Tiki and tropical-themed horror movies had their heyday in the ’50s and ’60s when Polynesia still felt very remote, and honestly, it was a different time. At the same time, the film industries of places like the Philippines can export some of their culture through B-movies. For the purposes of this discussion, the criteria for what movies got discussed were reasonably broad. It extended from Polynesia to some of the Voodoo themes on the Atlantic side. If it takes place on a remote island, it would be fair game for discussion. I came away from this session with a roster of films to check out, and that is the beauty of these panel talks. Brian was amazing on the trigger; there was a whole roster of films that were at his fingertips, and he was able to feather in movies, even ones that came from the audience. It was a very niche topic, but attendees came for the deep-cut discussion and were rewarded. This panel was the last panel from the Friday session, and a number of us prepared by wearing Aloha shirts for the event. These are veteran panelists, and it shows. I could listen to Tony Kay talk horror all day! He is one of the best panelists at Crypticon’s disposal. If you don’t come out of this recording with some new movies to check out, you probably are already an expert! Tony Kay, Brian Callahan, and Brien Gorham decked out in Aloha shirts and talking Tiki Horror at Crypticon Seattle 2026 Tiki Terror and Tropical Horrors: Crypticon Seattle Panel Recording Brian Callahan – HostTony Kay- PanelistBrien Gorham – Panelist Here is the panel recording from Crypticon Seattle. The first voice you will hear is Brian Callahan, the host of the panel. Tony Kay is the second voice, and Brien Gorham is the third. If you enjoyed this panel recording, check out our recording for Pets in Horror, which Brien hosted, and I was a panelist for. Representative Movies from the Discussion Here are some images from the films featured in the talk… and I’ve added a few more for reference. The Island of Lost Souls (1932) The Most Dangerous Game (1932) <img decoding="async" width="268" height="188" data-id="80015" src="https://scariesthings.com/wp-content/uploads/2026/05/King-Kong-Log-Scene.jpg" alt="A mysterious creature lurking on a fallen tree over a waterfall in a dense jungle." class="wp-image-80015" srcset="https://scariesthings.com/wp-content/uploads/2026/05/King-Kong-Log-Sc...
Transcribe →Crypticon Seattle 2026: Pets In Horror Panel
May 1100:59:17Tap to summarizeFrodo the cat serves as the ultimate horror witness in A Quiet Place: Day One (with Lupita Nyong’o) Crypticon Seattle, the great Pacific Northwest horror convention, has once again come and gone, but the memories linger. The panels are what make the convention feel like a class reunion. The panels are produced entirely by volunteer experts from across the region and are the ultimate in fan interaction. This is what it feels like to create a horror community, sharing our ideas and experiences with each other. This year, I decided to record some of the panels I participated in and attended to give you a sense of what happens at these events. This Pets in Horror panel was hosted by Brien Gorham, and I participated in it along with Kathy Fennesy and Todd Johnstson. If you are a long-time reader of our website or a listener of our podcast, you will know that I have a big ol’ soft spot for pets in horror. Whether they are the MacGuffins, the heroes, or the villains of the story, pets provide strong emotional connective tissue within horror constructs. The use of pets also sparks some great debates regarding the narrative use of animals. Because we have such a natural affinity for critters, horror movies tend to exploit those feelings by putting the animals in peril. Fair, or not? We will talk about that in this discussion. Brien was inspired by the success of last year’s remarkable film Good Boy which we have been a huge proponent for. You can use that link to listen to an interview with director Ben Leonberg, who discusses how he coaxed an award-winning performance from his pet dog, Indy. That movie, however, is just the tip of a very big trope iceberg. Thank you to Jason and Jasen for putting me on this panel, as it is something near and dear to me, and to many attending Crypticon. Brien Gorham outlined his panel discussion topics for this panel: “Indy the Dog from Good Boy has become the latest in a line of cinematic pets to steal our hearts, but domestic animals have a long history in horror movies. Whether that be as a witness, antagonist, or, as in the case of Indy, a protagonist. Let’s discuss how our collective best friends have been represented in horror films.” Introductions Opening question: If you could choose one pet from a horror movie to have in your home, who would you choose and why? Some larger questions that can