The Scariest Things

The Scariest Things
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Your Gateway to the Trends and Tropes of the Horror Genre

  1. 2d ago

    Slashers Come of Age and Horror Finds Religion 1975-1979: Episode 213

    Hey kid, there’s a spider in your bed! From Kingdom of the Spiders (1977) We’re going back to horror history class with Episode 212: Slashers Come of Age and Horror Finds Religion 1975-1979. Seven years ago, in the early days of the Scariest Things, we did some horror history, diving into some of the more obscure titles that you may not be aware of. We stopped at the early seventies, and then went on a very long hiatus. But now we are back with some (maybe) forgotten gems from 1975 to 1979. Friend of the podcast Ian Parker joins Eric and Mike in this deep dive. It took a while, but we are back to our chronology of horror movies. We have picked up the baton and are moving our movie history lessons forward. The seventies were a turbulent period in history. The Hayes Code, now dead and defeated, is no longer. The early seventies started playing around in the margins with movies that pushed the boundaries of what was possible. The advent of the massive summer blockbuster began to separate movies into big-budget and indie-budget films, and horror was part of that trend. Jaws (1975) and The Exorcist (1972) proved that with the right director, scary movies could bring in big money and be legitimate critical darlings as well. The doors opened for studios to pour big money into movies that would become The Omen, Alien, Invasion of the Body Snatchers, and Carrie, landmark movies all. Big-name actors with great pedigrees were coaxed into performing in big studio horror projects. Gregory Peck did The Omen. Faye Dunaway at the height of her career did The Eyes of Laura Mars. It wouldn’t be long before Jack Nicholson got cast in The Shining (1980), but we’ll get to that one later. Having said all that, the studios weren’t quite all-in yet. There were a few pet projects out there. But the domain of the horror movie was still in the dilapidated old downtown movie houses and drive-in theaters. You couldn’t yet rent movies for home viewing. If you wanted to go see independent horror movies, you had to be willing to get down and dirty. The Cineplex wasn’t yet ready for showing off the gory delicacies that were being cooked up in the era when the boundaries between R and X hadn’t been settled yet. Slasher Movies Come of Age Horror never forgot its roots. You could still make a low-budget movie, with no-name actors, scare some teenagers, and turn a profit. But a guy in a rubber suit wasn’t going to cut it anymore. Real explicit violence and raw visceral horror are now how to make a memorable mark. Following in the footsteps of Black Christmas (1972), Last House on the Left (1972), and The Texas Chainsaw Massacre (1974), the slasher film was going to find the sweet spot of low budget and mass appeal. Enter Halloween (1978). Stabbing and spooking were now moving into the suburbs. On a budget of $325,000, Halloween would go on to earn $47,160,000. On a budget of $325,000, Halloween would go on to earn $47,160,000. Hollywood noticed. The impact of Halloween would be felt primarily in the early eighties, but a few filmmakers picked up on the trend early. The slasher films influenced directly in the wake of Halloween include: Don’t Go Into the House (1979), Silent Scream (1979), Tourist Trap (1979), Driller Killer (1979), Prom Night (1980), Maniac (1980), Friday the 13th (1980), Don’t Go into the Woods (1981), Madman (1981), Happy Birthday to Me (1981), My Bloody Valentine (1981), The Burning (1981), The House on Sorority Row (1982), and The Slumber Party Massacre (1982). All of these films featured a masked killer (usually) and some sort of stabbing weapon (usually), and oblivious teen victims (usually), with sexual activity usually as part of the equation (usually)… and a final girl (usually). That’s the modern slasher template. It didn’t take long for filmmakers to figure out the formula. Our great directors who would lead horror for the next twenty years were in place. John Carpenter, Tobe Hooper, and Wes Craven had their knives out and were ready to dominate the field. This genre still felt fresh. The sequels had yet to take control of the industry, and the concept felt raw and scary. This trend would find its killer’s stride in the 80’s, but this is when the slasher movie came out of the shadows. Horror Gets Really Weird, and Discovers God While the sixties still had a safety belt on, and the eighties went for the reliable thrills, the seventies was a period that allowed directors to stretch out their ideas. The early seventies also contributed a number of strange films, but it is hard to match the back half of the seventies with the likes of The Manitou (1976), Phantasm (1979), Hausu (1977), and Eraserhead (1977), which brought wildly original concepts to the table. Religion was a big thing too. Conventionally, there were movies like The Omen and The Exorcist that were, while very scary, using traditional good-and-evil concepts. This era also had a more counter-cultural and artistic interpretation of holy horror. God Told Me To (1976) and The Visitor (1979) were gonzo strange concepts that never found an audience, but were challenging with their takes of what celestial beings might be. What is Jesus, really? For that matter, what is God? An alien? Perhaps. Truly strange, blasphemous stuff. Perhaps it was all the hallucinogens that were popular of the era. Cosmic horror found truth in a far-out metaphysical moment. It wouldn’t take long for the politicians and the morality police to put an end to such wild concepts. But in truth, the conservative backlash was waiting in the next decade. In the seventies, the liberal notions of acceptable content had plenty of room. That would be coming to an end soon, especially when movies could come home on cable TV and VHS. The Scariest Things History of Horror Episodes Episode 22: The Silent Era 1920s Episode 25: The Rise and Fall of the Golden Age 1930’s and 1940s Episode 29: Horror Comes Back – The Matinee Era Part 1 1950-1954 Episode 31: The Height of the Atomic Age – The Matinee Era Part 2 1955-1959 Episode 51: The International Gothic Trend – Horror From 1960-1964 Episode 53: The Diversification of Horror – Horror From 1965-1969 Episode 57: Horror Gets Trippy – Horror From 1970-1974 Episode 213: Slashers Come of Age and Horror Finds Religion 1975-1979 Friend of the Podcast Ian Parker joins Eric and Mike to talk about some deep cut movies from the late seventies. We have tried to avoid the obvious stuff and to notify our audience about some curious gems that you might have missed when shuffling through your streaming options: Burnt Offerings (1976) Don’t Go Into the House (1979) God Told Me To (1976) Kingdom of the Spiders (1977) Rabid (1977) Shock Waves (1977) The Witch Who Came From the Sea (1976) The Eyes of Laura Mars (1978) The Manitou (1978)

