Stuff You Should Know - SYSK’s Summer Movie Playlist: Josh and Chuck's List of Horror Movies that Changed the Genre

Episode Date: June 27, 2025

Once in a while a movie comes along that's so forward-thinking it changes the way that horror is done. A new subgenre is spawned, new tropes are established, and audiences are more terrified than ever.See omnystudio.com/listener for privacy information.

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Horror is probably my favorite genre of all films, and I hope you guys like it too, even if you're not into horror movies. And even if you're not into horror movies, I hope you guys will like this episode too. It's just that interesting. Welcome to Stuff You Should Know from HowStuffWorks.com Hey and welcome to the podcast I'm Josh Clark. Charles W. Chuck Bryant. Howdy. Middle name's Wayne. Yeah. His middle name's Wayne. My middle name's Malcolm. There we have him.

I always forget about that, Malcolm. Yeah, Wayne. Named after Wayne Coyne, right? No, John Wayne. And you were named after Malcolm in the middle. That's right. Frankie Muniz is my namesake. I hope he's right. Frankie Muniz is my namesake. I hope he's okay. Early Bryan Cranston too. I used to love that show.

Oh, it's a great show. I watched it, like, within the last couple months I was cleaning the house and put it on Netflix and still great. Yeah? Yeah, it is really, it is a good show. So you clean your house, you put on your VR goggles and just queue up Malcolm in the middle. No, I just- You walk around and bump into things and- Right, exactly.

But I put on like a huge feather duster suit. Yeah, so you're just cleaning and bumping into things. That's right, that's how I do it. Wow. Yeah, it works kind of well. Someone's gonna take that idea. Wow. Yeah. It works kind of well. Someone's going to take that idea. Yeah, like the Sharknado? Yeah, but they should just, they should sell that suit with a purple drink.

I think you'd just get one spot on the floor really, really clean. What are you going to title this one, by the way, because this is your pick and we title our own shows, episodes. Some horror films that change the genre. All right. And you should add this, aka, how could you guys forget blank. Yeah. Yeah.

We should say like this, first of all, this is a Grabster article. So it's Grabster's list. Sure. And he knows what he's talking about. If you look at some of the entries, some don't even have source tags. Whoa. He's just like, I just know. He should just source tag it Grabster. But we even took his list and carved some out and put some in.

Sure. So this is, how about this? This is Josh and Chuck's idea of some horror films that change the genre featuring the mind of the Grabster. Yes. In other words, it is not a complete list of every horror film that changed the genre. Yes. Because I would argue that, well, and actually I see Grabster put Texas Chainsaw Massacre

in there. He said that if this were a top 15 list, that would be in there, so would Alien. Yeah, he has that, Alien, Ringu, and the US remake Ring. And I would lobby for, well, Psycho didn't make it onto his list, but we're going to put that in. And there was one more. Oh, even though I didn't really think it was that great, the movie Saw, I think, kind of changed horror films. And that's what this list is, not best horror films,

but things that kind of changed the game. It seems like Saw kind of kicked off that... Torture porn? Yeah, didn't it? I can't remember if it was that or Hostile, one of the two. It was definitely one of the two. For a subgenre. Well, it's pretty accurate, actually.

It is, but most of these are movies that either were the first of its kind and maybe did start a subgenre or movies that were so popular that they just, you know, kind of rewrote how people view horror movies. Some of them because of marketing, some because they were really good movies, some because of box office. But all of these, I don't think anyone could argue did not change the genre. How about that? Sure.

Yeah, I think that's well put, dude. And before we get started, speaking of horror, I wanna give a plug to my friend Toby's movie that's coming out. He's a producer on a movie coming out called The Ghost Story. Yeah, Toby, when we met Toby, well, you knew Toby before me, of course, cause he's your friend.

And I know him through Yumi, so really he's Yumi's friend. But he was small time doing short films and stuff and since that time, and this has been within the last like, since we've been doing this podcast, he's now big time. Yeah, they did Pete's Dragon. Yeah. And then yeah, they have this, they did Ain't Them Bodies Saints was I think the one that they kind of broke out with. Which I love that movie.

And then this one is definitely kind of falls into that same look and mood and feel, it's called The Ghost Story. And I think it comes out in July. And I think it's labeled a drama rather than horror or even supernatural or thriller. But the reason I tie it into horror is because A24 is releasing it. And A24 is killing it with horror movies lately.

Yeah, that's a good outfit. They did The Witch. They did The Black Coat's Daughter, have you seen that? No. It's on Amazon Prime. It's on Amazon Prime right now. No, I didn't gave a thumbs up dude It's one of the best horror movies I've seen in a while. I think the witch is probably my favorite right now Yeah, black code star is a close second. And then last night I saw it comes at night in the theater

Uh-huh, and it comes at night Actually upset my stomach. The ending did. It was that rough. Yeah, I think we're at a place with horror movies that we haven't been in a long time. Like a really genuine... Good spot. Yeah, like the whole torture porn sort of era is over and the found footage thing is so played.

Oh man. But I think we'd like with movies like The Witch, I think we've really like there are some really creative. It follows. Did you see that one? Yeah. Like some just really creative ways of bringing scares that I haven't seen before. Get Out?

That was amazing. Did you see Get Out? No man, I still haven't seen it. You're gonna love it. I'm envious of you. It's really it still haven't seen it. You're gonna love it. I'm envious of you. It's great movie, Chuck. You're gonna love it. Well, I don't get to the movies much anymore and the only time I could was a couple of

weeks ago and I elected to see Wonder Woman. Yeah, not a bad choice. So long way of saying congratulations to Toby and his new film. Well, that's funny. We also need to congratulate Toby too because Toby just got married. Toby and Anel are now married. So congratulations to them as well. So is this new movie with his directing partner, David Lowery?

