Cinema Shock

The first cut of THE FOG had no tension. Carpenter knew it, Hill knew it, and the studio knew it. This episode picks up in the editing room, where a finished film was quietly falling apart, and follows the rescue that saved it — starting with an emergency cash infusion from the studio and a scramble of guerrilla reshoots that changed what audiences would eventually see on screen.  Want the full story without the wait? CinemaShock+ members get extended, ad-free episodes that combine every part into one seamless listen — plus bonus content you won't hear anywhere else. Join at cinemashock.net/plus. CINEMA SHOCK ASSOCIATE PRODUCERS: asotirov | Andy Lancaster | Interzone78 | courtland ashley | curtcake5k | Elton Novara | Jackson_Baker | JoeyP | Jvance325 | KDurden | Lucy Lawson | mcdudely | Nate Izod | RockGokd | John sweet bussy Greaney | Tim G | triplr1478 | Dick Jones | Vlantis01 | MagicBloat | Benjamin Yates Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. Image: "Portrait of John Carpenter.jpg" by Kyle Cassidy, licensed under CC BY-SA 4.0. Modified from original. This derivative work is also licensed under CC BY-SA 4.0. For episode archives, merch, show notes, and more, visit cinemashock.net

John Carpenter had just made the most profitable independent horror film in history, and his first instinct was to make sure nobody called him a "slasher" director. This episode covers the origins of THE FOG — how a misty afternoon near Stonehenge and a centuries-old California maritime legend gave Carpenter and Debra Hill the blueprint for something deliberately old-fashioned, and how a surprise encounter on a Nashville film set changed the direction of the entire project. We also get into the casting of Janet Leigh alongside her daughter Jamie Lee Curtis, and the coastal shoot that left Carpenter seasick for days. Want the full story without the wait? CinemaShock+ members get extended, ad-free episodes that combine every part into one seamless listen — plus bonus content you won't hear anywhere else. Join at cinemashock.net/plus. CINEMA SHOCK ASSOCIATE PRODUCERS: asotirov | Andy Lancaster | Interzone78 | courtland ashley | curtcake5k | Elton Novara | Jackson_Baker | JoeyP | Jvance325 | KDurden | Lucy Lawson | mcdudely | Nate Izod | RockGokd | John sweet bussy Greaney | Tim G | triplr1478 | Dick Jones | Vlantis01 | MagicBloat | Benjamin Yates Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. Image: "Portrait of John Carpenter.jpg" by Kyle Cassidy, licensed under CC BY-SA 4.0. Modified from original. This derivative work is also licensed under CC BY-SA 4.0. For episode archives, merch, show notes, and more, visit cinemashock.net

Groovy. A new EVIL DEAD movie just hit theaters and we just had to talk about it! Every month, members of CinemaShock+ have the chance to choose what new release we review and for July 2026, they chose wisely! The episode breaks down EVIL DEAD BURN, Sébastien Vaniček's blood-soaked entry into the franchise. Does this family reunion from hell earns its place alongside the Raimi classics? Where does it land in the full Deadite pantheon? Listen now to find out! Want the power to vote on our next new release review? Head to cinemashock.net/plus today to become a member! CINEMA SHOCK ASSOCIATE PRODUCERS: Andy Lancaster | asotirov | Benjamin Yates | courtland ashley | curtcake5k | dhg430 | Dick Jones | Elton Novara | Interzone78 | Jackson_Baker | John sweet bussy Greaney | Jvance325 | KDurden | Lucy Lawson | MagicBloat | mcdudely | Nate Izod | RockGokd | Tim G | triplr1478 | Vlantis01 Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

John Carpenter: The Shape of Dread The first cut of HALLOWEEN screened for executives and nobody flinched. No score, no sound design — just long quiet shots of suburban streets that felt empty instead of menacing. What happened next, in a small studio with a synthesizer and a deadline, saved the movie and accidentally invented a subgenre. Part 3 of our behind-the-scenes look at John Carpenter's iconic film covers the post-production scramble, the chaotic regional rollout, and how a film that couldn't get arrested in Kansas City became the most profitable independent horror movie ever made. Want the full story without the wait? CinemaShock+ members get extended, ad-free episodes that combine every part into one seamless listen — plus bonus content you won't hear anywhere else. Join at cinemashock.net/plus. CINEMA SHOCK ASSOCIATE PRODUCERS: asotirov | Andy Lancaster | Interzone78 | courtland ashley | curtcake5k | dhg430 | dpr130498 | Elton Novara | Jackson_Baker | Jvance325 | KDurden | Lucy Lawson | mcdudely | Nate Izod | RockGokd | Tim G | triplr1478 | Dick Jones | Vlantis01 | MagicBloat | Benjamin Yates Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. Image: "Portrait of John Carpenter.jpg" by Kyle Cassidy, licensed under CC BY-SA 4.0. Modified from original. This derivative work is also licensed under CC BY-SA 4.0. For episode archives, merch, show notes, and more, visit cinemashock.net

John Carpenter: The Shape of Dread The face of modern horror cost two dollars and a can of spray paint. Part 2 of this production history gets into the physical reality of making HALLOWEEN — twenty days in Southern California, a crew running on fumes, and a cinematographer named Dean Cundey quietly revolutionizing how fear gets framed on screen. What Carpenter and his team built under those conditions shouldn't work as well as it does. That it does — that it still does — is the whole story. Want the full story without the wait? CinemaShock+ members get extended, ad-free episodes that combine every part into one seamless listen — plus bonus content you won't hear anywhere else. Join at cinemashock.net/plus. CINEMA SHOCK ASSOCIATE PRODUCERS: asotirov | Andy Lancaster | Interzone78 | courtland ashley | curtcake5k | dhg430 | dpr130498 | Elton Novara | Jackson_Baker | Jvance325 | KDurden | Lucy Lawson | mcdudely | Nate Izod | RockGokd | Tim G | triplr1478 | Dick Jones | Vlantis01 | MagicBloat | Benjamin Yates Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. Image: "Portrait of John Carpenter.jpg" by Kyle Cassidy, licensed under CC BY-SA 4.0. Modified from original. This derivative work is also licensed under CC BY-SA 4.0. For episode archives, merch, show notes, and more, visit cinemashock.net

John Carpenter: The Shape of Dread Before Michael Myers became an immortal cinematic icon, he was a nameless shape in a script written for pocket change. This look behind the scenes of this iconic horror film examines how a small independent team set out to stretch a razor-thin budget into a terrifying cinematic reality. The story of HALLOWEEN begins not with studio backing, but with a regional producer looking for a cheap thriller about a killer stalking babysitters. What followed was a masterclass in independent filmmaking, where every dollar had to deliver maximum tension. This opening chapter tracks the initial creative spark and the logistical tightrope walked by a young director finding his voice under massive financial constraints. It's a testament to how limitations breed timeless creativity, forcing a crew to rely on atmosphere over expensive spectacle. Discover how the foundations of modern horror were laid against a backdrop of tight schedules and creative desperation. Want the full story without the wait? CinemaShock+ members get extended, ad-free episodes that combine every part into one seamless listen — plus bonus content you won't hear anywhere else. Join at cinemashock.net/plus. CINEMA SHOCK ASSOCIATE PRODUCERS: asotirov | Andy Lancaster | Interzone78 | courtland ashley | curtcake5k | dhg430 | dpr130498 | Elton Novara | Jackson_Baker | Jvance325 | KDurden | Lucy Lawson | mcdudely | Nate Izod | RockGokd | Tim G | triplr1478 | Dick Jones | Vlantis01 | MagicBloat | Benjamin Yates Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. Image: "Portrait of John Carpenter.jpg" by Kyle Cassidy, licensed under CC BY-SA 4.0. Modified from original. This derivative work is also licensed under CC BY-SA 4.0. For episode archives, merch, show notes, and more, visit cinemashock.net