  2. Jul 15

    Grind (2026): PHFF Review and Interview

    Sarah (Jessika Van) and Molly (Courtney Pouroso) receive some unfortunate marketing data in Grind (2026) Intensity: 🩸🩸 out of 🩸🩸🩸🩸🩸 Directed by: Brea Grant , Ed Dougherty, and Chelsea Stardust Written by: Brea Grant and Ed Dougherty Does working in today’s economy feel like you are on a treadmill that is getting too fast for you? Has your job killed your dreams? Employment in the modern world can be… a Grind. Grind is a timely anthology that is neatly stitches together how working for Mega-Corporations (TM) can erode your sense of being and may cost you more than a diminished paycheck. If you ever thought “This job is gonna kill me.” Grind will resonate with you. In a world where gas prices soar past $4.00 per gallon and groceries routinely cost more than $150 per visit, just having a job might not cut it. A minimum wage job isn’t going to pay the bills. Hell, even a white collar professional job might not cover the costs. This is an environment where a paying second side hustle may be necessary. Maybe you need to use your car to be an Uber driver. Or, perhaps you need a side marketing hustle. Perhaps you just need to hang in there a little longer with your primary job in hopes of being promoted to something greater. These are the traps that Grind examines. This anthology is the brainchild of Brea Grant and Ed Dougherty. Dougherty is a veteran music video director, and Grant is a star actress who has transitioned into a powerhouse indie horror director. (Torn Hearts, 12 Hour Shift, Lucky) Chelsea Stardust is an emerging young director who already has a cult classic feature to her credit. (Satanic Panic) Both Stardust and Grant are featured in my 32 Important Women Horror Directors You Should Know Deadlist. The trio have tapped into something timely and resonant. Horror in the workplace never felt so present. Here in Portland, with skyrocketing housing prices, a wavering job market, and a general economic malaise, this movie seems to have been channelled for us. Appropriately, the Portland Horror Film Festival featured Grind as one of its featured presentations. The directing trio: Brea Grant, Chelsea Stardust, and Ed Dougherty Directors’ Statement: People all over the world are waking up. The current state of things as we see it — the average American is suffering while billionaires line their pockets, driving income inequality to a level not seen since the 18th century. Workplace safety is declining, worker exploitation is rising, and wage theft is rampant. Things are bad but people are realizing it. The public’s approval rate of unions is higher than ever — not just in our industry but industries around the country. From hotels to coffee shops to Waffle Houses, workers are fighting for their rights– often against harsh union busting reprisals. This is a historic moment of anger and fear, and these topics are what everyone’s talking about… …And thus it’s the perfect theme for a horror film. We want to tackle this subject in a fun, scary way that will provide a cathartic release for audiences everywhere. This is a film for anyone who’s ever hated their job, had a bad boss, or felt taken advantage of at work. In other words, it’s a film for all of us. GRIND is a WIP. Sound is final. VFX and color are not (which you will definitely notice). Warehouse Wonders Directed by Chelsea Stardust Starring: Mercedes Mason as Maria, James A. Janisse as Justin Maria is a DRGN warehouse employee who is racing through the aisles to retrieve a ring light for an expedited delivery order. Time runs out on her search, and she gets transferred to “Special Gifts.” It’s neither a gift, nor special. This is the opening wraparound connective segment for the anthology. We follow the package to the next segment… Maria (Mercedes Mason) discovers something ominous within the DRGN warehouse in Grind (2026) MLM Directed by Brea Grant Starring: Jessika Van as Sarah, Courtney Pauroso as Molly, Hunter Smith as The Axe Man, and Barbara Crampton as The Founder Sarah has joined La La Leggings as a downline multi level marketing (MLM) agent in an attempt to earn some extra cash, selling cheap yoga pants online. She is a lackluster sales agent, and her performance reflects it. Her upline partner, Molly notifies her the dire consequences of failing to meet her quota. Notably, one of the contractual conditions of failure is that her husband’s penis will turn into a scrub jay. Yep. Just like it says. It’s hysterical and horrifying, and it’s true! The consequences only get worse from there, and pretty soon, Molly’s reputation is affected. So, Molly comes by to help her pitch stretchy pants. Even combined, the sales are so poor that it summons the immortl Axe Man. (Clad in La La Leggings). They should have sold more leggings! After the battle with the axe man, a doorbell rings and food has arrived! We now transfer the story from Sarah