Chopping It Up

Chopping It Up chops up Curry Barker's Obsession — the $750K nothing-budget horror flick that somehow turned into a $510M monster (680-to-1 return, because apparently demons are great for ROI). Jesse goes scorched-earth on Nikki and Sled isn't having it — full-blown argument, receipts and all. We also get into the lawsuit drama nobody expected, the Andy Richter cold-call story that's funnier than it has any right to be, and a Franklin Award debate that might be the most annoying cast we've ever covered. Also: Sledd finally gets his Deliverance wish next episode. God help us all.

Grab your suntan lotion and a high-powered rifle — Chopping It Up is going underground this week with a double dose of "something's eating people from below the ground." First: 1980's forgotten cult oddity Blood Beach, where John Saxon and Bert Young investigate Santa Monica beachgoers getting sucked into the sand — a movie so thin it needed Ray Liotta AND Matthew Modine to almost play the lead before they settled on someone else entirely. Then: Tremors, the movie that made Kevin Bacon a Saturday-afternoon-cable legend, still just as fun 35 years later as Bacon and Fred Ward battle giant graboids in Perfection, Nevada. One of these earns a glowing rewatch. The other just made TV history — Sledd hands out the first-ever NEGATIVE meat-cleaver rating in show history. Guess which is which.

It's every axe murderer's dream: 1988's Edge of the Axe commits to exactly one weapon and never looks back. Jesse, Joel, and Jeannie welcome special guest Gareth "Slasher Trash" Morgan (creator of the Slasher Trash page and an upcoming feature-length slasher documentary) to dig into this Spanish-American slasher obscurity — small-town paranoia, a shockingly prescient "technology will ruin relationships" subplot, tonal whiplash between sitcom hijinks and pig decapitations, and a twist ending that has the crew split on who's actually swinging the blade. Plus: video nasty talk and a masterclass in gaslighting your way into slasher-sequel status.

A sewer gator raised on hormone-jacked lab dogs takes on a CGI crocodile that cost six times as much and looks half as real. The crew pits 1980's scrappy, John Sayles-penned Alligator against 1999's big-budget, Stan Winston-adjacent Lake Placid — practical effects vs. CGI, indictment of big pharma vs. crazy old lady feeding cows to a lizard, and a fight over crocodile biology the movie's own screenwriters apparently lost. Also: why is the lake in Lake Placid not named Lake Placid? Nobody in this movie can answer that, but we sure try.

Freddy's back, but this time he's not avenging anyone — he's just really into leather bars, apparently. The crew chops up A Nightmare on Elm Street 2: Freddy's Revenge (1985), the film that's basically the poster child for queer horror whether the studio wanted it to be or not. We get into writer David Chaskin denying the gay subtext for 25 years (then admitting it — sort of), star Mark Patton's brutal real story, and why this rushed, chaotic sequel accidentally became one of the most beloved films in the genre. Pride Month respect paid, blowjob jokes mostly avoided. References: Horror Queers Podcast A Nightmare on Elm Street 2: Freddy's Revenge (1985) LIVE! feat. Mark Patton, Robert Rusler & Kim Myers https://open.spotify.com/episode/31noqPrrc1EFk2S5vdMgU3?si=_8kK0RZUQayWI6bgR03RDg    

Sledd's back from his self-imposed "sled season" break with maybe his most personal pairing yet: two movies about mothers who are, in his professional opinion, doing their absolute worst — and somehow still more sympathetic than the demon-summoning grandma in the attic. Jesse and Jeannie both watched The Babadook for the first time this episode and have feelings (mostly about insect chittering and never wanting to rewatch it). Joel attempts to defend Gabriel Byrne's parenting. Sledd defends his own questionable childhood relationship with a dead bird. The crew gets into grief-as-monster metaphors, generational curses, postpartum horror, and a Franklin Award debate that's not close (sorry, Samuel). Plus: the Babadook's design has a 1920s silent film ancestor, Hereditary made eight times its budget, and someone brings up Hack-O-Lantern unprompted. Two heavy hitters, zero good parents, and a demon named Paimon who's just trying his best.