John Carpenter: The Shape of Dread This week, we wrap up our two-part analysis of ASSAULT ON PRECINCT 13. Picking up right where we left off, we dive straight into the physical production of the film, examining the tight shooting schedule and the challenges of filming low-budget action on the streets of Los Angeles. We also look closely at the post-production phase, focusing on Carpenter’s iconic, driving electronic score and his tight editing style under the pseudonym John T. Chance. Finally, we track the movie's rocky initial domestic release, its critical breakout at European film festivals, and its ultimate status as a foundational text for independent action and horror cinema. 🎧 Want even more? CinemaShock+ subscribers get access to an extended version of this episode, featuring bonus discussion and exclusive segments. Learn more at cinemashock.net/plus. CINEMA SHOCK ASSOCIATE PRODUCERS: Andy Lancaster | asotirov | Benjamin Yates | courtland ashley | curtcake5k | dpr130498 | Elton Novara | Interzone78 | Jackson_Baker | Jvance325 | KDurden | Lucy Lawson | MagicBloat | mcdudely | Nate Izod | Tim G | Vlantis01 Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. Image: "Portrait of John Carpenter.jpg" by Kyle Cassidy, licensed under CC BY-SA 4.0. Modified from original. This derivative work is also licensed under CC BY-SA 4.0. For episode archives, merch, show notes, and more, visit cinemashock.net

John Carpenter: The Shape of Dread We're kicking off our new retrospective series, John Carpenter: The Shape of Dread, with a two-part look at ASSAULT ON PRECINCT 13. This week, we examine the early life and formative influences of John Carpenter, tracking his upbringing and his time at the University of Southern California before he jumped into his second feature assignment. We break down the initial development of the script and how Carpenter adapted classic Western tropes for a contemporary, urban landscape. We also follow the production timeline through the logistics of securing financing and assembling the essential cast and crew, including the casting of Austin Stoker and Darwin Joston. Part 2 drops next week, covering the chaotic shoot and the film's enduring legacy. 🎧 Want even more? CinemaShock+ subscribers get access to an extended version of this episode, featuring bonus discussion and exclusive segments. Learn more at cinemashock.net/plus. CINEMA SHOCK ASSOCIATE PRODUCERS: Andy Lancaster | asotirov | Benjamin Yates | courtland ashley | curtcake5k | dpr130498 | Elton Novara | Interzone78 | Jackson_Baker | Jvance325 | KDurden | Lucy Lawson | MagicBloat | mcdudely | Nate Izod | Tim G | Vlantis01 Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. Image: "Portrait of John Carpenter.jpg" by Kyle Cassidy, licensed under CC BY-SA 4.0. Modified from original. This derivative work is also licensed under CC BY-SA 4.0. For episode archives, merch, show notes, and more, visit cinemashock.net

By the power of Grayskull, the listeners have spoken! For our June new release review, the members of CinemaShock+ have chosen MASTERS OF THE UNIVERSE, the major live-action revival of He-Man and the forces of Eternia. Starring Nicholas Galitzine, Camila Mendes, Alison Brie, Idris Elba, and Jared Leto, the film represents Mattel's most significant theatrical push since BARBIE took over the world three years ago. We'll be taking a trek through the hyper-stylized world built by director Travis Knight, evaluating how it handles decades of lore, and discussing our childhood nostalgia for Eternia stands up against modern studio tropes. We discuss the balancing act between serving genuine 80s nostalgia and appealing to an entirely new audience, breaking down whether this block of corporate intellectual property holds any genuine artistic merit. As a reminder, members of CinemaShock+ have the voting power to choose what New Release we review each month, so if you want to help decide what July's bonus episode will be, head to cinemashock.net/plus to become a member today! Theme Song" "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

This week on Cinema Shock, we're beginning our deep dive into the master of genre cinema with John Carpenter: The Shape of Dread. To set the stage, we’re throwing it back to an episode from April 2021, where we originally analyzed DARK STAR through the lens of its co-writer, special effects designer, and lead actor, Dan O'Bannon. We’re dissecting the brilliant, low-budget ingenuity required to get this movie off the ground, analyzing how Carpenter's atmospheric scoring and structural pacing first mixed with O'Bannon's cynical, comedic sensibilities. We explore the film’s unique legacy — a bridge between the utopian sci-fi of the late 60s and the gritty, blue-collar cosmic dread that would define the late 70s. Join us as we look back at the origins of a legendary cinematic partnership, the absurdity of the "Thermostellar Bomb," and the very beginning of John Carpenter's filmography. 🎧 Want even more? This episode contains bonus segments, which on future episodes of this series will be exclusive to members of CinemaShock+! Learn more at cinemashock.net/plus. Theme Song" "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. Image: "Portrait of John Carpenter.jpg" by Kyle Cassidy, licensed under CC BY-SA 4.0. Modified from original. This derivative work is also licensed under CC BY-SA 4.0. For episode archives, merch, show notes, and more, visit cinemashock.net

This week on Cinema Shock, we’re reviewing I LOVE BOOSTERS, a film that injects a shot of adrenaline and style into the modern crime genre. Moving far beyond the typical heist tropes, the movie focuses on a crew of boosters targeting the ultra-luxury fashion industry — transforming a criminal enterprise into a dangerous game of survival and status. We’re breaking down the film's visual language and how it uses a neon-soaked palette to mirror the glossy world its characters are trying to infiltrate. We also explore the underlying themes of class anxiety and corporate greed, tracking how Riley's storytelling here draws a direct line back to his early musical days with The Coup. Join us as we dissect the performances, the music, and the sharp cultural critique that makes this one of the most refreshing thrillers we've seen in a minute. 🎧 Want even more? CinemaShock+ subscribers have the power to vote for our monthly new release reviews! Learn more at cinemashock.net/plus. Theme Song" "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

The results of our April poll are in, and the community has spoken. While we had a stacked ballot this month, the votes swung decisively toward the most controversial and unsettling name on the list. This week, we are reviewing FACES OF DEATH. Directed by Daniel Goldhaber, this 2026 reimagining takes the infamous "snuff" legacy of the 1978 original and drags it into the digital age. We discuss Barbie Ferreira’s performance as a content moderator who descends into an obsessive spiral after discovering a series of violent videos that mimic the original film's most gruesome moments. In this deep dive, we break down how the film tackles our collective desensitization to online violence and whether the "meta" layer of the 1978 film existing in this universe actually works. We also look at the supporting cast — including Dacre Montgomery and Charli XCX — and discuss where this sits in the current landscape of extreme cinema. Note on Spoilers: We keep things general for most of the conversation. Specific plot spoilers are discussed from 01:03:14 through 01:11:54. If you want to vote on our next New Release review, join the community at CinemaShock+! Members get exclusive voting rights, plus access to our weekly FIRE SHOCK WITH ME series covering TWIN PEAKS: THE RETURN. Join now at cinemashock.net/plus Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