to Benny. Sarah (Jessika Van) looks for the approaching Axe Man in Grind (2026) Delivery Directed by Brea Grant Starring Vinny Thomas as Bennie, Gigi Saul Guerrero as Camilla, and Thor Harris as the Frightening Man After delivering to the La La Leggings house, Bennie continues his food delivery grind. It’s a thankless job, literally, at times, because he is working for tips. And Los Angeles residents are stingy tippers. Delivery after delivery and it becomes an effort in futility. He gets a mysterious Ghost Kitchen call, where his text message directions instruct him to retrieve a manky paper bag from a locked chest for a preposterously big tip. If it seems to be too good to be true, it is. Bennie is caught in a combination deadly escape room and a time loop, where he is requested to do increasingly risky tasks. If he fails, the delivery resets. As things get weirder and weirder, Bennie has no option but to comply with the bizarre and painful requests. As is true for most time loops, in order to close the loop, he has to satisfy the requests. He guts through the torturous pain and comes face to face with a bizarre epiphany, whereafter he continues on as a food delivery driver for one last drop… to the DRGN headquarters. Delivery guy Bennie (Vinny Thomas) encounters his mirror form in Grind (2026) Content Moderation Directed by Ed Dougherty Starring: Christopher Rodriguez Marquette as Joel, James Urbaniak as Richard, and Rob Huebel as Andy Joel is a teacher looking for a career change, and has arrived at the DRGN headquarters to apply for a plum job. Andy, a relationships manager at DRGN tells him of the wonderful opportunities at the company. A job that starts at $175,000 and with all the benefits that a high tech job has to offer. However, there is a probationary period, that requires potential new employees to work in The Pit. Joel is skeptical about the offer, but Andy assures him that all he has to do is content moderation for Hatchbook, DRGN’s social media site. The catch is, the content that has to be watched is some of the most vile and disturbing content on the internet. Watch enough videos, and you can get that big paycheck with the cushy benefits. How many videos? Only a mere 6,750,000. This is a staggering and emotionally taxing amount of awful content to be viewed. Joel is determined to be the rare, and perhaps only person to emerge from the Pit to get the big job upstairs. Andy will do everything to make sure that doesn’t happen. The consequences are corrosive and psychologically devastating. Joel (Christopher Rodriguez Marquette) has a shit job doing content moderation in Grind (2026) Union Meeting Directed by Ed Dougherty Starring: Sharlene Cruz as Kayla, Ify Nwandiwe as Todd, James A. Janisse as Justin, Aubrey Shea as Mel, James Paxton as Crowe, Teri Gamble as Clara, Rob Heubel as Andy, and Vee Nixie as Neptulia Power to the people! The employees of a Neptulia Coffee shop are forming a union, and going on strike! No more minimum wage, lousy benefits, high job turnover, and understaffed work loads. The crew is a mixed bag of oddballs. Kayla is the committed union leader. Todd is the burly, but geeky corporate supportive shift manager. Crowe is the dimwitted activist wannabe who glues himself to the cashier counter, but now has to pee badly. This strike is doomed for failure. Meanwhile, DRGN corporate overlord Andy has been tracking the special gift delivery destined for the coffee shop. It’s the same package from the opening wraparound. The delivery is the size of a refrigerator, and weighs a ton. Why would they receive a package from HQ? DRGN is going to bust this strike, with a stealthy option. There’s a toothy monster mermaid in that “gift”, and woe be to the would-be labor organizers. Can the gang that can’t get their act together fight off the blasphemous namesake of their shop? Mel (Abrey Shea) and Kayla (Sharlene Cruz) in Grind (2026) Neptulia (Vee Nixie) the monster mermaid in Grind (2026) Black Box Directed by Chelsea Stardust Starring: Barbara Crampton as the Founder and Rob Heubel as Andy In the back half wraparound, we discover that Andy and the La La Leggins founder are a married power couple, basking in their wickedness and enjoying their domain. A package has arrived at the door, though. A black box. That could only mean one thing: DRGN Gift, which is as we know now, not a good thing. But, why would DRGN turn on two of their power brokers? What could it be? The slightly damaged box suggests it might not be what they think it is… Barbara Crampton and Rob Heubel discover “What’s in the Box” in Grind (2026) Evaluation of Grind Grind may be the best anthology I’ve seen since Southbound. The narrative threads and thematic consistency show real intent. The hilarious MLM is the foundation of the movie, as it was generated as a short film that worked the festival circuit in 2025 and was a fan favorite. I saw it at both Overlook and

