Welcome To Horror Presents: “The Planet of We Have Been Watching”. It’s time for another “We Have Been Watching”, and in a real turn up for the books, everything we’ve watched is from this century! We discuss “Abigail” (2024), “The Gorge” (2025), “Reflections On A Dead Diamond” (2025), “Ready Or Not 2: Here I Come” (2026), “28 Years Later” (2025), “Death of a Unicorn” (2025), “Obex” (2025), “The Lords of Salem” (2012 - Chris bringing the average down slightly), and Lee walks out of “The Bride” (2026). No prep for this ep, but listeners beware, as here be (possible) spoilers and (definite) swearing.

It’s time for some Hollywood glamour on Welcome To Horror, as we ask “What Ever Happened To Baby Jane?” A film which gives some top tips for the family catering on a budget; introduces us to King Tut’s Cockney mum; and highlights the true diligence and observational skills of the LAPD. When it seems that a film exists primarily to pair two fading movie stars whose off-screen animosity was already legendary; it really shouldn’t be the masterpiece that “What Ever Happened To Baby Jane?” is. Director Robert Aldrich conjures stark Hollywood gothic, with lashings of cynical humour and a truly mean streak of domestic horror. Stars Bette Davis and Joan Crawford give career-best performances in territory that is unflattering anathema to their past glories, with their rivalry and begrudging respect for each other’s talents forging absolute gold. Budgetary restraints help the film feel more “real” as normal studio techniques were too costly, giving aspects of the film (particularly the location work) a near-documentary edge. Whilst “…Baby Jane” somewhat revitalised the careers of Davis and Crawford, leading both into further work in the horror genre, nothing can touch this macabre pinnacle. Watch (or re-watch) to avoid spoilers and join us.

It’s Hammer Time once again on WTH, and it’s the turn of 1971’s “Dr. Jekyll and Sister Hyde”. A film in which we learn that two’s company, three’s a positive deviation; that Burke and Hare were time travellers; and that an alias inspired by a newspaper headline isn’t always the best idea (just ask Mrs Freddie Starr Ate My Hamster). A title that began as a joke has probably not helped the reputation of this late period Hammer movie, with many dismissing it as an unnecessary watch from a studio long past its prime. But this is a mistake, from the combo of stalwart director Roy Ward Baker and Avengers writer Brian Clemens comes an interesting and vibrant film, that feels more modern than a lot of its stablemates, with bags of atmosphere, a line of still effective gore, some lovely directorial flourishes, and a blackly comic streak in both its characters and dialogue. Ralph Bates and Martine Beswick are a brilliant paring as the two aspects of our protagonist, ably supported by a strong cast, notably Gerald Simm’s disreputable Professor and Philip Madoc’s lugubrious mortuary attendant. Whilst “Dr. Jekyll and Sister Hyde” ultimately fails to adequately explore the concept at its heart, it is certainly the most entertaining of the studio’s few attempts to adapt Robert Louis Stevenson’s classic, and another example of the less well-known Hammer Films being surprising gems that deserve a much greater appreciation. Watch (or re-watch) to avoid spoilers and join us.

Take your place at table, as we partake of Mark Mylod’s “The Menu”. A fine film dining experience in which it’s impossible to fill up on bread; a nasty word in the right ear ensures the meat is correctly hung to mature naturally; and the finger buffet is literally that. As a dark satire, “The Menu” has multiple targets to chew over; the arts and the intentions of those who produce, patronise, parasite off them; the pretensions of Nouvelle cuisine (aka “Poncey Cooking”); the near cult-like status and power that chefs enjoy and abuse; the exploitation and mistreatment those in the service industry can expect (particularly when the customer is rich); the dangers of hero worship and celebration of excess to prove your status and wealth; the list goes on. This means you have the extraordinary scenario where you will feel empathy towards almost every character at various points as the film plays out (with the exception of the 3 business bros, who, like all their sickening kind, can go fuck themselves, and get everything they deserve). Watch (or re-watch) to avoid spoilers and join us.

There’s more temporal shenanigans as we go all the way back to the 1920s, by going all the way back to 2005 for the HP Lovecraft Historical Society’s film adaptation of “The Call of Cthulhu”. A film that to describe it would bring screaming madness to the mind and blacken to opacity the very soul of man (see what we did there?). The HPLHS’s decision to make “The Call of Cthulhu” as if it were adapted at the time the story was published was a real stroke of genius, and the fact they pulled it off is remarkable. Keeping the story in its original period absolutely sells it more than a modern-day setting, some of Lovecraft’s more melodramatic dialogue sits easier as inter-titles than in actor’s mouths, and the stop-motion Cthulhu is a magnificent take on the creature. The incredible attention to period detail, and the in-camera effects achieved through model shots and other methods of the time really bring a sense of scale. It also means that the film has not dated, by way of it never being of its time in the first place. Possibly the truest adaptation of any of Lovecraft’s work. Watch (or re-watch) to avoid spoilers and join us.