Yeah, yeah, and Rooney Mara. Man, they got a good thing going. Yeah, they definitely do. So it's gonna be good. I'm looking forward to it. Awesome. Okay, so let's get started. Thanks for indulging that. Thank you everybody. So the first movie on our list is what's widely considered the first horror movie. And it's a 1920 movie out of Germany that basically was the first film that undertook

what's the artistic movement known as German expressionism. It's called The Cabinet of Dr. Caligari. Yeah, I mean some say, like you said, it was the first horror movie. Some say it was the first cult film. It well, just you may not be able to get through the whole thing if you're not into silent movies, but you should cue up a little bit of it and watch a little bit of it because it's hugely impactful and still to this day like very disconcerting to look at because of how ominous and weird it looked.

Just physically looked. Yeah, like the sets that they built are obviously constructed, manufactured. They were not in any way, shape, or form going for realism. They were going for surrealism for sure. Yeah. And so like the staircases are at crazy, weird curves and angles and like everything from the house, the house's rooftops to the blades of grass

are super pointy and sharp. And the shadows that they employed were just perfect. You've never seen a better use of shadows than this. They didn't get in the way, they just created this mood. And it was the first movie to really kind of do that, to just take, to use the camera for something other than capturing realism. And for that reason, it's considered the first horror movie because that's such a standard part of horror,

whether large, like in large part like in a Tim Burton movie, or in small part, you know, where you're using small spaces to create claustrophobia, the idea of using the set to mess with the viewer's mind, I think, is born in Dr. Caligari's cabinet. Yeah, it's almost like they took a child and gave them construction paper and said, cut out scary things. And then, like that movie, The Babadook, I think the actual book within The Babadook was hugely inspired by this. The actual movie itself, the plot is about a sideshow operator, a hypnotist who has a patient that he takes around to these sideshows with sleep disorder. Supposedly he's been asleep his entire life and he uses this patient to commit murder.

Right, he's like a sleepwalker. Yeah. Somnambulist. So that in itself is a pretty frightening plot and to think about that being cooked up in 1920 when there were really not such things that you think of as horror movies is pretty impressive. And then some of like the deeper critiques I've seen of it was like the And then some of the deeper critiques I've seen of it was like the explanation for why the filmmakers chose these weird odd angles to kind of depict insanity or that kind of thing was rooted in World War I.

The horrors of World War I had just been seen and revealed and recently taken place. And it upended Europe in general, and especially Germany as well. And the idea is that they might not have had this idea, they might not have had this desire, this drive to create this weird set and in fact this weird movie had World War I not happened. Yeah, there's this writer, Jeff Saperitoito who kind of put it this way about German expressionism because I wasn't exactly sure how to define it. But you're kind of right on the money. He said Germany was largely isolated from the rest of the world following World War

I, so expressionism therefore became confined to the country, refers to a number of creative movements from World War I through the 1920s. Expressionist works examine the current and future state of the culture through bold and artistic creations of creativity and often explored topics of madness, betrayal, and other intellectual concepts and nothing encapsulates these ideas more than the cabinet of Dr. Caligari. That's basically what I said. Yeah. Did you read that or were you just that spot on?

I don't know if I read that one or not. It sounded kind of familiar. Yeah, no, just say you came up with it. So the idea of the set just creating like a creepy tone and texture to everything, that was Dr. Caligari. That's how it changed the genre. Tim Burton, say thank you. Have you seen Coraline?

No, but I know it. They did that to very good effect. I think Hodgman does a voice in that, doesn't he? He does. He does the dad. He did a spectacular job because you actually forget it's Hodgman while you're watching it. That's impossible. All right, Chuck, moving on. That was 1920. We're going to fast forward all the way to what, 1960? 1963, if you're talking about Blood Feast.

Well, I wasn't but let's. Simon Abrams of rogerebert.com says this, Blood Feast is a terrible film and a historically important one too. And I think that's sort of the deal with Blood Feast. It is not good by any accounts. Did you watch any of it? Yeah, sure. It's not good.

No, it's not good, it's terrible. It was written on a 14 page outline, didn't even have a script. It's got the same cloying technicolor of like an early Hawaii Five-O episode. Yeah, for sure. Directed by Herschel Gordon-Lewis and producer David F. Friedman. And basically the idea was this, these guys did not see films as art. They saw them as a business and thought you were foolish if you thought it was anything else.

So they sat around, they brainstormed movies that they thought no one else would make. Yeah, because they started out making like Porky's-esque type movies. Yeah. And they were doing fine with that, but apparently they were successful enough with it that there started to be imitators and the market was crowded. So they said, where can we go make movies that no one else is going to make? Yeah, because we want to shock people essentially. So a couple of ideas they had that did not make the list was con man evangelists and Nazi torture, which were later made.

Yeah, exactly. And they finally said, you know what, no one's really done yet is hardcore gore. Like everyone always cuts away when the knife comes. And you're like, what if we showed the grossest, goriest stuff imaginable on screen? Yeah, and even still, they didn't show. So like one of the first murder, a woman stabbed through the eye eye and then the murderer hacks her legs off with the machete Right and they didn't show the knife penetrate the eye They didn't show the machete making contact with the skin

But what they did in blood feasts and what made blood feasts the first of its kind was they would show The what came after that they would show the brains on the ground the ground. They would show the entrails like on the knife. They would show the leg being, you know, that had been dismembered being put into a bag and like the wound that was left by it. Like this was, no one had ever done anything like that on film before. No, and it paid off. They, depending on who you ask, the budget was anywhere from like 20 to 30 grand, and it made between $7 and $30 million, like I said, depending on where you get your info. But by all accounts, it was a huge financial success compared to what they paid to make it. Yeah, and they shot it in, I think, six days or something down in Miami. Yeah. Compared to what they paid to make it. Yeah, and they shot it in, I think, six days or something down in Miami.