The crew couldn't resist the hype — this week on Prime Cuts, Jesse, Jeannie, Joel, and Sledd dive into Widow's Bay, the new Apple TV+ horror comedy series from Parks and Rec creator Katie Dippold. A cursed New England island, a hapless mayor, folklore that turns out to be terrifyingly real, and commercials that will genuinely unsettle you — it's a lot. Jesse's all in, Jeannie's calling it horror comedy (not comedy horror, there's a difference), Joel's hoping it gets the Penny Dreadful treatment, and Sledd gives it a 3.75 while explaining exactly how you should run over a sea hag with your car. Ratings are preliminary and contingent on how they stick the landing. We'll be back.

Slasher Season is back, and we're going all the way in on the greatest horror franchise of all time — no, Joel, you don't get a say in that. Jesse pairs Friday the 13th Part III and Jason Takes Manhattan as the alpha and omega of the franchise: the movie that gave Jason his hockey mask, and the movie that sent him packing to the Big Apple. Jeannie watched both for the first time and would like her life back. Sled considers eight the last real Friday the 13th. Joel pulled out a map of New Jersey trying to figure out the geography. And Jesse has been freestyling over that disco opening since COVID. Hockey masks, heroin injections, biker gangs, Franklin Awards, and the hotly debated Mount Rushmore of horror — all that and a body count you have to respect.

This week on Prime Cuts, the crew watches a forgotten slice of early Oliver Stone — The Hand (1981), starring a very committed Michael Caine as a comic strip artist who loses his hand in a car accident and slowly loses everything else. His marriage, his sanity, and apparently several people in his vicinity. Jesse, Jeannie, Joel, and a special guest who definitely watched Conan the Barbarian instead break down the film's double-swerve ending, hand-POV cinematography, the very real question of whether Oliver Stone cast himself as a bum with a missing hand, and whether Michael Caine has ever actually seen any of his own movies. Body horror, messy divorces, and at least one prosthetic hand squeezing raw hamburger meat. You know, a chill one.

This week we're chopping up the second entry in Carpenter's Apocalypse Trilogy — and we brought backup. Actor Thom Bray joins us to talk about landing the most memorable kill in the film, what it was actually like to get impaled by a bicycle with Alice Cooper, and why Carpenter told him to dial it back on the blood. We also get into the theology, the theoretical physics, the goo, and whether Prince of Darkness deserves a higher spot in the Carpenter canon than it gets. Spoiler: it might.

What does it look like to live deliciously on the wrong side of sanity? Jesse brings the crew to 1971 Connecticut for John D. Hancock's haunting folk horror gem. Part psychological thriller, part vampire mythology, part counterculture eulogy — Let's Scare Jessica to Death is the kind of movie that asks you to do the work, and rewards you for it. The CIU crew unpacks Charon and the underworld, the Baudelaire connection, polyamory among the hippies, and why the inner monologue shouldn't work but somehow does. Ratings are divided. Joel wants to live in the farmhouse. Sledd was a little sleepy.

We recorded this one back in February to close out Sled dSeason, and we've been sitting on it — but good things are worth the wait. A Black History Month double feature that earns its place: both films follow the same blueprint — a Black vampire dropped into a modern urban landscape, chasing a reincarnated love and dragging a Renfield-type ghoul behind him. The parallels are undeniable. Blacula is historically significant and cinematically rough. William Marshall is genuinely commanding, but the ADR is a disaster and the pacing will test you. Vampire in Brooklyn has the cast (Murphy, Bassett, Hardison, Witherspoon at peak Witherspoon) and still squanders it — a Wes Craven-directed Coming to America with fangs and no teeth. The real conversation goes deeper: blaxploitation's double-edged legacy, what Blacula actually got right, and how Vampire in Brooklyn ends up undermining everything it seemed to stand for. Plus a hook hand nobody else saw and a very compelling shared cinematic universe theory.

In this episode of Chopping It Up, the crew dives into the origins of found footage horror with The Blair Witch Project and Hell House LLC—and this one hits especially close to home. Literally. Jesse, Joel, and Jeannie all grew up in the Maryland area where Blair Witch was filmed, adding a personal layer to the conversation as they reflect on seeing the film during its original release and the very real confusion around whether it was… actually real. From there, the crew breaks down the genius of Blair Witch’s marketing, its use of unknown actors and “missing footage” storytelling, and how it completely changed the horror landscape. They compare that foundation to Hell House LLC, exploring how it builds on the same techniques—found footage, folklore, and realism—while carving out its own modern identity. Along the way, they dig into film influences, the limits of the subgenre, and why these stripped-down approaches to horror can be so effective. It’s part nostalgia, part film analysis, and part “we were there for this moment,” with the usual mix of insight, humor, and CIU chaos.

