Discover the Horror Podcast

Suspiria (1977), Inferno (1980), and Mother of Tears (2007)
There are very few horror fans out there who don't know the work of Dario Argento, especially the giallo films he's most famous for. While he only occasionally ventured into supernatural horror, whenever he did, he approached it with the same unmistakable style that defines all of his work. After helping define the giallo genre with Deep Red, Argento shifted gears and gave us Suspiria, a film that presented violence through a blinding explosion of color and an intense soundtrack that pounds through the speakers. It looked unlike anything audiences had really seen before.
Three years later, Argento continued the saga of the dreaded Three Mothers with Inferno, expanding the mythology surrounding these wicked witches even further. Then, after a 27-year wait, he completed the trilogy with Mother of Tears. Say what you will about any or all of these films, but they are all unmistakably Dario Argento.
In this episode, we're taking a look at all three entries in the Three Mothers trilogy, exploring both the mythology behind the Three Mothers and the unique qualities that set each film apart. We all have our favorite of the trilogy, but hopefully you'll come away with a new appreciation for moments or ideas you may have overlooked in previous viewings. So join us for our little study group as we dive into the worlds of Mater Suspiriorum, Mater Tenebrarum, and Mater Lachrymarum. But a word of caution… they don't like people knowing about them, so be warned.
Films mentioned in this episode:
*]:pointer-events-auto [content-visibility:auto] supports-[content-visibility:auto]:[contain-intrinsic-size:auto_100lvh] R6Vx5W_threadScrollVars scroll-mb-[calc(var(--scroll-root-safe-area-inset-bottom,0px)+var(--thread-response-height))] scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]" dir="auto" data-turn-id= "request-WEB:b609a78a-d2aa-430a-8e44-f385fe45041c-2" data-turn-id-container= "request-WEB:b609a78a-d2aa-430a-8e44-f385fe45041c-2" data-testid= "conversation-turn-6" data-scroll-anchor="false" data-turn= "assistant"> The Beyond (1981), The Bird with the Crystal Plumage (1970), The Black Cat (1989), Cannibal Ferox (1981), The Cat o' Nine Tails (1971), The Church (1989), Deep Red (1975), Demons 2 (1986), The Exorcist (1973), Eyes Without a Face (1960), The Five Days (1973), Four Flies on Grey Velvet (1971), Häxan (1922), The House by the Cemetery (1981), Inferno (1980), Mother of Tears (2007), Night of the Eagle aka Burn Witch Burn (1962), Opera (1987), Phantom of the Paradise (1974), Suspiria (1977), Tenebrae (1982)

The Night Stalker (1972), Dracula (1973), and Trilogy of Terror (1975)
Horror fans from the 1970s may not have known the name Dan Curtis, but they certainly knew his work. From his early gothic soap opera Dark Shadows, where one of the main characters just happened to be a vampire, to the countless adaptations of classic novels, such as Dracula, Frankenstein, and Jekyll and Hyde, to even more throughout the '70s. Curtis continued to give TV viewing audiences plenty of nightmares during that time, blending classic monsters with new and unique ones and delivering all of them to the small screen in ways that really resonated with audiences at the time.
Modern audiences might be even less familiar with Curtis' work than those who grew up with his films, but his influence has never gone away, and his body of work is more than worth revisiting, or if you've never experienced it yet, then now is the perfect time to start down that journey.
Films Mentioned in this episode:
Bram Stoker's Dracula (1992), Burnt Offerings (1976), The Changeling (1980), City Slickers (1991), Curse of the Black Widow (1977), The Dark Crystal (1982), Dark Shadows (1966-71), Demons of the Mind (1972), Doctor Jekyll and Sister Hyde (1971), Dracula (1931), Dracula (1973), Fiddler on the Roof (1971), Frankenstein (1973), Frankenstein Must Be Destroyed (1969), The Great Muppet Caper (1981), In My Skin (2002), Kolchak: The Night Stalker (1973-74), The Night Stalker (1972), The Night Strangler (1973), The Norliss Tapes (1973), Nosferatu (1922), The Rocky Horror Picture Show (1975), The Strange Case of Dr. Jekyll and Mr. Hyde (1968), Superman (1978), Superman II (1980), Trilogy of Terror (1975), Vampyres (1974), War and Remembrance (1988), The X-Files (1993-2018)