  3. Jul 4

    Freezing Cold Horrors: Episode 212

    Larry Fessenden’s The Last Winter (2006) BRRRRRR! It’s so cold outside! Wait, what? The thermometer reads 102? What’s the date? Ah, forget the date; this is a brain freeze for you because we decided to cool you off with some freezing cold horror films just in time for the summer heat wave! YES! Cold themes are the icy wet blanket that puts you at unease. Friend of the Podcast, Ian Parker joins the Scariest Things, as we put our parkas on for a discussion of some frozen horror treats. Enjoy! Think of this as mid-summer air conditioning by way of podcast. Granted, we considered this episode much earlier in the year, but with so many PHFF interviews, it got pushed further into the summer months! So, let this discussion help cool you with shivers down your spine! Themes of isolation, where the environment itself adds to the danger of just being outside, never mind the killer or monster waiting for you out there. It’s that extra addition that makes just getting around in a horror movie difficult. Almost every variant of horror is represented with the overlay of freezing temperatures. Serial Killer / Psychopath? Check. Vampires? Multiple times. Zombies? Uh huh. Aliens and monsters? Plenty of them. It’s freezing PLUS scary antagonist. Frozen horror is often a melancholy affair. With the exception of perhaps Werewolves Within, these movies tend to be quite serious. The colors are desaturated and high contrast. The music is often spare, with hints of wind blowing in the background. The other partner of ice-cold horror is darkness. Many times the location will be in fringe or polar latitudes, limiting the amount of daylight. Characters subjected to freezing to death are different than those burning up in the desert. This is still a constitution check, though It’s less about exhaustion and more about willpower. That, and there might be a vampire waiting for you. They seem to be OK with freezing temperatures. Also, if you are making this a theme within your movie, you will want to have plenty of the activity outside. There are films that use bad weather to limit the locations (Think Pontypool (2008) or Climax (2018)). For this episode, we want the characters to endure the cold. Get out there! Don’t be a sissy! Just keep moving. That’ll keep you warm. The Podcast: Freezing Cold Horror: Episode 212 For this episode, we avoided repeating ourselves with Holiday Horror, particularly Christmas-themed horror, as we have already done that in Episode 114: Ho Ho Horror. Another similar theme, if you like this stuff, is Episode 172: Canadian Horror. Harbinger Down (2015) True Detective: Night Country (2025) The Last Winter (2006) Wintertide (2023) Ice Cream Man (1995) The Black Phone 2 (2025) Cold Prey (2006) Dreamcatcher (2003) Devil Times Five (1974) The Lodge (2019) Wind Chill (2007) Frozen (2010) Snow Beast (1977) The Shining (1980) The Thing From Another World (1951) The Thing (1982) The Thing (2011) 30 Days of Night Black Mountain Side (2014) The Terror (2021) Blood Glacier (2013) The Yeti (2026) Shriek of the Mutilated (1974) Werewolves Within (2021) Breaking Surface (2020) Dead Snow (2009) Dream Eater (2024) Alien vs. Predator (2004) Let the Right One In (2008) Frankenstein (2025)

  4. Jul 2

    Friday the 69th (2026): PHFF Review

    Friday the 69th is a horror parody asking: What if a failing porn studio tried to make a conventional slasher movie? Charming and silly. Not as raunchy as you might expect. This is an interview with the director, Alex Montilla and star Rob Zoppo. Part of the Portland Horror Film Festival slate of films.