Yeah. Based on a 14-page outline. There wasn't even a script, it was an outline. Basically it was like, murderer goes and kills this girl. Yeah. Next girl. Murderer comes in, kills girl, cuts off leg, that kind of thing, right? Yeah.

I mean, if it matters, the movie's about a serial killer caterer. Yeah, that's it. There's your plot right there. Yep. But it was just such a revolutionary movie that the censors at the time, there wasn't such a thing as the MPAA hadn't been formed yet. And there was basically no one except for local censors overseeing movies. So, you know, you could be playing in one town to all audiences and then the next town over it could be banned. But the censors had never seen anything like

it and they didn't know what to do with it. So, it was hugely successful commercially too. Yeah. And another big impact it had was it inspired a generation of special effects. But basically, let's be honest, young boys who were doing this on their own Super 8 films and said, wait, I can get a job doing this? Yep. So hats off. Including Tom Savini, I think was inspired by it, wasn't he?

Or was he inspired by, yeah, I think he was inspired by Blood Feast. Oh, wow. And then we should also give a mention to the Grand Guignol. Is that how you think it's pronounced? Sure. Grand Guignol. Sure.

It was a theater in Paris, I believe, from the late 19th century on to, I think, 1962. So the year before Blood Feast came out, it had closed up. But it used to do this stuff on stage. It was like a gore fest. And there was lots of like blood and sex and like depraved themes in the plays that were put on at this theater.

People loved it, they were crazy for it. And this was kind of like the grand guignol tradition put on to film for the first time. And hooray for that. You want to take a break? Yeah, let's do it. Are there any pictures of you online? I'm not just talking about Google. I'm talking anywhere. Clearview scrapes together images from Facebook, from LinkedIn, from Venmo accounts. That database is now being used by police departments all across the country to match criminal suspect photos.

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Okay. And that could be no other movie than Night of the Living Dead classic George Romero film Romero was a TV director making TV commercials commercial director rather He was also making short films for mr. Rogers neighborhood at the time. Yeah, and he was he was young Yeah, I don't know how old he was, but he was a pretty young guy still. I think when he made Shot and Added to the Living Dead, he was like 26 or 27. Wow. So yeah, by any standard, that's still pretty young, unless you're 23.

So he and his buddies were like, let's make a horror movie, but let's not make a stupid horror movie. Let's make one with like an actual plot that explores like deep themes to, like a good movie. Let's make the first good horror movie. Well, yeah, so, and we'll delve into that a little more, but that was definitely a different thing at the time. And the other different thing was that all the horror movies up to that point, they were called the Universal Monsters from Universal Studios, you know, all the kind of the classic Frankenstein and Dracula and Creature from the Black Lagoon and the Werewolf and that was where that was mainstream horror.

And George Romero comes along and says, how about zombies? And everyone said, what in the world's a zombie? And he said, well, let me define that for every future generation of movie and TV goers and lovers. Yeah, and there had been zombie movies before, but they had been things like Dr. Caligari's cabinet, somebody who was under the control of something, someone else or something like that. There was a hypnotist. This was like the first time what we think of as zombies were ever introduced, like flesh eating ghouls who were dead and come back to life. Just what you think of as a zombie.

This guy started that, like you said. Yeah, they shot it outside in Pittsburgh on about $115,000 budget. Not bad. Ended up grossing $12 million domestic. Not bad. And I think close to 20 worldwide and was eventually selected by the Library of Congress for preservation in the National Film Registry. It's a good movie. It's a very good movie.

They shot it in black and white to save on cost, even though color was the standard by that point. And black and white is also a little more forgiving for rudimentary special effects. And one of the revolutionary things he did was cast a black actor as the lead. And for no other reason than, hey, this guy, Dwayne Jones, is really good. Exactly, right. Like, he didn't go back and go, oh, well, you know, our hero is black, so we need to make the whole thing a meditation on race and have him confront racism.

It was just, here's the script, and then the guy playing the lead just happens to be black. Right. And he was the best guy in the auditions. And in 1968, this didn't really happen. You didn't just cast a black guy as the lead actor with no ulterior motive, basically. Right, so I read this review from the time, from 1969, the year after it came out,

a young Roger Ebert went and watched it and wrote a review. He wrote a pretty interesting review which is basically, it was about the reaction of the audience. And he went to a Saturday matinee that was populated almost entirely by 10, 11-year-olds. Oh, wow. And they were used to seeing The Creature from the Black Lagoon or Frankenstein or, you know, just movies that any kid could handle and could enjoy watching and, you know, fun, scary kind

of stuff. And he said that's how the crowd reacted for the first half of the movie. But then about the point where, and here comes spoilers everybody, if you haven't seen Night of the Living Dead, just hit yourself in the knee with a hammer. The teenage couple go to get gas, and when their car blows up and is engulfed in flames, they die, they're burned to death.

He said, right about that time, the tone, the mood of the theater changed, and there was no like gleeful screaming anymore. Kids were starting to like not move and were afraid to like move in their seats and some were quietly crying to themselves. And from that, the whole point on, it just got worse and worse

for these little kids watching this movie. So it was a huge impact on horror movies. A, like you said earlier, it was kind of the first one to really sort of delve into other issues like if you look up like significance of Night of the Living Dead or meaning of Night of the Living Dead or something like that, there are scores of articles that have been written over the years of how it was a metaphor for the Vietnam War or an allegory about distrust of authority or the collapse of traditional family. And I think Romero said, like, I didn't necessarily mean all these things, but you can certainly find it in the movie. is art. Like one of the great revelations of my adult life is that the artist, the writer, the songwriter, the author, rarely intends to imbue as much meaning into their work as people take

from it. That that's part of art is interpretation. Isn't that neat? Like you don't, if you're a writer, if you're a young writer right now who's just sitting there racking your brain for how to insert metaphor and meaning into this, just write your story and people are going to find it for themselves. Yeah, agreed. I wish somebody had told me that when I was younger. I had teachers that said stuff like that. Oh, I didn't. Like good college professors in English that would, when students would argue like, I think he means this, he would say like, you know, he may or she may not have meant anything. Right.