A new kind of monster. 🗳️ The votes are in, and for the fourth month in a row, our CinemaShock+ members have dictated our cinematic diet. While the competition was stiff, the community decided it was time to dive into Maggie Gyllenhaal’s bold, 1930s-set reimagining of a horror icon. This week, we are reviewing THE BRIDE! Moving far beyond traditional Universal Monster tropes, Gyllenhaal delivers a punk-inflected, visually stunning expansion of the character that was introduced in James Whale's 1935 film. We discuss the powerhouse duo of Christian Bale and Jessie Buckley and how this film functions as both a 1930s gangster joyride and a subversion of the "created woman" narrative. Unlike the 1935 classic where she only appeared for a few silent minutes, this film finally gives the character a voice and agency all her own. Spoiler territory begins at 28:13. If you want to have a say in what we watch next month, join the community at CinemaShock+! Members get exclusive voting rights on our New Release reviews, plus access to our ongoing FIRE SHOCK WITH ME series covering TWIN PEAKS: THE RETURN. Join now at cinemashock.net/plus Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

The Moors have never looked like this. 🗳️ For the third month in a row, our CinemaShock+ members have flexed their voting power to determine our schedule. In a major upset over the slasher and sci-fi heavy hitters, the community decided it was time to get "Gothic-erotic" with one of the most talked-about films of the year. This week, we are reviewing WUTHERING HEIGHTS. Directed by Emerald Fennell (SALTBURN, PROMISING YOUNG WOMAN), this is far from a traditional Brontë adaptation. With Margot Robbie and Jacob Elordi stepping into the iconic roles of Catherine and Heathcliff, the film sparked intense debate before the first frame even flickered. We explore Fennell’s decision to trade Victorian stuffiness for a punky, hyper-stylized aesthetic and whether this version captures the true, toxic heart of the original novel. In this deep dive, we debate how Fennell’s specific directorial lens handles the classic themes of obsession and class warfare. We also look at the visual language of the film — from the "silver walls" aesthetic to the modern soundtrack — and discuss whether this is a bold reimagining or a bridge too far for literary purists. Note on Spoilers: There are light spoilers for the movie throughout this episode. We do openly discuss the plot and ending of the original book—it’s been out for over 150 years, so we’re assuming the statute of limitations has expired—but we’ve kept the biggest creative swings Emerald Fennell takes in this adaptation spoiler-free (or very vague). We believe those moments should be discovered on your first viewing. If you want to have a say in what we watch next month, join the community at CinemaShock+! Members get exclusive voting rights on our New Release reviews, plus access to our ongoing coverage of Twin Peaks: The Return and other bonus series. Join now at cinemashock.net/plus CINEMA SHOCK ASSOCIATE PRODUCERS: Andy Lancaster, asotirov, Benjamin Yates, courtland ashley, curtcake5k, Elton Novara, Interzone78, Jackson_Baker, Jvance325, KDurden, LillymckY, Lucy Lawson, MagicBloat, mcdudely, Nate Izod, Nathan Kelley, Robert, Robert Stinson, Spacemonkey73 Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net CINEMA SHOCK ASSOCIATE PRODUCERS: Andy Lancaster | asotirov | Benjamin Yates | courtland ashley | curtcake5k | Elton Novara | Interzone78 | Jackson_Baker | KDurden | Lucy Lawson | MagicBloat | mcdudely | Nate Izod | Nathan Kelley | Tim G Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

More than 25 years since TWIN PEAKS was unceremoniously taken off the air by ABC, the series was resurrected for a third season by creators David Lynch and Mark Frost. The result is TWIN PEAKS: THE RETURN, an 18-hour cinematic event that many consider to be Lynch’s magnum opus. Fire Shock With Me is back to guide you through every surreal moment of this landmark television achievement. Before we dive into the premiere, this introductory episode explores the long, winding road to the 2017 revival. We take a deep dive into how TWIN PEAKS: THE RETURN actually came to be, analyzing the decades of rumors, the false starts, and the intense negotiations that nearly saw David Lynch walk away from the project. From the "I'll see you in 25 years" prophecy to the final green light at Showtime, we’re breaking down the history of the show's resurrection. TWIN PEAKS: THE RETURN is finally here, and this is just the beginning. While this introductory deep dive is available to everyone, the rest of the season — featuring our episode-by-episode recap and analysis — is exclusive to members of CinemaShock+. If you want to follow along with us as we deconstruct every part of David Lynch’s masterpiece, head over to cinemashock.net/plus now. Join the community to unlock the full season of Fire Shock With Me: The Return, along with extended episodes and exclusive bonus content. Don't leave us hanging in the Red Room — subscribe today. CINEMA SHOCK ASSOCIATE PRODUCERS: Andy Lancaster, asotirov, Benjamin Yates, courtland ashley, curtcake5k, Elton Novara, Interzone78, Jackson_Baker, Jvance325, KDurden, Lucy Lawson, MagicBloat, mcdudely, Nate Izod, Nathan Kelley, Robert, Robert Stinson, Spacemonkey73 Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

The people have spoken. 🗳️ For the second month in a row, our CinemaShock+ members took over the programming, casting their votes for our newest release review. After tackling the meta-madness of ANACONDA last month, the community decided to pivot to something much, much darker. This week, we are entering THE BONE TEMPLE. We are reviewing 28 YEARS LATER: THE BONE TEMPLE, the second chapter in the new rage-virus trilogy. With Nia DaCosta (CANDYMAN) taking over directing duties from Danny Boyle, and Alex Garland continuing to weave the narrative web, expectations are sky-high. In this deep dive, we debate how DaCosta’s visual style shifts the energy from Boyle’s kinetic opener and try to decode the expanding mythology of the infection itself. We also ask the hard questions about this middle chapter: Does the "Bone Temple" concept actually work, or is this just a bridge to the finale? And after nearly three decades, is the infected rage still as terrifying as it used to be? If you haven't made it to the theater yet, don't worry—the majority of this discussion remains completely spoiler-free. We save the specific plot details for the final act of the show, with spoiler territory officially beginning at 47:38. If you want to have a say in what we watch next month, join the community at CinemaShock+! Members get exclusive voting rights on our New Release reviews, plus access to all sorts of bonus content (like our Twin Peaks: The Return watch-along starting very, very soon). Join now at cinemashock.net/plus CINEMA SHOCK ASSOCIATE PRODUCERS: Andy Lancaster, asotirov, Benjamin Yates, courtland ashley, curtcake5k, Elton Novara, Interzone78, Jackson_Baker, Jvance325, KDurden, LillymckY, Lucy Lawson, MagicBloat, mcdudely, Nate Izod, Nathan Kelley, Robert, Robert Stinson, Spacemonkey73 Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

The snake is back, but it’s definitely not the 1997 cult classic you remember. In this special bonus episode, we’re sharing our raw, unscripted thoughts on the brand-new ANACONDA starring Jack Black and Paul Rudd. Since this was the winning choice from our monthly member vote, we’re skipping the deep-dive history and getting straight into the fun. We discuss whether Tom Gormican’s meta-comedy approach actually breathes new life into the franchise or if the CGI giant snake still feels like it belongs in the 90s. From the comedic chemistry between Rudd and Black to those unexpected cameos that had us shouting at the screen, we’re breaking down everything we loved (and everything that felt a bit "snake-bitten") about this theatrical release. 💡 THE CINEMASHOCK+ CHOICE This episode was chosen by our members! Every month, CinemaShock+ supporters get to vote on which new theatrical release we cover for our bonus episode. Want to vote on next month's movie? Join the inner circle and get extended episodes, early access, and voting power at http://cinemashock.net/plus. CINEMA SHOCK ASSOCIATE PRODUCERS: Andy Lancaster, asotirov, Benjamin Yates, courtland ashley, curtcake5k, Elton Novara, Interzone78, Jackson_Baker, Jvance325, KDurden, LillymckY, Lucy Lawson, MagicBloat, mcdudely, Nate Izod, Nathan Kelley, Robert, Robert Stinson, Spacemonkey73 Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