  5. Jun 24

    The PHFF Horror Short Film Director Roundtable

    The Horror Short Film Director Roundtable is one of the most important things that we did at the Portland Horror Film Festival. It provided an elevated platform for horror short filmmakers. Oftentimes, this is ground zero for original horror ideas. Unless you are a Hollywood nepo-director, short film creation is where you learn your chops. I wanted to give these creatives an opportunity to share their experiences in making movies, both good and bad, so that we can all learn a little more about the craft. Life as a short filmmaker can be an experience in the shadows. Your films are rarely seen outside of film festivals, but that’s not necessarily a bad thing. This is where most creative minds hone their crafts. Take a simple concept and do it well. Do you have something scary or funny to tell? Is there an idea that has been lurking in the back of your brain that you have to give life to? A short film will give you the opportunity to learn production, editing, budgeting, and team management. It also places you in a community of people who are open to sharing their work with one another. That’s where the round table fits in. After our discussion, I told the group that, even though I wanted this discussion to be a forum for them to share their wins and losses with each other, I selfishly set up this talk so I could learn more about horror moviemaking. Nine years in on being a small horror press journalist, and I still feel like I am only scratching the surface about what a director has to do. Just how do you do it? These discussions give me more talking points and access to better questions to ask. The Portland Horror Film Festival is one of the best curated horror film festivals in the country. Not only do Gwen and Brian Callahan select some of the best horror short films for their festivals, but they also provide opportunities for short film alumni to showcase their feature films. One of the questions I asked in our roundtable discussion was, “How many of you are looking to be feature film directors?” All of them raised their hands (with the exception of Patrick Hogan, who has already directed a feature film). For these directors, here is some encouraging data. This year alone had FIVE directors who previously presented short films at either PHFF or the H.P. Lovecraft Film Festival and later had their feature films shown at these festivals. Here are the PHFF Alumni filmmakers who presented a short film and then a feature: Anthony Cousins: Short Films – “The Bloody Ballad of Squirt Reynolds” and “Every Time We Meet for Ice Cream Your Whole F*****g Face Explodes” to Feature Films – Frogman (2023) and Frogman Returns (2026) Jeff Ferrell: Short Film – “Morella” to Feature Film – The Demonatrix (2026) Levi Buchannan: Short Film – “We Said Forever” to Feature Film Sitra Achra (2026) Krsy Fox: Short Film – “What the Spell” to Feature Film – Big Baby (2026) Masaki Nishiyama: Short Film “Smahorror” to Feature Film “The Invisible Half” (2026) Zack Ogle: Short Film “We Got a Monkey’s Paw” to Feature Film – It Needs Eyes (2025) Craig Ouellette: “Str$p” to Feature Film – Straight on Til Morning (2025) Andrew Bowser: Short Film – “Little Willy” to Feature Film – Onyx the Fortuitous and the Talisman of Evil (2022) Izzy Lee: “My Monster”, “Dark Signals”, “Rehomed” to Feature Film – House of Ashes (2024) Kenichi Ugana: Short Film – “Visitors” to Feature Film – Love Will Tear Us Apart (2023) Alice Maio Mackay: Short Film – “The Serpent’s Skin” to Feature Film T-Blockers (2023) Matthew John Lawrence: Short Film “Larry Gone Demon” to Feature Film – Uncle Peckerhead (2020) Justin Harding: Short Film “Kookie” to Feature Film – Making Monsters (2019) The PHFF Horror Short Film Director Roundtable Recording: Here is the roundtable discussion. It’s all about the lessons learned. The good, the bad, and the ridiculous. My past experience doing these round tables sometimes put the filmmakers on the spot, and I didn’t want this to be a “stump the directors” exercise. I prepared them with the following questions: Apart from financing, what was the biggest challenge in making your movie? What was the most interesting thing you learned while making this film? How many of you are filmmakers as a second career? What remains a mystery to you as a filmmaker that you think might be answered by one of your peers in this discussion? What piece of advice do you have for your fellow directors? This group really got into the discussion, and had the festival not started up, we could have gone on for quite a while longer. I had a great time, and I believe they did as well. The Horror Short Film Director Roundtable Films: Blindsided Directed by P. Patrick Hogan Starring Crystal Loverro Portland Horror Film Festival: Winner of the Devil’s Discord (Best Sound Design) A blind schoolteacher