We’re heading back to 2009 (or is it 1983?) for Ti West’s “The House of the Devil”. A film which gives us the do’s and don’t’s of babysitting: DO bring a friend along to ensure the employers aren’t weirdos, DON’T then ignore that friend who has spotted every red flag in the situation; DO order pizza that the employers have generously left money for, DON’T then stick on your walkman really loud so you couldn’t hear the doorbell, dance on the furniture, generally run amok and break things; DO accept $400 for a night’s work, DON’T accept $400 for a night’s work from Tom Noonan and Mary Woronov who are both, clearly, scary as all fuck. Before the success of his “X” trilogy brought Ti West’s brand of horror to the attention of a much wider audience, he was already acclaimed in genre circles for a series of outstanding films, of which “The House of the Devil” is a fantastic example. Not only does the film evoke its 1983 setting through a period-truthful aesthetic (not the absurd nostalgia of everyone in neon headbands and ET T-shirts, solving Rubiks Cubes) it also achieves it through the visual language and filmmaking techniques as well. With a superb central performance from Jocelin Donahue, who looks like she could have stepped straight out of the original “Black Christmas”, and a slow burn tension that ratchets up to a manic and visceral last 15 minutes, “The House of the Devil” is both an echo of the past, and a thoroughly modern take on it as well. Watch (or re-watch) to avoid spoilers and join us.

It’s time to dig out the silver and dial 911 as we tackle 2014’s “WolfCop”. A film which is potentially unique for featuring a dick-first werewolf transformation; proves that drinking on the job isn’t necessarily an issue in certain circumstances; and teaches us that 200 years of small town admin really makes you cranky. The title says it all, it’s the concept, the pitch and the advertising. “WolfCop” begins slowly, but once the lycanthropy kicks in, the film becomes a pure comic-book dream - the silliness combined with genuinely visceral practical effects make this a treat for horror lovers looking for a good party film. Watch (or re-watch) to avoid spoilers and join us.

Welcome To Horror Presents: “The Day of We Have Been Watching”. News flash, it’s time for a summary of the various visual adventures the team have experienced in between episodes. We discuss Shudder’s “The Haunted Season: The Occupant of the Room” (2025): the remake of “Suspiria” (2018); new Disney+/FX series “The Beauty” (2026); 2009’s “Zombieland”; R.L. Stine’s “Pumpkinhead” (2025); Folk Horror Play For Today “Robin Redbreast” (1970); and Ben Wheatley’s psychedelic sci fi noir “BULK” (2026). No prep for this ep, but listeners beware, as here be (possible) spoilers and (definite) swearing. Join us!

We’re back like a vertebrae and ready to tell you all about our day at the 2026 Horror-on-sea Film Festival. Always a joy to attend this ever-brilliant event, this year we opted for the second Saturday (23rd of January), and we hit a brilliant seam of great new horror. Features covered are “Borley Rectory: The Awakening”; “All You Need Is Blood” and “Horror-on-sea: 13 Bloody Years”. Short films covered: “Mirror, Mirror: Matryoshka”; “Medieval Maze”; “Knell”; “Kindness”; “Antebody”; “Fox and The Hen”; “Say Bye Bye To Blood Sausage” and “She-Bear”. No prep needed for this episode, as these are all brand new we will try to stay spoiler free, so just tune in and join us.

Following our Muppet version of the film, and in the spirit of not doing too much work over Crimbo, we’re looking at “Bram Stoker’s Dracula”. A film in which Ted goes on a less than excellent adventure; Withnail keeps Tom Waits on a remarkably protein-rich diet; and Hannibal Lecter clearly cannot be arsed having just won an Oscar. Unleashed with much fanfare in 1992, director Francis Ford Coppola wanted to bring to the screen a definitive version of Stoker’s novel (except for all the extra bits he bunged in for good measure). This ambition weirdly highlights some of the pitfalls of a faithful adaptation, with a number of characters usually dispensed with or amalgamated in other versions left to clutter up the narrative. It features what is a genuinely stellar cast both for now and then, but with some actors not necessarily suited to their roles. However, it’s still Coppola, so it still remains a well-made, beautifully shot gothic romance; which certainly equals the novel for pace and drama, and even adds some iconic imagery to the old myth which is still appearing over 30 years after the film’s release.

Welcome To Horror Presents: “The Muppet’s Francis Ford Coppola’s Bram Stoker’s Dracula”. It’s Christmas, and the Welcome To Horror team have decided to celebrate by honouring one of the finest Christmas movies of all time, The Muppet Christmas Carol, but with a horror twist. Our premise is to take “Bram Stoker’s Dracula” and recast it with the Muppets! We’re keeping Gary Oldman as our token human, but the rest of the cast are up for grabs! Join Lee, Chris, Adam and Lady Jennifer for our jolly Christmas Party of Gothic Horror and Muppet Mania.