The Chopping It Up crew teams up once again with Kellie and Sarah from The Final Girls to dig into the dreamy, unsettling cult oddity Messiah of Evil (1973). What starts as a missing-father mystery in a creepy coastal town quickly turns into a discussion about art-house horror, eerie atmosphere, and some truly unforgettable scenes (looking at you, supermarket). Along the way we debate whether this cult classic is a hidden masterpiece or a beautifully weird movie that doesn’t quite stick the landing—before handing out our cleaver ratings.

In this Prime Cuts episode, we sink our teeth into Ryan Coogler’s Sinners (2025) — a Southern gothic vampire tale set in 1932 Mississippi. When twin brothers return home to open a juke joint, the night spirals into bloodshed, forcing us to ask: is this elevated horror with bite, or a beautiful mess? We debate the film’s themes of race, religion, and cultural theft, argue about its pacing and vampire lore, and wrestle with whether the story needed more room to breathe. It’s stylish, ambitious, and definitely divisive. Come for the blood. Stay for the argument.

This week on Prime Cuts, we’re talking Heart Eyes (2025) — a Valentine’s Day slasher that mixes rom-com charm with masked-killer chaos. When the “Heart Eyes Killer” targets couples in Seattle, marketing exec Ally and her suspiciously charming coworker Jay find themselves fighting for their lives… and maybe catching feelings along the way. It’s self-aware, fast-paced, and packed with holiday-themed carnage. Does it reinvent the genre? No. Is it a fun seasonal watch? Absolutely.

This week on Chopping It Up, the crew revisits two ’80s cult favorites with shared DNA but very different execution: Big Trouble in Little China and The Golden Child. The discussion explores why Big Trouble thrives as a confident genre mash-up—subverting the action hero, embracing mythological chaos, and fully committing to its weirdness—while The Golden Child often feels held back by studio expectations, despite Eddie Murphy’s charisma and a few standout performances. Along the way, the crew digs into ’80s blockbuster formulas, practical effects, representation, and what happens when a movie either commits to the bit… or doesn’t. Two movies with similar setups, wildly different results—and plenty of laughs, side tangents, and meat-cleaver ratings along the way.

n this Prime Cuts episode, the crew heads back to Derry, Maine to slice into Welcome to Derry, the newest dip into Stephen King’s ever-expanding IT universe—minus Jesse, who we’re told was “busy,” but we assume was avoiding homework and timelines. The gang breaks down how the show smartly uses Derry’s long history of trauma, structuring the story around past atrocities while keeping the “every 27 years” cycle intact. Highlights include some genuinely gnarly set pieces (that car scene, the theater, and a few images you won’t shake anytime soon), plus praise for Bill Skarsgård, who continues to prove that Pennywise works best when he’s unsettling, playful, and barely on screen. There’s also plenty of King-verse nerdery—connections to The Shining, Dark Tower lore, “thin places,” and why Stranger Things may have crossed the line from homage into full-on borrowing. The episode wraps with speculation about future seasons, historical eras, and whether this thing knows when to quit (a rare but powerful skill). Short, sharp, and delightfully obsessive—welcome back to Derry. 🎈

This week on Prime Cuts, we tackle Blood Beat—a holiday-adjacent regional horror oddity that defies explanation. Featuring telekinetic samurai armor, psychic trauma, wooden performances, and vibes that feel more manifested than written, this film exists in a category entirely its own. We break down what Blood Beat is (and definitely isn’t), why it barely functions as a slasher, and how its surreal earnestness somehow makes it unforgettable. If you enjoy confusing, slow-burn cult horror that commits fully to its nonsense, this one’s for you.

In this episode, the CIU crew plunges into the dark, deliciously deranged imagination of Clive Barker as we pair two of his most iconic cult classics: Hellraiser and Nightbreed. We break down Barker’s singular ability to fuse beauty with brutality, the way his creatures blur the line between monster and misunderstood outcast, and why his worlds feel like nightmares you want to keep dreaming. From Pinhead’s coldly philosophical sadism to the neon-soaked underworld of Midian, we dig into themes of desire, identity, transgression, queerness, and the horror of being truly seen. We talk practical effects, Barker’s myth-making, the franchise fallout, and how both films reshaped horror aesthetics in ways still felt today. It’s a wild ride through leather, labyrinths, monsters, and myth — exactly how Clive intended. Whether you’re a longtime Cenobite devotee or just discovering Barker’s beautifully bonkers universe, this episode delivers a juicy, schlock-loving deep dive into two genre staples that continue to carve their hooks into horror history.