struggles to survive through a nightmarish night when an alien spaceship crashes and unleashes a monstrous predator. This unique horror short film features an all-low-vision cast and places the audience in the POV of a blind protagonist who is only able to hear what happens around her. Director Statements: “Blindsided is a riveting short horror film that takes a unique narrative approach, providing audiences with an immersive glimpse into the harrowing experience of Maria, a blind woman confronting the most terrifying ordeal of her life. The horror remains unseen, both to her and the audience, heightening the suspense and reminding us that sometimes, the most terrifying things are the ones we don’t see coming… This is an innovative short film that ventures into uncharted territory within the horror genre. The narrative unfolds in a tranquil neighborhood, abruptly disrupted by a crashing alien spacecraft and the horrifying monster it unleashes into the night. However, what sets this film apart is the unique perspective from which the story is told – the POV of Maria, a blind schoolteacher living alone. Maria’s desperate struggle to evade the otherworldly predator, guided solely by what she hears, will provide an experience unlike any other horror short. Additionally, to promote diversity and inclusivity, in conjunction with our Disability Authenticity Consultant Vanni Le and Casting Director Danielle Pretsfelder Demchick, all the characters in the film are played by low-vision actors, placing the spotlight on the often-overlooked talent within the low-vision community. We are very proud of Blindsided and look forward to enjoying it in theaters with an audience who doesn’t know what they are about to experience.” Scullion Written and Directed by Trevor Graciano Starring: Whitney Garner as “Samantha”, Cody Parr as “Greg”, and Jim Close as “The Maid” A playful couple test their household chore habits and unknowingly summon a vengeful presence. Director Statements: “We all carry habits inherited from our parents into adulthood. I grew up in a religious household where some of those habits were helpful, but many were not—and they’ve lingered in ways I don’t welcome. Some habits fade with time, while others remain, quietly shaping us in the background. This film explores the struggle to break free from those ingrained patterns, and the imaginative consequences of what happens when they refuse to let go. *It’s really just about how to load the communal dishwasher correctly.” Worst Thing You’ve Ever Done Directed by PJ Germain Written by Autumn Palen and PJ Germain Starring: Brady Gentry, Benjamin Nowak, Bix Krieger, Charlie N. Townsend, Cailyn Rice, Ethan Ahn, Emma Smith Watts, and Erin Rae Kykendall HIGH SCHOOL REALLY SUCKS… and no one knows that better than best friends Aaron and Keith. So when they set out to crash the last graduation party of the summer, emotions fly high, and the culture clash of teenagers finds them playing a simple game that has dire consequences. Director’s Statement: “Before he passed, screenwriter Gil Dennis told me during my time at AFI, “Write what hurts.” That idea has stayed with me; it’s the compass I use when choosing the stories I want to tell. When I first read Autumn Palen’s original draft of Worst Thing You’ve Ever Done, it hurt. It transported me back to moments in my own adolescence; memories filled with shame, ridicule, and isolation. But what floored me was its third-act twist. It was something I’d never felt so viscerally in a short script. I knew I had to direct it. What began as a contained character piece evolved into something more personal. I rewrote the script to reflect my own lived experiences, with every character, every event drawn from real moments that left a mark. I wanted to take a character that I felt so intertwined with, and make him someone that the audience would really relate to before reaching the moment where everything changes; the blood-drenched punchline to the twisted joke these high school kids played on each other. I set it during the 90’s, as it was a period of transition for me as an 80’s kid, being on the cusp of the old and new world. I needed the film to be an exploration of adolescent loneliness which dealt with the complexity of the friendships and social hierarchies that often defined who we were at that fragile age. We weren’t quite kids anymore, but we weren’t adults yet either, so how did we approach the consequences of reckless behavior? My team and I knew that casting would make or break the film. To capture that truth, casting was everything. I reviewed over 6,000 submissions, narrowing it down to a callback of who I thought could embody the characters. I needed authenticity, so at that callback, I ditched the script and asked actors, in character, to describe moments like first dates or getting asked to prom. It reveal