That's the revelation. I had teachers that would just go wrong. The other thing about Night of the Living Dead is it spawned, obviously, the zombie genre and sequels, Dawn of the Dead, Day of the Dead, Return of the Living Dead, The Walking Dead, remakes. Yeah, shout out, shout out Steven Yeun. Yeah, right? Why not?

I'm still into The Walking Dead, you? Yeah, we talked about this, yes. Yeah, okay. Okay, Steven talked about this. Yes. Yes. Okay, Stephen Ewan listens. Anyway, zombies are, I think, still hot. And we can... So hot. We owe that all to Mr. Romero, master of the genre. Yep. Chuck, one more thing too that Naya Living Dead did that they weren't the first, but

very famously Romero did was kill off his hero senselessly and shockingly at the end. Good point. Thanks man. Okay, so let's move on. Like I said, 1973. Yes. Day after Christmas.

If you've ever been in Washington DC at the end of M Street, you might have noticed very, during the daytime, ordinary set of stairs. At nighttime, maybe they look creepy to you because those are the exorcist stairs. Yeah. I'm trying to conjure the music in my head, but all I'm coming up with is the unsolved mysteries music. It's not quite right. So close, but it's not it. I'm so unsatisfied right now. So, The Exorcist was based on a book by William Peter Blatty, who wrote this in 1971, and then in 73 the movie was made. And there's, I think I referenced not too long ago, a great Mark Maron interview with William Friedkin, where he talks about the audition process for Linda

Blair so you should go listen to that because it was pretty insightful. But The Exorcist really kind of changed the game in that it was, A, it spawned a bit of a sub-genre of demonic movies. Sure, that were like religious based? Yeah, even though I guess Rosemary's Baby was before that, but The Exorcist was such a mega hit and it was nominated for Best Picture, the first horror movie to be nominated for that.

So it was just like, it was a big deal. It was, it sold 6 million tickets in about two months. Yeah, it's amazing. This is a horror movie, right? And it came out in nowhere. Apparently, the effect it had on audiences was extremely pronounced. There was a woman in Boston who had

to be carried from the theater. And she goes, it cost me $4, but I only lasted 20 minutes. So the stories of that got around and people wanted to see, you know, this movie can't be that scary. And they went and they were like, oh my God, that movie is that scary. Yeah, and it holds up too. I mean, special effects are, they'd never quite hold up, but it's still a very creepy movie. Very famously, Linda Blair played the little girl who was possessed by a demon, and the

heavy hitters were called in to exorcise this demon, including a Max Van Cedau who was only 44 when he played this guy easily in his 70s. Yeah, was he Benjamin Button? Well, no, they they made him up Wow, they did a great job. Yeah, which I don't see why they felt the need to do that. I know they Got who else did they almost cast Oh Brando? They almost cast Brando, but that would have been a colossal mistake Well, Friedkin said, you know, as soon as you do that, it's a Marlon Brando movie. Yeah.

And I think he said picture, a Brando picture. Sure. That's what they said. And he didn't want it to be a Brando picture. He wanted to be the exorcist. So the you said it was based on a book from two years before by William Peter Blatty. Yeah. He apparently was known as a comedy writer

and he wanted to do something different. He said, hey, wouldn't it be funny if the little girl's head spun around and she puked green bile? Wait, what'll you hear what I have her do with the crucifix? Hey-o. So he actually wrote the book

because he wanted to scare America back to church. That was his aim with the book. That may have worked. He believed that there was real evil going on in the world and that part of it was because of a loss of faith or a loss of religion, I guess, and that's what he wanted to do with it. And when the movie came out, there was a huge pushback from religious authorities, like Billy Graham said he believed the movie itself was possessed by a demon.

I'm not sure how that would happen, but that was like a huge thing at the time. And a lot of other religious establishment types were like, don't go see that movie, it's evil. But there were some who were part of religion, major organized religion, who kind of saw through it and said, no, no, it's good that we're talking about this, that we're telling people, or people are seeing

that there's such a thing as like good versus evil literally combating on earth, you know, and people are talking about this and thinking about it. And so in that sense, the exorcist like really kind of went to bat for organized religion. Oh, interesting. I saw another criticism of it though that said one of the themes of the movie that the book hadn't really intended, but the movie picked up on and expounded on was intergenerational conflict.

That it was Reagan, the child, represented the younger generation who was at war with the establishment, and that it even goes so far as to where her mother, the actress, the movie that she's working on, is about a campus takeover by young radicals. So that's kind of a theme that was apparently part of the subtext But was a major part of it in the movie at least interesting

Yeah, I thought so too because apparently I mean you think of intergenerational conflict now apparently in the late 60s and early 70s It was sharper than it probably ever has been before or since Yeah The only other thing I got is that the probably ever has been before or since. Yeah. The only other thing I got is that the green stuff that she projectiles was Anderson's pea soup and a little bit of oatmeal, texture. Anderson's pea soup, well, I bet you can't get that anymore. Chuck, let's do Jaws and then we'll take a break. I love talking about Jaws.

Yeah, I mean, Jaws is on, you know, I did my top favorite movies list at one point on our website and I listed Jaws as my favorite movie. Favorite of all time. Yeah, I mean, that list changes, but Jaws is always in my top five. I can watch it anytime it's on.