On this Prime Cuts mini-episode, the Chopping It Up crew dives beak-first into Robert Eggers’s 2015 Puritan-nightmare masterpiece, The VVitch. The team revisits the bleak New England homestead, unpacking the film’s slow-burn tension, its suffocating dread, and the brutal unraveling of a family exiled for being too devout for the Puritans themselves. From baby-paste broomstick lore and “wet” witchcraft sequences to Calvinist paranoia, apple-laden symbolism, and that infamous goat with a taste for evil bargains, the episode explores how Eggers builds terror through atmosphere, sound, and historical detail. The hosts reflect on how the film weaponizes isolation, faith, and patriarchal control—and whether Thomasin’s final choice is a tragedy, liberation, or both. With comparisons to The Shining, discussions of folklore accuracy, and the crew’s typical blend of humor and horror-nerdery, this Prime Cuts installment celebrates The VVitch as a near-flawless piece of folk horror that only gets richer on rewatch.

We’re back with a full episode and a double dose of rage. This time, it’s Danny Boyle’s 28 Days Later and the long-awaited 28 Years Later. From fast zombies to slow burns, we dig into the fear, the filmmaking, and the very British end of the world.

This Halloween, the Chopping It Up Horror crew—Jesse, Jeannie, Joel, Jay, and Sledd—dives pitchfork-first into Hack-O-Lantern (1988), the gloriously incoherent satanic slasher from Jag Mundra. Part hair-metal fever dream, part small-town cult drama, this movie has everything: incest, flannel-robed devil worshippers, a mid-movie stand-up routine no one asked for, and High Pike giving the most unhinged performance since Dolemite. The gang unpacks every ridiculous plot turn—from Grandpa’s pumpkin deliveries and questionable parenting to the infamous poolside murder and the porn star cameo that leads to a deep dive into the AVN Hall of Fame. Expect detours into satanic symbolism, family dysfunction, and why the blood in this movie looks suspiciously like Sriracha.

In the final installment of our Chopping It Up: Prime Cuts schlock horror series, we tackle Claudio Fragasso’s 1990 insanity Night Killer. From Freddy Krueger knockoff masks and Spirit Halloween props to fried-chicken-fueled assaults, amnesia plots, and one of the wildest twist endings ever, we break down why this movie is equal parts trash, treasure, and total fever dream.

In this Prime Cuts installment of Chopping It Up, we wade into Dick Maas’s 1988 Dutch cult classic Amsterdamned. Join us as we follow Detective Eric Visser on the trail of a scuba-diving serial killer terrorizing Amsterdam’s canals. From outrageous chase scenes and giallo vibes to Members Only jackets, killer stunts, and a banger of a theme song, we dive deep into one of the most stylishly bonkers action-horror hybrids of the ’80s. Outro Music: Loïs Lane - Amsterdamned  https://www.youtube.com/watch?v=SKXeLnjvUNY

In this episode of Prime Cuts, the crew dives into Roger Corman’s 1980 cult oddity Humanoids from the Deep. From fish-monster mayhem and behind-the-scenes studio meddling to ventriloquist seductions, exploding boats, and themes of exploitation, we unpack the messy legacy of this notorious creature feature. Part film history, part irreverent commentary—this one’s equal parts laughs and disbelief.  

In this Prime Cuts marathon kickoff, the crew dives into Juan Piquer Simón’s Slugs (1988)—a schlocky eco-horror gem where toxic-waste-mutated slugs terrorize a small town. From wooden acting and bizarre subplots to surprisingly gnarly practical effects (yes, exploding heads and slug salad), the team slices through the absurdity, environmental themes, and unintentional comedy that make this cult classic so watchable.

In this Prime Cuts mini-episode, we dig into the premiere of Revival, Peacock’s new supernatural horror series adapted from the Tim Seeley/Mike Norton comic. Set in small-town Wisconsin, the story follows Deputy Dana Cypress as she grapples with townsfolk mysteriously dying and returning as “revivers.” The hosts weigh in on the familiar cop-show tropes, Dana’s uneven likability, and the more compelling arc of her troubled sister Em—whose shocking reveal as a reviver adds real intrigue.

