In this episode, we sink our yellowed fangs into Nosferatu (2024). It’s one of our best conversations in a while. Likely due to our occult powers ascending and a potent peasant stew of nicotine and caffeine.

We talk about orthodox exorcisms, Lily-Ross Depp’s rise as an actor, supernatural penises, and what kind of undead creatures we’d like to be.

Robert Eggers has once again delivered an incredible looking film that shows what you can do with an absurd obsession for details.

Are we all in on this mustachioed addition to the vampire mythos? Definitely. Though, we have our usual Statler-and-Waldorf-grade complaints.

The Substance (2024) is a nearly perfect example of what we like in movies. It’s dripping with weighty ideas about bodies and power’s putrid hold on humanity. The director is an alluring French woman who appears to be a deep fan of all the dark shit we’re into. The actors are going for it hard. The effects are practical. It’s absurdly gory and fun.

To conversate and celebrate this body horror peak, we’re joined by Monique Jenkinson–who needs little introduction to our audience–but just in case, she’s an artist, choreographer, and writer best known for her work as a Bay-Area-based drag icon. She sometimes pastes magazine photography to herself, though not always to conceal the transformative effects of black market beauty regimens.

This is a focused episode where we get deep into the film and its perennial themes. We talk about the design of biohacker products, how youth is wasted on the young, our aging aches and pains, and the differences in how the male and female gazes approach butt shots.

If you’ve been enjoying our Alien run, fear not, we will be returning to that soon enough. We needed a break from Weyland-Yutani’s corporate culture. For now, enjoy this conversation about a great film that actually came out this year.

David Fincher’s first film, Alien 3 (1992), is a notorious example of studio meddlers clashing with an auteur-minded director, leaving a franchise in the khazi.

It’s a shame, because xenomorphs are basically money makers. The film has some solid performances and a gloriously grimy setting.

But alas, the film (both cuts) is a mess. The special effects are majorly downgraded from Aliens. The plot is full of more holes than a pair of old Weyland-Yutani panties. But they did manage to give Sigourney the noble death she wanted along with a suitcase full of money.

We keep fairly on topic this episode. Marc’s hatred for the film simmers beneath, while Chad tries to conjure Kanye conjecture. It’s a solid one.