be applied to any category: How do our personal relationships with pets affect how we see them in stories? (Please feel free to include personal stories where appropriate) How does the motivation of a pet differ from human motivation? Altruism? How do we recognize animal performances? (Indy’s acting win) What resources are available for those who are sensitive to animal violence? Part 1: Pets as Witnesses Possible Movies: Cat’s Eye, Poltergeist, The Hills Have Eyes I and II Let’s start with movies where a family pet serves as a witness or bystander to an individual or family crisis. In these cases, what purpose does the inclusion of the pet serve? How much do we hate it when pets are introduced just to be killed off for sympathy? Part 2: Pets as Heroes Possible Movies: Good Boy, Cat’s Eye, Phenomena, The Hills Have Eyes Next, let’s explore pets that go above and beyond, playing an active role in saving the day. Which movie pets do you most admire? How do certain traits of specific animals play into this heroism? How much do we hate it when animals sacrifice themselves for humans? Part 3: Pets as Antagonists Possible Movies: Cujo, Lake Placid, The Uncanny, Uninvited, Pet Sematary, The Black Cat (any version) What happens when man’s best friend turns violent, and our furry friends rebel against us? The most terrifying pets in horror? The most heartbreaking transformations? Closing What beloved pets have we not seen represented in horror movies? PET HORROR RESOURCES You can check out our Favorite Horror Movie Dogs Dead List for our updated list of horror hounds for your reference. Kathy Fennessy is a former president of the Seattle Film Critics Society and runs the Seattle Film Blog. She has a blog post titled “Good Boy and Other House Pets in Horror: Purrs, barks, Growls, and Deadly Attacks.“ I find that Kathy is the unofficial research librarian for Crypticon Seattle and has a deep and thorough knowledge of the genre. For those of you who get triggered by animal harm or death in movies, please visit “Does the Dog Die?“ It’s a great resource for people who need to filter their movies for moments that will trigger anxiety, with the primary trope being that of harm to dogs. It also covers things like harm to children and rape, which are non-starter elements for many people. A Recording of Brien Gohram’s Good Boy: Pets in Horror Panel Panelists:Brien Gorham – HostKathy Fennesy Eric LiTodd Johnston Please note: I was using a compressor microphone on the table, so the audio isn’t as clean as it would be with our dynamic podcasting microphones. Todd Johnston, in particular, is a bit faint, though I did boost the audio when he is speaking. Don’t over-adjust your volume, though, because when the conversation turns back to the rest of the panelists, it pi...
Transcribe →Nathan Baesel Interview – Behind the Mask II: The Return of Leslie Vernon, Crypticon 2026
May 500:18:16Tap to summarizeAs soon as I arrived at Crypticon Seattle, I made a beeline to the celebrity meet and greet room, knowing that Nathan Baesel was going to be in attendance. This event is the flagship horror community gathering in the Pacific Northwest. I didn’t know whether I’d get the chance to interview the actor who played one of my all-time favorite slasher villains, Leslie Vernon. The lines for these meet-and-greets can get long, and I might not have enough time for an interview. This day, luck was on my side. It’s the twenty-year anniversary of the cult classic meta-slasher film Behind the Mask: The Legend of Leslie Vernon. Not only did I get the opportunity, but I also discovered that The Scariest Things could do our part to help evangelize by getting the word out about the just-announced sequel, Behind The Mask II: The Return of Leslie Vernon. For those of you unfamiliar with the movie, it is one of the great meta-horror movies in the slasher genre. It stands side by side with Scream, The Final Girls, and Wes Craven’s New Nightmare as a gold standard of meta-horror. Like those peer films, it uses wit and familiarity with slasher film tropes. It winks and nudges, and then gets SERIOUS. The movie also emerged at the dawn of the found-footage horror film. It uses the verisimilitude of the documentary crew following the actions of a serial killer, convinced that by playing to Leslie’s ego, the film crew was immune from his depradations. They couldn’t have been more wrong. And yet, he let them in on all his secrets. It’s an absolute must-watch for fans of knife-wielding maniac movies. For more insight on Leslie Vernon, The Scariest Things previously discussed this film in podcast Episodes 199: Mockumentaries and 130: Masked Killers. The Big Announcement: Time has been kind to Nathan, as he has kept up with his cardio… an important factor for a hard-working serial killer. He is all set to put the mask back