In this episode of Chopping It Up, the crew heads into the desert to tackle Wes Craven’s 1977 The Hills Have Eyes and Alexandre Aja’s 2006 remake. They swap meat cleaver ratings, with most agreeing the gritty, low-budget original nails its social commentary and unsettling atmosphere, while the remake delivers competent gore but misses the nuance. Discussion ranges from themes of American exceptionalism, patriarchy, and the blurring line between “civilized” and “savage,” to behind-the-scenes trivia like Michael Berryman’s unique casting and the production move from Nevada to Morocco. As always, cast deep dives, side-quips, and pop culture tangents keep the conversation lively, but the consensus is clear: Craven’s original still has the sharper bite.

In this episode of Chopping It Up, the boys go fully unsupervised and dive deep into the 90s slasher boom by pairing up Scream (1996) with I Know What You Did Last Summer (1997). They dissect the origins of meta-horror, trade meat cleaver ratings, bicker about runtime and sweaters in July, and spiral into an unexpected Maryland blue crab tangent. With no oversight and plenty of hot takes, it's a nostalgic, chaotic romp through teen horror and the era that birthed it.   Featuring Type O Negative's cover of Summer Breeze on outro.

This week, we’re slicing into Tales from the Hood, a cult classic where social commentary meets supernatural terror. From killer dolls to corrupt cops, this horror anthology delivers sharp scares and sharper truths. Join us as we unpack the eerie elegance of Mr. Simms’ funeral home, discuss the film’s unforgettable segments, and honor how this ’90s gem used horror to hold up a mirror to real-world horrors. Come for the chills, stay for the message—and maybe leave with a little fear of your own karma. Outro music: Spice 1 - Born to Die

Summer is officially here—and that means it's time to kick off pool season with two aquatic horror heavyweights: Jaws and Piranha. In this supersized episode, we wade into the deep waters of Spielberg’s blockbuster classic and Joe Dante’s schlocky, subversive B-movie to ask: What really lurks beneath the surface? From the birth of the summer blockbuster to genre-blending brilliance, we break down what makes these films endure—yes, even Piranha. We tackle legacy, trauma, salty fishermen, scream queens, and why masculinity always seems to need a boat. You'll hear our takes on the iconic Shaw/Dreyfuss dynamic, behind-the-scenes trivia, cold-water resistance, and... the swimming pig at Aquarena Springs. (Yes, that’s real.) Grab your sunscreen and dive in—we’re celebrating beach season the only way we know how: with blood, guts, and some killer monologues.   Emma Buckle on Spotify - https://open.spotify.com/artist/7jyuIy33tMtu1RAQMFoY0d?si=qBw2ZSXeSxe8hloKqRTB_w

This week, we’re strapping on our pulse rifles and heat vision as we dive into two of sci-fi horror’s most iconic franchises: Aliens (1986) and Predator (1987). We break down what makes Ripley and Dutch the ultimate survivors, compare Xenomorph terror to Predator stealth, and ask the ultimate question—who’s the real apex hunter? It’s acid blood vs. thermal vision in a showdown for the ages.  

This week on Prime Cuts, we take a trip to Summerisle for a deep dive into the sun-drenched dread of The Wicker Man (1973). From rigid righteousness to ritual sacrifice, we explore how Sergeant Howie’s doomed investigation unfolds amidst maypoles, masks, and eerily cheerful folk songs. We’re talking pagan pageantry, sexual tension in graveyards, and yes—corn rigs and barley rigs aplenty. It’s a slow burn that ends in flames, and we’re here for every chilling second of it.

This week on Chopping It Up Horror, we’re teaming up with the badass hosts of Final Girls for a deep, no-holds-barred dive into one of the most talked-about modern horror films: Barbarian. We dissect the film’s bold structure, unpredictable twists, and subversive use of horror tropes—from Airbnb anxieties to monstrous motherhood. Alongside the Final Girls crew, we explore the film’s layered themes of gender, power, and survival, and ask the big questions: Who’s really the villain? Can Justin Long get any worse? And what makes Tess a Final Girl for the modern age? Whether you’re a diehard horror fan or just here for the chaos in the basement, this is one collab you don’t want to miss

In this chilling double feature, we’re diving headfirst into two iconic tales of satanic suspense: The Omen (1976) and Rosemary’s Baby (1968). From creepy kids and cryptic prophecies to gaslighting husbands and sinister cults, these films set the gold standard for demonic dread. We unpack the themes, explore the cultural fears that fueled their popularity, and ask the real questions—like who’s worse: Damien or Guy? (Spoiler: It might be the husband.) Join us for a devilishly good time full of behind-the-scenes trivia, sharp commentary, and just the right amount of snark. Whether you're a horror purist or just here for the creepy vibes, this episode will have you side-eyeing your neighbors and checking for 666 birthmarks.