The calls didn't stop in 1974. In this special bonus episode of Cinema Shock, we’re stepping out of the attic to examine the controversial, neon-soaked, and often misunderstood legacy of the BLACK CHRISTMAS remakes. We start by tearing into the 2006 remake—a film defined by its vibrant "Giallo" color palette, cannibalistic origin stories, and the heavy-handed studio interference that changed the movie’s DNA. Then, we pivot to the 2019 Blumhouse reimagining, a divisive entry that traded mystery for a supernatural take on campus culture and systemic power. Finally, we pay tribute to the fans who kept the spirit of the original alive. We dive into the world of fan films, specifically the acclaimed It's Me, Billy (Parts 1 & 2), to discuss how indie creators managed to recapture the atmospheric dread that Hollywood struggled to replicate. We're joined in this episode by special guest John Ferrer, co-founder of the underground 24-hour Christmas movie extravaganza McArathon! Whether you’re a 2006 gore-hound or a 1974 purist, join us as we unwrap the sequels and spin-offs that refuse to stay dead. In this episode: The Weinstein influence and the "missing" scenes of 2006. Why the 2019 version shifted from a slasher to a supernatural thriller. How IT'S ME, BILLY serves as the spiritual successor fans waited decades for. Follow McArathon on Instagram at https://www.instagram.com/mcarathon_/ or on Twitch at twitch.tv/McArathon CINEMA SHOCK ASSOCIATE PRODUCERS: Andy Lancaster, asotirov, Benjamin Yates, courtland ashley, curtcake5k, Elton Novara, Interzone78, Jackson_Baker, Jvance325, KDurden, LillymckY, Lucy Lawson, MagicBloat, mcdudely, Nate Izod, Nathan Kelley, Robert, Robert Stinson, Spacemonkey73 Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

The Cinema Shock Christmas Spectacular is here, and we’re unwrapping the film that changed horror forever: BLACK CHRISTMAS (1974). While the world settles in for wholesome holiday classics, we’re exploring the dark, influential "proto-slasher" that walked so Halloween could run. Gary, Justin, and Todd dig into the urban legends that inspired the script, the terrifying vocal techniques used to create "Billy," and the haunting real-life parallels that once got the film pulled from television broadcast. Lock your doors, check the attic, and don’t answer the phone. 🎧 Want even more? CinemaShock+ subscribers get access to an extended version of this episode, featuring bonus discussion and exclusive segments. Learn more at cinemashock.net/plus. CINEMA SHOCK ASSOCIATE PRODUCERS: Andy Lancaster, asotirov, Benjamin Yates, courtland ashley, curtcake5k, Elton Novara, Interzone78, Jackson_Baker, Jvance325, KDurden, LillymckY, Lucy Lawson, MagicBloat, mcdudely, Nate Izod, Nathan Kelley, Robert, Robert Stinson, Spacemonkey73 Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net  

We conclude our deep dive into INLAND EMPIRE. We analyze Laura Dern’s powerhouse performance, the themes of identity and transcendence, and the chaotic beauty revealed in the film's stunning 4K restoration. 🎧 Want even more? CinemaShock+ subscribers get access to an extended version of this episode, featuring bonus discussion and exclusive segments. Learn more at cinemashock.net/plus. CINEMA SHOCK ASSOCIATE PRODUCERS: Andy Lancaster, asotirov, Benjamin Yates, courtland ashley, curtcake5k, Elton Novara, Interzone78, Jackson_Baker, Jvance325, KDurden, LillymckY, Lucy Lawson, MagicBloat, mcdudely, Nate Izod, Nathan Kelley, Robert, Robert Stinson, Spacemonkey73 Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

Dive into the unsettling world of INLAND EMPIRE. We explore David Lynch's radical shift to the MiniDV camera, the spontaneous, unscripted production, and the beginning of Laura Dern's journey through Hollywood’s darkest corners. 🎧 Want even more? CinemaShock+ subscribers get access to an extended version of this episode, featuring bonus discussion and exclusive segments. Learn more at cinemashock.net/plus. CINEMA SHOCK ASSOCIATE PRODUCERS: Andy Lancaster, asotirov, Benjamin Yates, courtland ashley, curtcake5k, Elton Novara, Interzone78, Jackson_Baker, Jvance325, KDurden, LillymckY, Lucy Lawson, MagicBloat, mcdudely, Nate Izod, Nathan Kelley, Robert, Robert Stinson, Spacemonkey73 Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

We pick up our deep dive into MULHOLLAND DRIVE with the film’s surreal final stretch. In this episode, we explore its production, reception, and legacy — and trace how Lynch turned a dead pilot into a dreamlike masterpiece. 🎧 Want even more? CinemaShock+ subscribers get access to an extended version of this episode, featuring bonus discussion and exclusive segments. Learn more at cinemashock.net/plus. CINEMA SHOCK ASSOCIATE PRODUCERS: Benjamin Yates | curtcake5k | Andy Lancaster | MagicBloat | Jvance325 | Nate Izod | Elton Novara | Robert Stinson | Nathan Kelley | asotirov | Jackson_Baker | Interzone78 | Lucy Lawson | courtland ashley | LillymckY | Spacemonkey73 | KDurden | Robert | mcdudely

In the first part of our two-part deep dive into MULHOLLAND DRIVE, we explore how a failed ABC pilot became David Lynch’s most celebrated film. From network rejection to Cannes redemption, we unpack the winding road that led to one of the greatest movies of the 21st century. 🎧 Want even more? CinemaShock+ subscribers get access to an extended version of this episode, featuring bonus discussion and exclusive segments. Learn more at cinemashock.net/plus. CINEMA SHOCK ASSOCIATE PRODUCERS: Benjamin Yates | curtcake5k | Andy Lancaster | MagicBloat | Jvance325 | Nate Izod | Elton Novara | Robert Stinson | Nathan Kelley | asotirov | Jackson_Baker | Interzone78 | Lucy Lawson | courtland ashley | LillymckY | Spacemonkey73 | KDurden | Robert | mcdudely

We continue our story with the making of THE STRAIGHT STORY — from its minimalist, rural production to the film’s warm reception and lasting emotional power. In this episode, we explore the unique challenges of filming a story with no frills, no flashbacks, and no spectacle — just the quiet weight of a man, a lawnmower, and the open road. We’ll talk about Richard Farnsworth’s final performance, the Oscar-nominated score by Angelo Badalamenti, and how this unlikely project became one of the most poignant, personal entries in Lynch’s career. 🎧 Want even more? CinemaShock+ subscribers get access to an extended version of this episode, featuring bonus discussion and exclusive segments. Learn more at cinemashock.net/plus. CINEMA SHOCK ASSOCIATE PRODUCERS: Benjamin Yates | curtcake5k | Andy Lancaster | MagicBloat | Jvance325 | Nate Izod | Elton Novara | Robert Stinson | Nathan Kelley | asotirov | Jackson_Baker | Interzone78 | Lucy Lawson | courtland ashley | LillymckY | Spacemonkey73 | KDurden | Robert Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