on. Now it’s time to get the band back together. Scott Glosserman returns to direct the film, and David Stieve is back to write the screenplay. Nathan will be joined by our final girl, Angela Goethals (Taylor Gentry), returning to do battle with Leslie. The legendary Robert Englund (Doc Halloran) is back to train her. The closing moments of the first movie suggested that a good serial killer is hard to kill. It just took 20 years to get him back on screen! Click here for the movie’s Kickstarter Campaign. It is being scheduled for release in 2027. There are some awesome exclusive add-ons, including a replica Leslie Vernon Mask, a trip to the shoot, a scythe prop, advance cast and crew screenings (That means if you wanted to meet Robert Englund… here’s your chance!), and all the way up to getting a chance to be killed on screen by Leslie in the movie! I mean, come on… how cool is that? They’ve already unlocked a couple of the stretch goals. The next big one ($300,000) is for a new horror icon cameo. Such is the joy of Kickstarter! From my perspective, I’m really hoping they hit the “More Shooting Time” Stretch goal ($500,000). That can mean the world to production quality. Do it! Contribute! The power of the Scariest Things compels you! C’mon, you know you want a T-shirt. It’s for a good horror cause. The Interview with Nathan Baesel: As noted before, I got lucky. Nathan had a free moment, and he was very generous with his time. Needless to say, I got a huge kick out of this chat. Check out my interview with him in this player link: A Message Straight from Nathan: In addition to the interview, he was eager to make a Kickstarter pitch.
Transcribe →The Overlook Film Festival 2026 Recap: Ep. 211
Apr 1601:35:24Tap to summarizeAnother year, another Overlook Film Festival, one of the premier genre festivals in the country. Unfortunately, this year, the main players of The Scariest Things were unable to attend the festival in person. Eric was able to get some of the films to stream, but, as is the norm, remote screeners were limited and did not include the showcase films. Fortunately for us, one of our loyal Patreon Contributors, Robin Marcotte, was in attendance again, and she helped fill in the gaps we missed. This year, there were a number of good films, and according to Robin, one GREAT film. This year, we watched fourteen films and thirty shorts. Give our recap a listen to hear our thoughts on the 2026 Overlook presentation. It pains me not to attend Overlook. It is one of my favorite events every year, but this doldrums economy forced me to be cautious with my funds, so I resorted to reviewing their films remotely. The pandemic spoiled stay-at-home movie critics, as nobody could attend festivals in person. All the films were remote. The times have reverted back, however, and one of the poorly held secrets is that film festivals rarely ever make their centerpiece films available for remote review. SXSW, Sundance, Overlook… the bigger films just don’t get the distributor go-ahead. However, some independent films were made available, and that was true for 2026. Fortunately for us, one of our valued Patreon patrons, Robyn Marcotte, was, as usual, in attendance, as she is a New Orleans local. Shockingly, many of the releases with known quantity actors and/or directors failed to connect with Robyn. Proof positive that The Scariest Things is not a shill for festival darling films! Still, there were a number of gems worth watching. Films we were able to cover: Obsession, directed by Curry Barker Hokum, directed by Damian McCarthy Leviticus, directed by Adrian Chiarella American Dollhouse, directed by John Valley Buffet Infinity, directed by Simon Glassman Chili Finger, directed by Edd Benda and Stephen Helstad Cramps! A Period Piece, directed by Brooke H. Cellars Never After Dark, directed by Dave Boyle New Group, directed by Yuta Shimotsu Normal, directed by Ben Wheatley Parasomnia, directed by James Ross II Suffocation directed by Louis Chan and Stone Chang Ugly Cry, directed by Emily Robinson So, plenty of new material to find out about! Standout Short Films include: “The Dysphoria” (AUS), directed by Kylie Aoibheann “Hot Water” (USA), directed by Myles Gunter and Cassie Cramer “Scissors” (USA), directed by Hannah Aline “Man Eating Pussy” (Canada), directed by Lee Lawson “Carousel” (USA), directed by Christopher Kosakowski “Haint” (USA), directed by Jahmil Eady “Breeder” (USA), directed by Sapphire Sandalo “House Cat (USA), directed by Kyle Spleiss “Steak Dinner” (USA), directed by Nathan Mark Ginter “Darkroom” (USA), directed by Matthew Black Here is the link to Episode 211: The Overlook Festival Recap Leviticus (2026) New Group (2026) Cramps! A Period Piece (2026) <img decoding="async" width="1024" height="430"...
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