It is one of the, I've often said it's a perfect movie. And what I mean by that is there's just not a misstep. Like the casting was perfect, the acting was great, the script was great, it played out just perfectly throughout the film. He, like Spielberg was just a master storyteller with that movie. You were talking about how young George Romero was in Night of the Living Dead.

Spielberg was 26 when he made Jaws. He was 13 years old. You're right. And he was apparently scared to death when he finished filming. The schedule had been for 55 days. It went to 159. Yeah. He had, I think, been allotted $4 million.

He ended up spending $12 million on it. Yeah, largely because, A, shooting on water is notoriously difficult, and, B, the mechanical shark they used was legendarily wonky. Yeah. Or not wonky, but wanky. Wanky. It didn't work. No.

It rarely worked. So they spent a lot of time and burnt a lot of hours trying to get this shark to do its thing. And so much so that it didn't even make that many appearances in the movie. I think they even kind of scaled it back and that ended up being better for the movie because you didn't get as much shark. I looked up the urban legend about the shark being named after Spielberg's lawyer, Bruce, and apparently it's true.

Really? Yeah, Bruce Rayner was the name of Spielberg's lawyer and that was the nickname for the mechanical shark on the set was Bruce. That's pretty funny. So with Jaws, right? We're talking about horror movies that changed the genre. Jaws not only changed the horror genre, it changed moviemaking to this day. Yeah. In multiple ways, multiple massive ways.

It changed the entire film industry, almost single-handedly. Yeah, it was, at the time there was a, there was no such thing, you take it for granted now, but there was no such thing as a quote unquote summer release. No, a lot of theaters closed down because AC wasn't in every theater and people didn't want to sit around in a hot movie theater for two hours. Yeah, a summer release or a tent pole film or a blockbuster feature. Like, Jaws was the first one of all those. At the time when Jaws came out, they used to release a movie on maybe one, two screens

in say New York or LA for a week and and then it'd make its way to Atlanta, Minneapolis, Chicago for a few weeks, and then eventually it'd make it to your small town six, eight weeks later. That was how movies were released, not Jaws. Jaws was released on 435 screens across the country, which is huge, which is part of the summer blockbuster release playbook now.

Yeah, and it was also the first movie to spend lots and lots of money on marketing. And so I think the studios were like, wait a minute, if you spend some dough on marketing, you release this thing wide, you can make a ton of money in the first month that a movie's out and you're kind of set. Like, after that, anything else is gravy. And that's after the first week or two, probably. Yeah, the whole point of Blockbuster now is to get that opening weekend, to make all your money back in the opening weekend and then everything else is gravy on top of it,

right? Jaws was, it didn't make its, I don't know, maybe it did make its money back in the first weekend because it hit $100 million in like 78 days or something incredible like that because it was the first movie to hit $100 million and it did it in just a couple months even. Yeah, it eventually went on to make about $260 million domestically, which is, I mean, that's a great take now. Yeah.

You know, much less the mid-1970s. Sure. For a $12 million spend, for sure. My only beef here is that I would not consider Jaws a horror movie. Yeah. I think it's an adventure film. Yeah, I guess you're right. With a scary antagonist.

Yeah. But it's amazing how much I quote that movie in my day-to-day life. Yeah. A sh-sh-sh-shark! That's a great, that's a classic. All right, let's take a break. I'm going to meditate on that line and we'll talk about a few other scary movies, including one that was originally titled Scary Movie. Are there any pictures of you online? I'm not just talking about Google.

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And all that stops here. If you like witty women, then this is your tribe. With guests like Corinne Stephens. I've never seen so many women protect predatory men. And then me too happen. And then everybody else want to get pissed off because the white said it was OK. Problem.

My oldest daughter, her first day in ninth grade, and I called to ask how it was going. She was like, oh, dad, all they were doing was talking about your thing in class. I ruined my baby's first day of high school. And slumflower. What turns me on is when a man sends me money. Like I feel the moisture between my legs

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brought to you by AARP and the Ad Council. Okay, moving on to Halloween. Halloween, Chuck. 1978, I believe. Halloween. Yes. John Carpenter. A youngish John Carpenter who originally titled this movie The Babysitter Murders.

No. A little on the nose. Yeah. Pretty terrifying title. I guess. Young Jamie Lee Curtis, her very first movie. Was it really? Yeah. Well she went on to become known as the scream queen for all the horror movies she was in. Totally and this was shot in 20 days in South Pasadena as the Midwest and it's credited as birthing the slasher genre.

Yeah, it did. So there were slasher films before it, The Town That Dreaded Sundown. Good movie. It's like based on a true crime story actually in Texas. One called Black Christmas, the Grabster Sites from 1974. Haven't heard of that one. But the idea of a faceless, almost like non-entity entity coming at you and relentlessly stalking you, being impervious to harm as the grabster puts it,

and just coming at you again and again trying to kill you, that was all established by Halloween and it was done to great effect as well. Yeah, and it holds up. It's still scary. Michael Myers, of course, was the killer. The music that John Carpenter, I mean, he scores most of his movies himself, but very iconic, basic thing. I think he only took a couple of days to come up with it.

But like the Michael Myers character and the mask are so iconic, the music is so iconic. You know about the mask, right? Shatner. Yeah. Yeah, go ahead. I went and checked that one out too to verify that it was true and it definitely is true that Michael Myers mask is actually a Captain Kirk Star Trek mask painted white. Yep. And that is history.

Yep. In the script when it came to the mask, it just said, pale neutral features of a man. Yeah, which makes the whole thing even creepier because he's an implacid, or is that the right word? I don't know. He's just almost like just an emotionless killer. It made the fact that he was merciless, ruthless, pitiless, and arbitrarily killing people almost

all the more pronounced because his expression never changes. Well, to me, the two things that were creepiest about Halloween was the expression never changed because of that mask and he did not run. Like, he would just walk and you still got the feeling like you can't outrun this guy even though he's walking. That was another creepy part about it follows was the walking aspect of it. Oh yeah, for sure.