We begin our deep dive into THE STRAIGHT STORY, David Lynch’s most surprising film — a quiet, heartfelt road movie based on the true story of Alvin Straight. In this episode, we look at the real-life journey that inspired the film, the creative vision of editor-turned-screenwriter Mary Sweeney, and how Lynch, of all people, became the unlikely director of a G-rated Disney film. We’ll also explore how the project developed from a character sketch into a meditative script — and how Richard Farnsworth, a retired stuntman battling cancer, was cast in the role of a lifetime. 🎧 Want even more? CinemaShock+ subscribers get access to an extended version of this episode, featuring bonus discussion and exclusive segments. Learn more at cinemashock.net/plus. CINEMA SHOCK ASSOCIATE PRODUCERS: Benjamin Yates | curtcake5k | Andy Lancaster | MagicBloat | Jvance325 | Nate Izod | Elton Novara | Robert Stinson | Nathan Kelley | asotirov | Jackson_Baker | Interzone78 | Lucy Lawson | courtland ashley | LillymckY | Spacemonkey73 | KDurden | Robert Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

Our journey through the making of LOST HIGHWAY continues. With cameras finally rolling, David Lynch and his collaborators pushed deeper into the surreal and the subconscious — crafting a film defined by haunting sound design, elliptical editing, and an atmosphere of pure dread. But the road ahead wasn’t easy. In this episode, we follow the production through its rocky release and trace how LOST HIGHWAY, once a commercial disappointment, found new life as a cult classic that would reshape the next phase of Lynch’s career. 🎧 Want even more? CinemaShock+ subscribers get access to an extended version of this episode, featuring bonus discussion and exclusive segments. Learn more at cinemashock.net/plus. CINEMA SHOCK ASSOCIATE PRODUCERS: Benjamin Yates | curtcake5k | Andy Lancaster | MagicBloat | Jvance325 | Nate Izod | Elton Novara | Robert Stinson | Nathan Kelley | asotirov | Jackson_Baker | Interzone78 | Lucy Lawson | courtland ashley | LillymckY | Spacemonkey73 | KDurden | Robert Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

We continue David Lynch: Between Two Worlds with a journey into the nightmarish echo chamber of LOST HIGHWAY — a film that fractures time, identity, and genre into something both terrifying and seductive. Released in 1997, LOST HIGHWAY marked a turning point for Lynch: a return to darker, more experimental storytelling after TWIN PEAKS and FIRE WALK WITH ME alienated mainstream audiences. With a pulsing industrial score, a story co-written by WILD AT HEART novelist Barry Gifford, and one of the creepiest villains ever put to screen, Lynch delivered a noir-horror hybrid that confused critics but inspired a new generation of filmmakers and fans. In this episode, we begin our deep dive into the making of the film. We explore how Lynch’s growing disillusionment with Hollywood, a surprising creative partnership with Barry Gifford, and a growing interest in identity and psychological fragmentation laid the groundwork for what would become one of the director’s most enigmatic films. From the film’s origins through its complex casting choices, this is the story of how LOST HIGHWAY began. 🎧 Want even more? CinemaShock+ subscribers get access to an extended version of this episode, featuring bonus discussion and exclusive segments. Learn more at cinemashock.net/plus. CINEMA SHOCK ASSOCIATE PRODUCERS: Benjamin Yates | curtcake5k | Andy Lancaster | MagicBloat | Jvance325 | Nate Izod | Elton Novara | Robert Stinson | Nathan Kelley | asotirov | Jackson_Baker | Interzone78 | Lucy Lawson | courtland ashley | LillymckY | Spacemonkey73 | KDurden | Robert Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

In the conclusion of our two-part deep dive into TWIN PEAKS: FIRE WALK WITH ME, we trace the turbulent production, Cannes premiere, and long road to reevaluation that has led some to now call it David Lynch’s greatest work. This episode covers the shoot itself — from on-set tension and cut scenes to the mysterious ‘Missing Pieces’ — as well as the hostile reception the film received upon release and how its legacy has shifted dramatically in the decades since. Along the way, we explore how FIRE WALK WITH ME reframed the world of Twin Peaks, restored Laura Palmer’s voice, and laid the groundwork for everything Lynch would explore next. 🎧 Want to support the show? Subscribers of CinemaShock+ get access to: • Extended episodes with bonus content • Early access to episodes • Exclusive merch discounts • And other surprises behind the curtain Join now at cinemashock.net/plus ASSOCIATE PRODUCERS: Andy Lancaster | asotirov | Benjamin Yates | Caverly | courtland ashley | curtcake5k | Elton Novara | Interzone78 | Jackson_Baker | Jvance325 | KDurden | LillymckY | Lucy Lawson | MagicBloat | Nathan Kelley | Nate Izod | Robert Stinson | Spacemonkey73 Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

We’re kicking off our new series, David Lynch: Between Two Worlds, where we explore the dream logic, fractured identities, and spiritual mysteries of Lynch’s later career — beginning with his polarizing Twin Peaks prequel, FIRE WALK WITH ME. In this first of our two-part deep dive, we explore how Lynch returned to Twin Peaks after its cancellation — and how his original vision for a Twin Peaks movie evolved into something far darker and more personal. We’ll track the story from the series’ troubled end through the film’s early development, the departure of co-creator Mark Frost, the decision to center Laura Palmer’s final days, and the winding, often surreal path the script took. We also dive into Lynch’s inspiration, his collaboration with new and returning cast members, and the emotional weight of revisiting the trauma at the heart of the original series — this time from Laura’s perspective. 🎧 Want to support the show? Subscribers of CinemaShock+ get access to: • Extended episodes with bonus content • Early access to episodes • Exclusive merch discounts • And other surprises behind the curtain Join now at cinemashock.net/plus ASSOCIATE PRODUCERS: Andy Lancaster | asotirov | Benjamin Yates | Caverly | courtland ashley | curtcake5k | Elton Novara | Interzone78 | Jackson_Baker | Jvance325 | KDurden | LillymckY | Lucy Lawson | MagicBloat | Nathan Kelley | Nate Izod | Robert Stinson | Spacemonkey73 Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

Originally released in 2023, we’re re-publishing this episode to celebrate the 50th anniversary of THE ROCKY HORROR PICTURE SHOW — the longest-running continuous theatrical release of all time and one of the most iconic cult films in cinema history. What began as a fringe stage production in a tiny experimental theater space in London evolved into a global phenomenon — complete with costumes, callbacks, and midnight screenings that are still going strong half a century later. In this episode, we trace ROCKY HORROR’s full journey: from its origins on the London stage to its ill-fated original release, its rise through the midnight movie circuit, and its ultimate legacy as a defining piece of cult cinema. Whether you’ve done the Time Warp a thousand times or you’re just discovering it, this is the story behind THE ROCKY HORROR PICTURE SHOW. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

“Memories are meant to fade. They're designed that way for a reason.” In the second half of our STRANGE DAYS deep dive, we pick up with the music—both on screen and behind the scenes—that gives the film its pulse. We explore how a soundtrack packed with industrial rock helps build the film’s atmosphere, and how composer Graeme Revell stepped in at the eleventh hour to pull it all together. Then we dig into the film’s release, its disastrous box office performance, and the confused marketing campaign that helped sink it. We look at how critics received it at the time and how STRANGE DAYS slowly earned a second life as a cult classic in the years that followed. Finally, we reflect on the film’s legacy—how it predicted everything from reality TV and social media to police body cams and memory-as-entertainment. We talk about what it gets right, what still makes us uncomfortable, and why it might just be Kathryn Bigelow’s most visionary film. This is STRANGE DAYS, Part 2: the downfall, the rediscovery, and the relevance that still hits hard thirty years later. 🎧 Want to support the show? Subscribers of CinemaShock+ get access to: • Extended episodes with bonus content • Early access to episodes • Exclusive merch discounts • And other surprises behind the curtain Join now at cinemashock.net/plus ASSOCIATE PRODUCERS: Andy Lancaster | asotirov | Benjamin Yates | Caverly | courtland ashley | curtcake5k | Elton Novara | Hunter D Mackenzie | Jackson_Baker | LillymckY | Lucy Lawson | MagicBloat | Nate Izod | Nathan Kelley | Robert Stinson | Spacemonkey73 Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