Is it horror, is it comedy… or is it just one big prank? In thisPrime Cuts episode, we dive into the cult classic April Fool’s Day, where a weekend getaway turns into a twisted game with a killer punchline. Grab your party hats and trust issues—this one’s got more fake-outs than a bad magic show. 🃏🔪

In this Prime Cuts episode, we revisit Little Monsters (1989), the wild mix of adventure, gross-out humor, and nightmare fuel starring Fred Savage and Howie Mandel. From Maurice’s mischievous antics to the eerie underworld beneath the bed, we break down what makes this cult classic memorable—whether for better or weirder. Does it still hold up? Tune in to find out!

In this episode of Chopping It Up, we dive into the world of killer vehicles with a double feature review of Maximum Overdrive (1986) and its lesser-known Canadian counterpart, Trucks (1997). Stephen King’s only directorial effort delivers camp, chaos, and a killer AC/DC soundtrack, while Trucks takes a more serious (and significantly tamer) approach to the same story. Which version delivers the most mayhem? Which one runs out of gas? And why does Canada always have the budget-friendly alternative? Buckle up as we break down the carnage, the camp, and the killer big rigs! 🎧 Tune in, and let’s talk terror on wheels!

Roses are red, violets are blue… and if you head back to the mines, Harry Warden will come for you! This Prime Cuts episode of Chopping It Up Horror goes deep into the 1981 slasher classic My Bloody Valentine. Grab your heart-shaped box (but maybe don’t open it) and join us for a love letter to one of the bloodiest Valentine’s Day flicks ever made!

Say his name… if you dare. In this episode of Chopping It Up, we dive into the horror classic Candyman (1992) and its chilling 2021 reimagining. From the haunting atmosphere of Cabrini-Green to the deeper themes of racial trauma, gentrification, and urban legends, we break down what makes both films terrifying, thought-provoking, and relevant. How does the original’s gothic horror compare to Nia DaCosta’s modern vision? Does Tony Todd still reign supreme? And most importantly… would you say his name five times? Join us as we dissect the hooks, the scares, and the social commentary behind one of horror’s most iconic legends.

We explore Panos Cosmatos' trippy cosmic horror "The Viewing" from Netflix's Cabinet of Curiosities S1E7.

We are lining up a couple of precarious weather classics in John Carpenter's 1982 sci-fi classic, The Thing, and we're pairing that up with Chuck Russell's 1988 remake of The Blob.

On our Christmas spectacular we cover Bob Clark's seminal 1974 film, Black Christmas, and match it up with Charles Sellier Jr.'s 1984 movie, Silent Night Deadly Night.

This week we're covering episode one titled El Jefe of season one of Ash vs. Evil Dead.

This week we have Eli Roth's contemporary take on the classic classic slasher subgenre 2023 hit, Thanksgiving. We pair that with another turkey day slasher the absolutely, bat shit bonkers crazy Blood Rage from 1987.

Today we do continue our streak of classic slasher films as we celebrate the 40th anniversary of Wes Craven's unsettling 1984 masterpiece, Nightmare on Elm Street. We pair that with the third installment in the franchise, A Nightmare Elm Street 3, Dream Warriors from 1987. 

This week we are covering episode one of the horror anime Uzumaki.

In the spirit of all Hallows Eve, we have the OG 1978 John Carpenter Halloween on the docket for episode 13 of Chopping It Up. We're pairing that with the 2007 Rob Zombie remake by the same name.

Welcome to our sixth episode of Prime Cuts, the bite-size series from Chopping It Up Horror, where we carve out the juiciest bits of terror in a fraction of the time. Whether you’re here for a quick scare or a taste of horror’s most haunting moments, you’re in the right place. This week we're covering episode six, titled Book Six: Acts of the Apostles from the 2021 Gothic supernatural horror mini series, Midnight Mass, directed by Mike Flanagan, on Netflix.