  6. Jun 22

    Dracula: The Night Around Us (2026): PHFF Review

    This is an interview of the director of Dracula: The Night Around Us, following its world premiere at the Portland Horror Film Festival. This is a tight, focused film that concentrates on Dr. Seward, Mina, Renfield, and Lucy. Dracula is a looming presence, but us utilized here as a threat rather than the key character. You won't see an arrogant Count, taunting and regally imposing himself on the village folk. This is a modern tale, with strong psychological horror components. Listen, and learn!

  7. Jun 20

    Rue Morgue Editor Andrea Subissati Interview at PHFF 2026

    Andrea Subissati, Editor of Rue Morgue and Podcaster for Faculty of Horror The Bloody Judge for the 2026 Portland Horror Film Festival was Andrea Subissati, the Executive Editor of Rue Morgue. She is one of the most compelling voices within the horror community, and is a powerful advocate for women within the genre. Andrea was kind enough to set some time aside to talk some terror with us between feature film showings at the festival. We at the Scariest Things take our work seriously, but let’s be real. Rue Morgue is the real shit. It is a top-shelf professional horror periodical, and Andrea is a charismatic pro guiding that ship. We dabble in the eddies of horror film criticism. Rue Morgue is the river of horror discussions and sets the standard for horror journalism. As Bloody Judge, she delivered the keynote address to the festival, interviewed George Mihalka on stage for his Q&A for My Bloody Valentine’s 45th anniversary. Most importalntly, she also applied her horror wisdom to pick her favorite film in the festival. She selected Alect Patchin’s short film, “The Bargain”, a short film involving child abuse, revenge, religion, and a summoning. Andrea Subisatti arrives on stage at the Portland Horror Film Festival to give the Keynote Address Interviewing George Mihalka for My Bloody Valentine’s 45th Anniversary Q&A I asked Heather Alexander, who is a huge Subissati fan, to write an essay about Andrea’s influence on her as a prologue to our interview: Andrea Subissati is among the luminaries of horror. As the executive editor of the Canadian horror magazine Rue Morgue, she not only has her finger on the pulse of all things horror but is also a profound feminist voice in the genre. I’ve been reading her editorials, celebrity interviews and articles since she began her Rue Morgue reign in 2017. Her voice and vision have made me laugh and cry. It’s given me perspective, made me feel seen, and inspired me creatively.  Andrea has a master’s degree in sociology and uses her big brain to analyze horror in relation to gender dynamics, culture, history, and the general state of the world. Her academics come into full focus in her intimidatingly brilliant and award-winning podcast, The Faculty of Horror, which she co-hosts with Alexandra West. It’s here that these two brainy horror queens have thoughtful, feminist, and incredibly researched discussions on horror movies and the impact they’ve had on the genre. I’m a lot late to the podcast party in general, so it’s only recently that I’ve been a listener, but believe me when I tell you The Faculty of Horror is highly captivating. I knew Andrea was scheduled to be a judge and interviewer at this year’s Portland Horror Film Festival. I didn’t dream of meeting her, but I sure as hell wanted to be in the audience when she interviewed director George Mihalka after the fest’s viewing of his movie, My Bloody Valentine. So I bought a ticket to that night’s event. On June 4th, I left work early to head over to the film fest. In the car, I received a text from Eric Li, my friend and fellow podcaster on The Scariest Things. He asked if I was interested in interviewing Andrea with him. I read this text and almost had a heart attack. The festival started in an hour! I had no time to prepare! I can’t embarrass myself in front of Andrea Subissati! But I also couldn’t say no to this opportunity. So I rushed home, got a pep talk from my husband, and set about writing a few questions.   Turns out, I could have talked to her for hours. The woman is rad as hell, and what an honor to meet her, if only for a brief time, in a strange and probably haunted backroom at The Hollywood Theater. Andrea – thanks for lending us your time, I hope our paths cross again. Until then, I remain an avid Rue Morgue reader, and your newest Faculty fan.  – Heather Alexander Heather Alexander is a guest podcaster on The Scariest Things Podcast. She is also a co-host on The Portland Horror Podcast Massacre, a co-host of The Portland Horror Trivia Massacre, a moderator and panelist at Cryptocon, and a bookseller at Powell’s Books. She writes horror movie reviews on Letterbox’d under HeatherA and occasionally at horrormoviesinthedark.blogspot.com. Heather Alexander and Andrea Subissati My Bloody Valentine Director George Mihalka and Rue Morgue Editor Andrea Subissati