“This is your life. Right here. Right now.” Before it became one of the most underrated sci-fi films of the 1990s, STRANGE DAYS was just a few scribbles in a notebook. In Part 1 of our deep dive, we trace the film’s journey from James Cameron’s original 1985 concept through its years in development and the real-world chaos that helped inspire Kathryn Bigelow’s vision of a crumbling millennium. We explore how Cameron and Bigelow collaborated with screenwriter Jay Cocks to shape the film’s story, how Ralph Fiennes and Angela Bassett were cast, and how Bigelow brought the gritty streets of Los Angeles to life—shooting almost entirely on location and inventing new camera rigs to create groundbreaking first-person POV sequences. We’ll take you all the way through the final days of production, including the now-legendary New Year’s Eve shoot involving 10,000 extras, 50 cops, and at least a few rave casualties. This is Strange Days, Part 1: the story of how a bold, unclassifiable, and wildly ahead-of-its-time film came to be. 🎧 Want to support the show? Subscribers of CinemaShock+ get access to: • Extended episodes with bonus content • Early access to episodes • Exclusive merch discounts • And other surprises behind the curtain Join now at cinemashock.net/plus ASSOCIATE PRODUCERS: Andy Lancaster | asotirov | Benjamin Yates | Caverly | courtland ashley | curtcake5k | Elton Novara | Hunter D Mackenzie | Jackson_Baker | LillymckY | Lucy Lawson | MagicBloat | Nate Izod | Nathan Kelley | Robert Stinson | Spacemonkey73 Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

They did it again! The boys saw Fantastic Four this weekend and they're giving their Spoiler Free thoughts! (There will be spoilers at the end, but we'll give you a heads up).  Do you like us reviewing new films? Let us know!  We can do this more often if the demand is there. Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus.  

In the second half of our deep dive into Mamoru Oshii’s GHOST IN THE SHELL, we pick up with the film’s release and the surprising reception that followed. Despite high expectations, GHOST IN THE SHELL underperformed at the box office, but quickly found a second life on home video, where it became a breakout hit in the West and helped bring anime into the cultural mainstream. We share our own thoughts on the film, from its unforgettable visuals to its haunting score, and dig into the philosophical questions it raises about technology, consciousness, and identity. Finally, we explore the movie’s enduring legacy—not just in its own ever-expanding franchise, but in the countless films and creators it inspired. Join us as we wrap up our exploration of a landmark work that forever changed how the world saw animation—and what animation could say. Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andy Lancaster | asotirov | Benjamin Yates | Caverly | courtland ashley | curtcake5k | Elton Novara | Hunter D Mackenzie | Jackson_Baker | LillymckY | Lucy Lawson | MagicBloat | Nate Izod | Nathan Kelley | Robert Stinson | Spacemonkey73 Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

For the next film in our Virtual Insanity series, we’re headed to the land of the rising sun to uncover the story behind one of the most iconic animes ever made: Mamoru Oshii’s GHOST IN THE SHELL. In this episode, we trace the origins of the cyberpunk classic, starting with Masamune Shirow’s original manga and following the career of visionary director Mamoru Oshii up through his groundbreaking work on GHOST IN THE SHELL. We dig into the film’s production process—from its innovative animation techniques to the challenges of bringing such a complex story to the screen—and look at how it was marketed ahead of release. Along the way, we explore how anime began to make waves beyond Japan’s borders, and how landmark films like AKIRA helped pave the way for a global audience hungry for ambitious, adult animation. Join us as we set the stage for a film that forever changed the conversation about technology, identity, and what it means to be alive. Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andy Lancaster | asotirov | Benjamin Yates | Caverly | courtland ashley | curtcake5k | Elton Novara | Hunter D Mackenzie | Jackson_Baker | LillymckY | Lucy Lawson | MagicBloat | Nate Izod | Nathan Kelley | Robert Stinson | Spacemonkey73 Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

We finally did it. The gang got together, including some of YOU, the subscribers, and we saw James Gunn's SUPERMAN! Join us as Justin, Todd and Gary break down their thoughts on this new movie and where we think the DCEU can go from here.  If you like us reviewing new films? Let us know! We're here for you! We can do this more often if the demand is there. Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus.  

"You could sit at home, and do like absolutely nothing, and your name goes through like 17 computers a day. 1984? Yeah right, man. That's a typo. Orwell is here now. He's livin' large. We have no names, man. No names. We are nameless!" HACKERS hit theaters in 1995—and mostly flatlined. But before it became a cult phenomenon, it was a risky production that blended cutting-edge visual effects, rave culture aesthetics, and a sincere belief that the digital frontier was worth fighting for. In this episode, we dive into the making of the film, the marketing missteps that doomed its initial release, and the slow rise of HACKERS as a touchstone for cyberpunk cinema and internet culture. We’ll also share our own thoughts on its uncanny prescience, its unforgettable style, and why it still resonates with audiences today. Suit up, grab your laptop, and join us as we trace how Hackers went from box-office flop to a beloved artifact of the wired age. Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andy Lancaster | asotirov | Benjamin Yates | Caverly | courtland ashley | curtcake5k | Elton Novara | Hunter D Mackenzie | Interzone78 | Jackson_Baker | Jvance325 | LillymckY | Lucy Lawson | MagicBloat | Nate Izod | Nathan Kelley | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

"This is our world now. The world of the electron and the switch; the beauty of the baud. We exist without nationality, skin color, or religious bias. You wage wars, murder, cheat, lie to us and try to make us believe it's for our own good, yet we're the criminals. Yes, I am a criminal. My crime is that of curiosity. I am a hacker, and this is my manifesto." Before HACKERS became a neon-drenched cult classic, it was the brainchild of screenwriter Rafael Moreu, who embedded himself in the early hacker underground to capture the real pulse of digital rebellion. In this episode, we trace the film’s roots in the authentic hacker culture of the early ’90s — from clandestine meetups and phone phreaking to the media frenzy that turned hackers into urban legends. You’ll hear how director Iain Softley joined the project, why the production aimed for subcultural credibility over Hollywood cliché, and how a young cast — led by Angelina Jolie and Jonny Lee Miller — brought this wired world to life. Jack in with us as we uncover the origin story of HACKERS, where fact, fiction, and cyberpunk style collided. Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andy Lancaster | asotirov | Benjamin Yates | Caverly | courtland ashley | curtcake5k | Elton Novara | Hunter D Mackenzie | Interzone78 | Jackson_Baker | Jvance325 | LillymckY | Lucy Lawson | MagicBloat | Nate Izod | Nathan Kelley | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

"That's reality for you. No saving, no resetting." For the next entry in our Virtual Insanity series, we’re diving headfirst into the world of early virtual reality—and the filmmaker who helped bring it to the big screen. This week, we're going behind the scenes on VIRTUOSITY, the 1995 cyber thriller starring Denzel Washington and Russell Crowe. In our last episode, we explored how THE LAWNMOWER MAN came to be—and how its unexpected success paved the way for VIRTUOSITY, a film already deep in development before Brett Leonard came aboard. This time, we’re zeroing in on VIRTUOSITY itself: its chaotic production, its failure to replicate Leonard’s earlier success, and how that shaped the trajectory of his career. We’ll also dig into the film’s surprisingly sharp take on Artificial Intelligence and consider where it fits within the broader legacy of cyberpunk fiction. Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andy Lancaster | asotirov | Benjamin Yates | Caverly | courtland ashley | curtcake5k | Elton Novara | Hunter D Mackenzie | Interzone78 | Jackson_Baker | Jvance325 | Lucy Lawson | MagicBloat | Nate Izod | Nathan Kelley | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