In the same way that like 28 days later was freaky and that it took zombies and made them run. Yeah, or I remember when I saw Nightmare on Elm Street for the first time and Freddy Krueger was running around, I was like, that's not what scary dudes do. Yeah, scary dudes don't trot. No, they walk very creepily toward you and still somehow gain speed on you even though you're running full speed.

Well, Freddy scared me to death the first time I saw that movie. Yeah, first one was a pretty good one. But Halloween established this, like you said, it established the slasher genre and everything about slasher films still today, all rooted in Halloween, John Carpenter's tropes. Yeah, and again, like you said,

there were a couple of other slasher films before, but none of them grossed close to 50 million bucks. Wow, is that how much Halloween made? Yeah, 47 million domestic at about a $300,000 budget. So it, you know, it's sort of like with The Exorcist, like there were other movies that sort of did this thing before, but when you have a huge hit that does it, is when it sort of redefines the genre.

Because it's money. Yeah. And that's all that matters. Everyone starts paying attention after that. All right, what's next? What's next, my friend, is a movie that came out when, I don't know, were you still in college? No.

You must have just been out then. I was out a few years. Okay, well, regardless, around our college era, this movie came out, because up to this point, everything's come out either when we were little or before we were born. This one was right in our wheelhouse. It was the Blair Witch Project, which came out in 1998.

Yeah, and one of the big things that Blair Witch Project did, well, two things really. It established the found footage genre or subgenre that is so overplayed now in the viral marketing campaign, and that's how I came upon it. I remember very specifically being in the apartment of Scott a palito who you know sure he shot our TV show one of my oldest friends and I was sitting his apartment on Claremont Avenue

Indicator and I happened upon This and this was pre Facebook. I don't know how I found it You know before things were being shared around right and I happened upon this shared around. And it happened upon this website, the very first Blair Witch Project website, and I was like, dude, come over here and check this out. This is the scariest thing I've ever seen. And I remember the website set it up as if it was real and this found footage thing, it's so overdone now, it's hard to go back in time and remember when it was fresh. But I remember looking at it and being like, did this happen? Did they really find this footage of this murder in the woods?

Like, I gotta see this. That was the rumor that this was actually real, man. And this was, like you said, I mean, this is before the found footage genre. So people were being exposed to this concept for the first time and were kind of falling for it. I mean, first of all, you're either in college or you're just recently out of college.

So you're maybe slightly more gullible than you are 10 years on. Ready to believe it. You want to believe, right? So yeah, the idea that this was actual found footage, it just made it all the more enjoyable and people were buying into it. Then I think the other part of it too

was that the filmmakers, partly because they didn't have the budget for actual effects, left a lot of the scariest parts to your imagination. Yeah, nor did they have the talent to make a good narrative film. I guess, I mean they worked on a 64 page script, which I was surprised that it was that big,

but they shot it for eight days, and originally they were going to make it like a documentary about the found footage. Right. And then one of them had a flash of perspective, and was like, wait, wait, wait, wait, let's just release it like it's found footage. And that was, the rest was history.

Yeah, and I'm poking fun, that was not very nice at all. Eduardo Sanchez and Daniel Myrick or Myrick, the co-directors, they should be credited with a truly ingenious campaign and invention. Well, they weren't the first to come up with found footage, right? There were some films before. I've never known how to pronounce it.

Mondo Kane, I think Kane, it's from 1962 and it was supposedly a documentary about like weird tribal rituals, I think there's head shrinking maybe involved and it purported to be like real footage. Same with Cannibal Holocaust, which if you've never seen Cannibal Holocaust, go out and watch it right now. It's very disturbing. And it's so disturbing that the director of the movie was charged with murder because they believed

that the actual murders depicted, they were so realistic, they thought that it was a snuff film basically. But it was supposed to be a documentary as well. So there was an idea of like found footage or documentary style horror movies that had come before, but nothing like The Blair Witch, where it was just straight up, these people, we found their old camera and this is what was on it. Well, and they were smart enough to kind of dig up an old thing that never went huge You know, they're like hey man, right these other movies. They never really hit it big and they there's a timing thing

They they I mean hats off for them to them. Yeah good for them and to them Alright Chuck scream yeah scream I teased that it was originally titled scary movie Nice going dudes. All right, Chuck, Scream. Yeah, Scream. I teased that it was originally titled Scary Movie. I'm glad it wasn't because Scary Movie is awesome. I don't know what Scary Movie ever would have been called. Maybe it would have never been made. Or maybe they would have called that Scream. Oh yeah, I guess so.

So Scream was a very big deal when it came out. The writer Kevin Williamson, and this is still the highest growing slasher film of all time basically, Scream 1 is. Yeah. It was huge. I got Neve Campbell's haircut as a result of it. Like it was a big, big pop culture watermark. It was. And one of the big things about it, aside from the boatloads of money that it made, was it spawned a subgenre called Met-horror, which is, even though it had been done by no less than its own director Wes Craven, with Wes Craven's New Nightmare two years

before Scream, it wasn't nearly as popular. But meta-horror is this idea, and if you've ever seen Scream, you know they're constantly just referencing horror movies. Like, this is where, you know, you don't go out and make out in the car because that's where you get killed and then they would do that and get killed right although I don't think that specific thing happened like don't go back in the house yeah like all the tropes of horror movies are addressed in the movie and they're talking about them as the horror movie tropes. Yes, exactly. Meta-horror.