  8. Jun 16

    The Demonatrix (2026) Review: Portland Horror Film Festival

    Lita (Hannah Fierman) is a dominatrix looking to get some cash on the side in The Demonatrix (2026) ★★★1/2 out of ★★★★★ Intensity: 🩸🩸 out of 🩸🩸🩸🩸🩸 Written and Directed by Jeff Ferrell and Aurelio Voltaire The Demonatrix is a cheeky, lightly racy horror-comedy that reflects on the economic troubles of the time. A dominatrix looking to get some extra income turns to hosting fake séances to make ends meet. When things inevitably go awry, she turns to a priest working in a church across the street from her kink studio. It’s a silly, simple tale that features some great costumes and a couple of horror legends you will recognise. It’s hard to believe, but the film’s story is based on a true story. Unfortunately, the movie doesn’t open with that as a preamble, with that classic chestnut announcement. Aurelio Voltaire, a counterculture Renaissance Man, lived next to a dominatrix in New York, and there was a church across the street. This inspired him to lay the foundation for his first feature film. He ran into Jeff Ferrell, a director with a few independent horror movies under his belt, at a horror convention. The two agreed to combine their efforts, and The Demonatrix was formed. Voltaire is a charismatic showman, a musician, a stop motion animator, a comic book writer, and now a filmmaker. He looks like he stepped out of heavy-metal central casting, but in this movie, he plays Father Veto, a priest who seeks to banish a demon across the street from his church. The other part of the writing/directing duo, Ferrell, also stars in the film as Rhett, the submissive lackey. The premise of the movie is wacky, and the plot has some considerable limitations, but it is remarkable what these two filmmakers managed to pull off under micro-budget constraints. There are some familiar names who lend their efforts to the cause, elevating what could have been a strictly B-Movie. The production values are surprisingly impressive, and the movie features some components that would make other independent films jealous. Plus, there are two legendary horror actors whom you just might recognise in the cast. The Cast of The Demonatrix Hannah Fierman plays Lita, a dominatrix who, despite succeeding as a kinky dom, still needs a little extra cash to make ends meet. Aurelio Voltaire plays Father Veto, who is the head priest of a church across the street from Lita’s studio. Doug Bradley plays Edward MacGowan, a senior priest and exorcist, whom Father Veto confides in once it becomes clear that a demon has been summoned. Jeff Ferrell plays Rhett, Lita’s submissive lackey. He is very protective of Lita, and despite her demanding nature, is a loyal servant. Larry Fessenden plays Dino, a special-effects artist who assists Lita in setting up special-effects gags for her “fake” séance. Nivek Ogre plays The Incubus, a demon accidentally summoned by Lita. Nicholas Boeh plays Pablo, Father Veto’s assistant. Father Veto (Aurelio Voltaire) in The Demonatrix (2026) A Synopsis of The Demonatrix Lita has been running a successful business. Her business is inflicting humiliation and pain on those who want it. It’s a fun and rewarding job. She’s good at being a dominatrix and has a cadre of loyal boot-licking clients. But like many of us, money is tight, and even being a leather-clad dom isn’t quite enough to live comfortably. She informs her submissive servant Rhett that she intends to host fake séances. It would be a good blend with her current client base, and there are plenty of gullible potential yuppies and new agers with money to burn who might really be into a séance. To research how to communicate convincingly with the dead, she crosses the street to talk with the priest, who may know something about the spirit world. Father Veto tries to be understanding, but he warns Lita not to mess with such things. Entities can cross over, and you do NOT want a demon in the house. He has had experience with demons. He has a desiccated minor demon trapped in a wooden chest, and he is responsible for watching over the little abomination and keeping it in check. Lita does not heed his warnings, going so far as to steal the Satanis, a book of occult rituals, from his library when Veto is called away. Lita is undeterred from holding her sham séance. Rhett and his buddy Dino rig the house with speakers and wires like a Halloween fun house for a convincing show. Lita recruits some of her clients and friends for her first attempt. Two of Rhett’s friends also show up, and they are true Satanists. When Lita starts the ritual, the Satanists call her bluff and, spotting the Satanis on the table (which, for all intents, is merely one of Lita’s props), proceed to read an incantation from the book. This shifts the séance from fake to real, summoning an incubus demon. As a result, the demon forces a miscarriage from one of the attendees and sets up camp in Lita’s home. This demon intends to impregnate Lita and spread evil across the land. Father Veto senses the disturbance and consults with Father McGowan, an expert in demons and exorcisms. They will attempt to banish the demon, if only they can convince Lita that her visions of the demon are real. Evaluation of The Demonatrix: First things first. The incubus demon looks terrific. It’s a full costume designed by Norman Cabrera, who worked with Guillermo Del Toro on the Hellboy films and Ghostbusters: Afterlife. Put Nivek Ogre in the suit, and it is something to behold. Also, the little desiccated demon comes to life and evokes Ray Harryhausen. It isn’t stop-motion, but it is rendered as a puppet very convincingly. The battle between the little demon and Father Veto was a highlight of the movie. Ferrell has a good shooting eye. His colour applications are evocative, particularly in the dominatrix scenes, with their cyan-and-magenta combinations. Dario Argento’s colour palette never fails. The story is clever, though the dialogue often comes off as stiff. The banter between Lita and Father Veto is fun and charged with a charming spark, but far too often the dialogue reads like something off the page rather than a natural conversation. Voltaire attracts the camera’s eye. He still has a bit of the Goth look, but he shoulders the role of Veto well. Lita is a fun dominatrix and is a spunky, if reckless, protagonist. Hannah Fierman portrays Lita as a dom with good intentions and imbues her with an animating spark. Some of the best comedic moments come from Ferrell, who deadpans his role as Rhett. His reaction shots got some of the best audience reactions at the showing. He’s a better director than an actor, however, as several of his line reads come off as… line reads. Doug Bradley and Larry Fessenden aren’t in the movie that much, but they do leave their mark. Pinhead would be proud that Bradley is in an S&M-themed movie. Although this time it isn’t Bradley unleashing the pain, suffering, and rapture. The suffering doesn’t quite reach legendary proportions, but the movie’s ending packs a punch. The movie has a pretty simple plot, and it follows a straight line from introduction to conclusion. There aren’t any gotcha twists or diversions. It settles quickly into what it wants to do and delivers the story pretty directly. But it provides for a movie clear in concept, with lovely production values. This movie wears its heart on its sleeve, too. There is joy in the making of this movie. It isn’t going to turn the industry on its head, but it is an enjoyable jaunt with some well-realised demon action. Concluding Thoughts The Demonatrix is in the middle of its festival run. Up next is Spookarama in Phoenix, and then Days of the Dead in Indianapolis, followed by Creepy Con in Knoxville. If you are attending one of these festivals, catch The Demonatrix. For those of you who are the wait-at-home types, this is a movie worth renting for a popcorn-munching light viewing. It isn’t as raunchy as the S&M theme would suggest, and there isn’t anything that even approaches soft-core cinema. It’s cheeky but not lewd. The movie isn’t rated, but even though it doesn’t go full S&M or nudity, there are enough adult themes and violence to earn it an R rating. Trigger warnings for sexual assault… for there is an incubus involved! The Demonatrix claimed the Creature Feature award at the Portland Horror Film Festival for the best use of a monster in the festival films. Here is my interview with Jeff Ferrell, director of The Demonatrix: Aurelio dropped by the green room briefly and spoke into a microphone that wasn’t activated, but he does make a cameo appearance on the cast. https://www.youtube.com/watch?v=-RVdkzyVxmg

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4.8
out of 5
41 Ratings

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Your Gateway to the Trends and Tropes of the Horror Genre

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  • Creator
    The Scariest Things
  • Years Active
    2018 - 2026
  • Episodes
    99
  • Rating
    Explicit
  • Show Website
    The Scariest Things