"I'm a fifty terrabyte, self-evolving, neural network, double backflip off the high platform. I'm not a swan dive." For the next entry in our Virtual Insanity series, we’re diving headfirst into the world of early virtual reality—and the filmmaker who helped bring it to the big screen. This week, we're going behind the scenes on VIRTUOSITY, the 1995 cyber thriller starring Denzel Washington and Russell Crowe. But before we get there, we’re rewinding to 1992's THE LAWNMOWER MAN —the first film to seriously tackle VR on screen and the movie that launched director Brett Leonard’s Hollywood career. We’ll explore how THE LAWNMOWER MAN came to be, why it sparked a legal battle with Stephen King, and how its unexpected success set the stage for VIRTUOSITY, a film that had already been in development long before Leonard came aboard. It's a double feature of tech-noir chaos, '90s visual effects, and the strange, glitchy dream of cyberspace. Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andy Lancaster | asotirov | Benjamin Yates | Caverly | courtland ashley | curtcake5k | Elton Novara | Hunter D Mackenzie | Interzone78 | Jackson_Baker | Jvance325 | Lucy Lawson | MagicBloat | Nate Izod | Nathan Kelley | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

"I can carry nearly eighty gigs of data in my head." For our Cinema Shock summer series, we wanted to take a look back at a few movies that were celebrating significant anniversaries this year. When we began browsing films released in 1995, we noticed an interesting trend: There was a glut of cyber thrillers released that year. And more specifically, cyber thrillers that dealt with the concept of virtual reality.  This probably shouldn't be surprising: 1995 was a banner year for technology; with the release of Windows 95 and the increasing availability of home internet, more people than ever were being connected to the World Wide Web. And as we know, Hollywood loves a trend. Enter: Virtual Insanity. In this series, we'll be exploring some of the more significant films of this very specific subgenre, all of which are celebrating their 30th anniversary this year. Most of these films fell flat at the box office in 1995 but all have reached varying degrees of notoriety in the decades since. Kicking things off, we're taking a look at JOHNNY MNEMONIC, possibly the strangest of the bunch. It's a film with a long, complex production history whose journey from page (in a short story by cyberpunk legend William Gibson) to screen was fraught with delays, difficulties and compromises. In our last episode, we detailed the early days of JOHNNY MNEMONIC's development and filming. This week, we'll focus on the film's contentious post production period, where the Hollywood execs responsible for marketing the film tried to turn it into something it was never intended to be, hoping to capitalize on the newfound post-SPEED superstardom of Keanu Reeves. We'll also get into our own thoughts on the film's legacy, as well as how its views of the internet and global connectivity are still relevant today. Next week: We continue our look at the cyber thrillers of 1995 with an often-overlooked film that stars two of Hollywood's biggest names. Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes the full story of JOHNNY MNEMONIC (Parts 1 and 2), as well as bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andy Lancaster | asotirov | Benjamin Yates | Caverly | courtland ashley | curtcake5k | Elton Novara | Hunter D Mackenzie | Interzone78 | Jackson_Baker | Jvance325 | Lucy Lawson | MagicBloat | Nate Izod | Nathan Kelley | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

"I want to get online... I need a computer!" For our Cinema Shock summer series, we wanted to take a look back at a few movies that were celebrating significant anniversaries this year. When we began browsing films released in 1995, we noticed an interesting trend: There was a glut of cyber thrillers released that year. And more specifically, cyber thrillers that dealt with the concept of virtual reality.  This probably shouldn't be surprising: 1995 was a banner year for technology; with the release of Windows 95 and the increasing availability of home internet, more people than ever were being connected to the World Wide Web. And as we know, Hollywood loves a trend. Enter: Virtual Insanity. In this series, we'll be exploring some of the more significant films of this very specific subgenre, all of which are celebrating their 30th anniversary this year. Most of these films fell flat at the box office in 1995 but all have reached varying degrees of notoriety in the decades since. Kicking things off, we're taking a look at JOHNNY MNEMONIC, possibly the strangest of the bunch. It's a film with a long, complex production history whose journey from page (in a short story by cyberpunk legend William Gibson) to screen was fraught with delays, difficulties and compromises. In this, the first of two episodes detailing JOHNNY MNEMONIC's story, we'll establish just why cyber thrillers became a trend, how one of 1980s New York's most prominent visual artists came on board as the director, and how the vision for the film trasnformed from a low budget black-and-white art film into a nearly $30 million major studio production. Next week: In Part 2 of our look at JOHNNY MNEMONIC, we'll detail the film's contentious post-production period, it's bungled release, and box office performance, as well as our own thoughts on the film and how its vision of the future is still relevant today. Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes the full story of JOHNNY MNEMONIC (Parts 1 and 2), as well as bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andy Lancaster | asotirov | Benjamin Yates | Caverly | courtland ashley | curtcake5k | Elton Novara | Hunter D Mackenzie | Interzone78 | Jackson_Baker | Jvance325 | Lucy Lawson | MagicBloat | Nate Izod | Nathan Kelley | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net  

“Please watch out for each other and love and forgive everybody. It's a good life, enjoy it.” Over the course of this series, we've come to not only love Jim Henson's work even more than we already did, but we've come to love and appreciate the person that Jim Henson was. In a cynical world, Henson was a beacon of hope and optimism and he spent his entire career — his entire life — trying to share that optimism with the world at large. While he was disappointed with the reception of his labor of love LABYRINTH, Henson didn't walk away from the project defeated. Instead, he made the decision to channel his energy into new projects, fueled by his unwavering optimism. Jim Henson, in the last years of his too-short life, did everything he could to make the world a better place through his art. In this, the final episode Jim Henson: Heart Felt, we want to discuss Jim's legacy beyond LABYRINTH. From Fraggle Rock to The StoryTeller to MuppetVision 3D and beyond, Jim worked tirelessly with every moment he had on this earth to bring joy to everyone he came in contact with, whether it was in-person or through a television or movie screen.  As we say goodbye to Jim Henson and recount his final years — and his final days — we can't help but feel a little bit sad. But we also feel a sense of gratitude that we got to exist on the same planet as Henson and that we'll be able to experience the magic he brought to us until the end of time. Thank you, our listeners, for going on this journey with us. We promise we'll be back to talking about weird cult movies very soon. Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andrew C. | Andy Lancaster | asotirov | Benjamin Yates | Caverly | Courtland Ashley | Curt M. | Elton Novara | Interzone78 | Jackson_Baker | Justin V. | Lucy Lawson | Nate Izod | Nathan Kelley | qoheleth | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