Yeah, and there were plenty of other things that came along, Meta-horror examples, like have you seen Tucker and Dale versus Evil? No, it's a good movie. Oh, check it out, man. All right. That's a good movie. Zombieland?

Yeah, I did see that. Where he's rattling off all of the things that you need to know to survive a zombie apocalypse that he learned from zombie movies, right? And then Cabin in the Woods, did you see that one? Oh, great movie. It was a great movie. I thought it was really good. I mean, from beginning to end, it was a great movie.

Did you like Scream? Yeah, love Scream. I liked all the Screams. I only saw the first two. The second one, I think, might have been even better than the first. To me. And that, the second one was shot, Emily worked on that.

It was shot here at Agnes Scott College, partially. Oh, is that right? Yeah. I'll have to go back and watch it. Knowing that now, I'll be like, oh, I've driven past that place. So I got a few tidbits. Like I said, initial title was scary movie.

Number two, the Weinstein brothers initially offered it to George Romero and Sam Raimi. What else do I have here? Drew Barrymore was originally supposed to play Sidney, the lead character, and then she said, no, how about if I just play that girl at the beginning, No. How about if I just play that girl at the beginning, which kind of was a big thing, because you see Drew Barrymore, and it was a big shock when she died in the first scene. Right. You know?

You can't kill off your heroin right away. Yeah, and I remember that first scene really, really scaring me when I saw it the first time in the theater. Yeah, it is. It's a scary, gruesome, gory part. Yeah, very well played. And then before he went to Neve Campbell, he went out to Alicia Witt, Brittany Murphy, and Reese Witherspoon. And then Neve Campbell was like,

you know, that was your first choice, right? And then the mask, the iconic screen mask, apparently was an off-the-shelf mask. Wow, that made that company's money. Yeah, and the Weinsteins didn't like it. They were like, I hate that mask. Everything else is fine. Huh.

But Wes Craven said, no, it's got to be that mask. Don't be stupid, Bob. All right, we're going to finish up with our own edition here. Finally, 1960. Yes. Psycho. I can't believe this wasn't in the list. I think Ed kept this off the list to toy with somebody he doesn't like specifically.

That's the only explanation. Yeah, because Psycho changed everything. Yeah, it really did. I mean, it was the... You could say that it was one of the first slasher flicks. It was an early psychological thriller. Yeah. It was based on the real life story of Ed Gein. Yeah.

I mean, it doesn't exactly mirror Ed Gein's life, but the idea of being obsessed with your mother so much that you will commit murder is definitely rooted in Ed Gein's story. If you're not familiar with Ed Gein, he not only, he was a, I don't even know if he was a serial killer. I think he only, I think he murdered one,

maybe two people, but more than anything, he was a grave robber. But he liked to dress up in people's skin, women's skin, and pretend he was his own mother. Which, man, that's a lot of years on the couch working that one out. Or you can just die at the hands of cops, one of the two. And he also inspired Leatherface

from Texas Chainsaw Massacre. Yeah, and Buffalo Bill, of course. Oh, yeah, yeah. From Science of the Lambs. Yeah, one guy inspired all those guys. So I found this article, Psycho, colon, the horror movie that changed the genre, by Owen Gleiberman, or is it Glyberman? Gleiber, I think. Gleiberman, he wrote for, legendary critic, wrote for EW for years and years and now writes for Variety. Oh he does? Yeah but he he put it

best he said well you know the iconic shower scene first of all is hugely important because it was Hitchcock really kind of ripped up the script not literally but the horror movie script, when he kills off Janet Leigh halfway through the movie. It was, you just didn't do that at the time. No. And it came out of nowhere. And we've seen that come up later on, like at the end of Night of the Living Dead or

Drew Barrymore in Scream. Hitchcock was the first one to do that. Yeah. And Gleiberman puts it this way. He said he was also slicing through years, decades, centuries even, of audience expectation that the hero or heroine of a fictional work would be shielded and protected or would at least die, usually the end, in a way that made some sort of moral dramatic sense. Right. In Psycho, the murder made no sense at all.

And he really kind of hits it on the head there. It was like, if you've never seen Psycho or heard of it, the movie's just going along about this woman who like steals some money from her work and she's kind of on the lam and checks into this hotel and you don't even know it's a horror movie. You're thinking it's a movie about a lady who steals money and is trying to get away from getting caught. And then just out of nowhere, she's hacked up in a shower about a lady who steals money and is trying to get away from getting caught. Right. And then just out of nowhere she's hacked up in a shower and at the time audiences, and still if you haven't seen it, it's shocking, but audiences were just like, they didn't

know what they'd seen. Right exactly. So not only is the hero no longer safe, that means maybe you're not either. Yeah. So it had a really huge unsettling effect. And then Owen Gleiberman points out that Hitchcock was so smart that he even made a nod to the type of pat expected horror that the audience was used to in the house that he used for Psycho, the Bates house. It was this huge rambling Victorian mansion on a hill.

There was lots of taxidermy and it was like over, over-decorated and just creepy. But up to that point, like that was horror. That was what a horror movie looked like and felt like. And this was, this was kind of Hitchcock's homage to that. But at the same time, he was also putting the heel of his shoe on it as well. Yeah. And that house was, I mean, almost a character in itself. Like, if you've ever

seen the recreation of it in Los Angeles, I think it's at Universal. Did you see it? Oh, yeah. I never did. The closest I came was, I think when different strokes went there. That's the closest you got to it? Yeah. Yeah, man, if you've ever seen this thing in person,

like it sends a chill up your back, just seeing this thing in like a sunny Los Angeles day, still. That's awesome. It's such an iconic house. It's like, oh man, there it is. That's where Norman Bates lives. He's the most disturbed human of all time.