"Everything I've done, I've done for you. I move the stars for no one.” After the release of THE DARK CRYSTAL — and its critical and commercial failure — Jim Henson and his collaborator on that project, illustrator Brian Froud, went back to the drawing board for their next ambitious fantasy project. Utilizing the lessons that they’d learned on that film, they looked to craft another story with the same amount of imagination, but with more humor, more heart, more music and… more humans. The resulting film, LABYRINTH, was not much more well-received at the time of its release, but like its predecessor, it’s gone on to become a beloved film, one that’s now considered a classic and one of the creative pinnacles of Henson’s career. In this episode, we tell down the full story of how LABYRINTH was made, from its original concept, to the dozens of script drafts that it went through during its development, to the casting of David Bowie and Jennifer Connelly (and the actors who almost got the parts instead), and all of the innovative puppetry and creature creation that brought it to life. Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andrew C. | Andy Lancaster | asotirov | Benjamin Yates | Caverly | Curt M. | Elton Novara | Interzone78 | Jackson_Baker | Justin V. | Lucy Lawson | Nate Izod | Nathan Kelley | qoheleth | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

This episode was originally released in May 2022. In this Cinema Shock Rewind episode, we're revisiting our episode on Frank Oz's LITTLE SHOP OF HORRORS. Oz got his start as Jim Henson's closest collaborator, working with Jim during the Muppets' early years, and serving as a key piece of the Muppets' creative framework through the years of The Muppet Show and the subsequent feature films. In fact, Oz made his solo directorial debut on THE MUPPETS TAKE MANHANTTAN, which led to him being courted for LITTLE SHOP OF HORRORS not long after. In this episode, we'll tell you the full story of how LITTLE SHOP OF HORRORS was made, now with the added context of Oz's participation in the world of The Muppets. Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andrew C. | Andy Lancaster | asotirov | Benjamin Yates | Caverly | Curt M. | Elton Novara | Interzone78 | Jackson_Baker | Justin V. | Lucy Lawson | Nate Izod | Nathan Kelley | qoheleth | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

"Hey, I tell you what is. Big city, hmm? Live, work, huh? But not city only. Only peoples. Peoples is peoples. No is buildings. Is tomatoes, huh? Is peoples, is dancing, is music, is potatoes. So, peoples is peoples. Okay?" With his dream project THE DARK CRYSTAL taking so much of his time and energy, Jim Henson was content to slim down his role on the next Muppet project and allow his right hand man Frank Oz to take the helm in his first solo directing feature. THE MUPPETS TAKE MANHATTAN would be the last Muppet film that Henson would be involved with before his untimely passing a few years later, but the film's legacy would have a lasting impact on his company, especially in the form of the Muppet Babies, who'd get their own Saturday morning cartoon, inspired by a sequence from the film. And let's not forget the media circus that surrounded the wedding of the century! In this episode, we give all the details on how the film came to be, from its concept, multiple script changes, release and beyond! Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andrew C. | Andy Lancaster | asotirov | Benjamin Yates | Caverly | Curt M. | Elton Novara | Interzone78 | Jackson_Baker | Justin V. | Lucy Lawson | Nate Izod | Nathan Kelley | qoheleth | Robert Stinson ASSOCIATE PRODUCERS: Andrew C. | Andy Lancaster | asotirov | Benjamin Yates | Caverly | Curt M. | Elton Novara | Interzone78 | Jackson_Baker | Justin V. | Lucy Lawson | Nate Izod | Nathan Kelley | qoheleth | Robert Stinson Join the Community: Substack | Discord Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

"Another world, another time, in the age of wonder. A thousand years ago, this land was green and good - until the Crystal cracked." After the completion of THE GREAT MUPPET CAPER, Jim Henson focused on a project that had been in the works for years — its earliest seeds were planted well before even The Muppet Show had begun production — an ambitious fantasy film made in collaboration with renowned illustrator Brian Froud. That film, THE DARK CRYSTAL, would be Jim's most ambitious project to date. It's a film that pushed the limits of what puppetry was capable of, essentially creating an entirely new artform that would change the landscape of movie special effects for years to come. But it was also a great artistic and financial risk for Henson. When it was released, audiences didn't quite know what to think of it, but the film has become to be considered a bonafide classic in the decades since. In this episode, we'll detail the years long process to bring THE DARK CRYSTAL to the screen. D&D LIVE FOR CHARITY, Hosted by Mr. Todd A. Davis Comedians, Drag Performers, and Pro Wrestlers play Dungeons & Dragons in front of a LIVE audience to benefit The Julie Valentine Center! 🎟Purchase Tickets🎟 Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andrew C. | Andy Lancaster | asotirov | Benjamin Yates | Caverly | Curt M. | Elton Novara | Interzone78 | Jackson_Baker | Justin V. | Lucy Lawson | Nate Izod | Nathan Kelley | qoheleth | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net  

"There'll be mystery and catastrophe! But it's all in fun, you paid the money - wait and see! Hey! A movie! Starring everybody! And me!" After the success of THE MUPPET MOVIE, Jim Henson had hoped to get funding for a fantasy film that had become a sort of dream project of his. But that film — which would not feature the beloved and recognizable Muppets — would be a sizeable risk, so his producer convinced him to strike while the iron was hot and make a sequel to THE MUPPET MOVIE before embarking on his ambitious fantasy project. This time around, Jim Henson himself would be in the director's chair, creating a new adventure for the Muppet gang that would be a send-up of classic Hollywood films. In this episode of Jim Henson: Heart Felt, we'll detail the full story of how THE GREAT MUPPET CAPER was made, from its early script woes, through its envelope-pushing puppetry innovations, and its eventual release and reception, where it was met with high expecations. Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andrew C. | Andy Lancaster | asotirov | Benjamin Yates | Caverly | Curt M. | Elton Novara | Interzone78 | Jackson_Baker | Justin V. | Lucy Lawson | Nate Izod | Nathan Kelley | qoheleth | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

“Life's like a movie. Write your own ending. Keep believing. Keep pretending.” With The Muppet Show, Jim Henson had reached the goal that he’d set for himself many years before: He’d managed to get his beloved Muppets their own weekly television series. Not only that, but it was an enormous success, quickly becoming one of the most watched television shows in the entire world. The Muppets were as big as they’d ever been. The next step seemed logical: The Muppets were going to Hollywood. Getting them there wouldn’t be as straight-forward as you might think. After all, what Jim was proposing to do — bringing the Muppets out of their highly-controlled sutdio environment and into the real world — was unprecedented, and there was a question as to whether it’d work at all. In the latest episode of Jim Henson: Heart Felt, we’re telling the complete story of just how Henson pulled it off, and how he created one of the most beloved films of the 1970s, one that still resonated with audiences nearly half a century later. Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andrew C. | Andy Lancaster | asotirov | Benjamin Yates | Caverly | Curt M. | Elton Novara | Interzone78 | Jackson_Baker | Justin V. | Lucy Lawson | Nate Izod | Nathan Kelley | qoheleth | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

Happy TWIN PEAKS Day everyone!  To celebrate the day that FBI Special Agent Dale Cooper first entered the town of Twin Peaks, we wanted to offer our listeners a Free Preview of the first members-only episode of our Twin Peaks watch-along podcast FIRE SHOCK WITH ME! We did a deep dive into the creation of the TWIN PEAKS pilot episode as part of our series David Lynch: Absurd Encounters a while back (you can listen to that episode here). On that episode, we teased a bonus series where we'd watch and discuss Twin Peaks in its entirety, and FIRE SHOCK WITH ME is the follow-through on that promise! The entire first season of FIRE SHOCK WITH ME is available exclusively to members of CinemaShock+ with our looks at TWIN PEAKS: Season 2 and TWIN PEAKS: THE RETURN coming later this year. For now, enjoy the entire first episode of FIRE SHOCK WITH ME for free for a limited time, and head to cinemashock.net/plus to become a member of CinemaShock+ so that you can enjoy the rest of this series, as well as a host of other members-only benefits, including extended episodes, video content, and merch discounts!