Right. So in the movie, of course, there was the mother character who is sort of referenced throughout the movie. And it is not until the end that you realize that there is no mother. Mother's dead. Right. There's just Norman Bates and all his rage and hang ups. Yeah. So all the monster movies about giant ants or the creature from the Black Lagoon,

monsters, things that were an other that a normal person had to do battle with, that was gone. Now the monster had been on screen the whole time and you had noticed it and now what do you think about your neighbor who has seemed a little weird from time to time before? Could he be a murderer who thinks he's his mother? Who knows? Yeah. This is what Hitchcock did to everybody back in 1960.

And you almost get like, I think Owen Gleiberman points it out. Yeah, he does at the beginning. He basically says like, we probably didn't see Psycho. If you're reading this, you're probably too young to have seen Psycho in 1960, and we should all feel sad that we didn't. Because it so changed everything that we can't do anything but take it for granted now.

And everything that's come since then has been trying to regain that shock and horror that it instilled in audiences and thus far no one's actually been able to do it. Yeah and the other thing I remember when I saw it when I was younger, I think I saw this when I was like 14-ish, and I think it had this impact on just about everyone. I don't think I took a shower for a month. I was straight up bathtub, curtain open, doors open, windows open. Making your mom watch.

She's keeping watch. No, that would have been full circle back to cycle again. Oh yeah, I guess so. You didn't even want to have anything to do with your mom. No, man. Like it changed the shower curtain industry for a while after that. Yeah, I'll bet. Very good movie.

And there were a couple of Hitchcock movies in the last few years, two different ones, one with Anthony Hopkins and one with Toby Jones that were both really good. And one was about the years that he was making Psycho. The other was about the years when he was making The Birds. And they were both really, really good movies, and you should check those out, too. You should repeat that. We just got a rare interjection from Noel. So go ahead and say it again, Josh, in case it didn't come through.

So Noel just said that the director of The Black Coat's Daughter is Anthony Perkins, who played Norman Bates in Psycho's Son. Wow. He also did another movie now that Noel says that. Thanks, Noel. It's called The Pretty Little Thing That Lives in the House, which was another horror movie, a ghost story. I think that was his first one. And I think that might be on Netflix.

It's great. It's a really great movie, too. Man, this has got me fired up to see some horror movies. It's a renaissance of horror. Yeah, it's tough though, because Emily doesn't really dig it, so I have to just find alone time to do this. Go to watch it in the bathroom.

All right, well, if you want to know more about horror movies, go watch horror movies. Go forth. And let us know what we missed, for God's sake. Yeah, if you want to check out the Grabster's list, type in horror movies on the search bar at HouseOfWorks.com and it'll bring up this fine, fine list that you'll disagree with.

And since I said disagree, it's time for listener mail. This is from Eric and I'm gonna call it, what he called it, a schoolhouse rock nostalgia theory. All right. I think it's pretty right on. This just came in actually, this is a hot take. Hey guys in Schoolhouse Rock, so Josh made the statement that Gen Xers are most nostalgic generation and attribute it to this success of Schoolhouse Rock. I'm going to offer my own theory. I propose that Gen X is

nostalgic mostly for pop culture because of the proliferator, that word, of child targeted advertisements and marketing in the 70s and 80s. Huh, maybe. It's certainly something we've talked about. I guess theory's got legs. While our little impressionable brains were developing, we were being taught by those who were steering pop culture to long for and find fulfillment in the toys and other products our cartoons were pushing on us.

Now as adults, those messages are still deep in our psyche and we can't shake the idea that we still really need those Star Wars action figures to be happy. Not because the toys and the shows were so great, but because we had been tricked into believing we need them. I have nothing scientific to back this up. Just a hunch. Yeah, what, you mean there hasn't been a study from MIT? Right.

On Star Wars toys? I'm kind of surprised by that as well. I thought you were being facetious at first and then it just took a turn. Yeah, I don't know which way is up at this point. Nothing scientific to back this up, but I'd love to hear what you all think. See if anyone out there has any respectable and informed input. Love what you guys do. I love you, Eric.

That is from Eric Lewin. And Eric, I think that's super valid. Yeah, I do too, Eric. I think you've really hit upon something here. And that's all I have to say about it. If you have a great theory, fan theory, real life theory, whatever, we want to hear them. Especially if it's interesting. You can tweet to us at SYSKpodcast or Josh Clark. You can post it on Facebook at Charles W. Chuck Bryant or Stuff You Should

Know. You can send us an email at the Stuff Podcast at HowStuffWorks.com. As always, join us at our home on the web, StuffYouShouldKnow.com. For more on this and thousands of other topics, visit HowStuffWorks.com. Are there any pictures of you online? Then you could already be in a massive police database without even knowing it. Clearview scrapes together images from Facebook, from LinkedIn, from Venmo accounts.

I'm Dexter Thomas, host of Kill Switch, a podcast about how living in the future is affecting us right now. Police, they are trusting the software with this magical ability to lead them to the right suspect. In this episode, we dive into how cops are using AI and facial recognition, and sometimes getting it wrong and putting innocent people behind bars. So if your accuser is this algorithm, but you're not even being told

that it was used, let alone given any of the details about how it works. Listen to Killswitch on the iHeart radio app, Apple Podcasts, or wherever you get your podcasts. Adventure should never come with a pause button. Remember MoviePass? All the movies you wanted for just nine bucks? I'm Bridget Todd, host of There Are No Girls On The Internet. And this season, I'm digging into the tech stories we weren't told, starting with Stacey Spikes, the black founder of MoviePass, who got pushed out of the company he built.

Everybody's trying to knock you down, and it's not gonna work, and no one's gonna like it. And then, boom, it's everywhere, and that was that moment. Listen to There Are No Girls On The Internet on the iHeartRadio app, Apple Podcast, or wherever you get your podcasts. Here's the deal. We got to set ourselves up.

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