StageFright (1987), The Church (1989), and Dellamorte Dellamore (1994)
Most horror fans are at least familiar with the Italian horror tradition, even if they aren't deeply immersed in it. Directors like Mario Bava, Lucio Fulci, Dario Argento, and Joe D'Amato helped define one of the most prolific and influential horror movements in cinema history, producing a remarkable run of classic films over more than three decades.
By the mid-1990s, however, that wave had largely collapsed. Yet, in the final stretch of that "era of terror," horror fans were given something special: four films from a young director named Michele Soavi.
Soavi's path into directing was a gradual ascent through the industry. He began as an actor, which got him onto sets, then worked his way up through roles as a crew member and assistant director before eventually stepping behind the camera himself. Along the way, he trained under filmmakers like Joe D'Amato, Lucio Fulci, Lamberto Bava, and Dario Argento, experiences that helped him develop a distinctive voice of his own.
In this episode, we're covering three of those four films, more than enough to make the case for seeking them out if you've never seen them, or revisiting them if it's been a while. Because sometimes, it's easy to forget just how damn good they really are.
Films mentioned in this episode:
Absurd (1981), Amok Train aka Beyond the Door III (1989), Body Count (1986), Children Shouldn't Play with Dead Things (1972), The Church (1989), City of the Living Dead (1980), Dario Argento's World of Horror (1985), Dellamorte Dellamore (1994), Demons (1985), Fatal Frames (1996), Ghosthouse (1988), I, Vampir (1957), Nightbreed (1990), Opera (1987), The Sect (1991), StageFright (1987), Suspiria (1977), Tombs of the Blind Dead (1972), Zombi 3 (1988), Zombie 5: Killing Birds (1988)

Even the Wind is Afraid (1968), Darker Than Night (1975), and Poison for the Fairies (1986)
Mexican Director Carlos Enrique Taboada may not be the best known name to American horror fans, but he has made some films which are considered classics of the Mexican horror world. Which is why we decided to tackle 3 of this films in this episode. These films are fascinating as they are modern stories but wrapped in a gothic blanket.
This episode is a little different for us, as we didn't pick films that we necessarily loved.  In fact, many of these films were first time watches for us. When on your path of Discovering the Horror, you might stumble across a new name or film that you've never heard of. And as we always preach, even if you don't put them into any personal top ten lists, there is usually something in there worthy of your attention. That's the fun part of the journey, to always be seeking out new things.
Join us as we discuss 3 titles that may not get much attention in the United State, that we feel are worth your attention, and as we into films from a country not especially know for horror in the 70s and 80s. 
Films mentioned in this episode:
Alucarda (1977), The Blood of Nostradamus (1962), Cronos (1992), The Curse of Nostradamus (1961), Darker Than Night (1975), Destroyer of Monsters (1962), Even the Wind is Afraid (1968), Genii of Darkness (1962), The Hell of Frankenstein (1960), Poison for the Fairies (1986), Rapini (1975), El Vampiro (1957), The Witch's Mirror (1962)

Horror films are a unique genre because they can have a profound effect on the viewer. They can literally change lives, leaving such a strong impression that something shifts in the psyche. Whether it makes someone afraid to go in the water, uneasy around bugs, frightened by Frankenstein's creature, or just generally on edge, these films can have a lasting impact.
They are meant to scare us, but for some, they remain harmless entertainment. For others, certain films reach much deeper, lingering in the mind long after the credits roll. And yet, we keep coming back for more.
Do these films help us confront our fears? Do they help us overcome them? Can they serve as a way to process real-world trauma, something made easier to face when it exists within the safe boundaries of a movie?
Join us for this episode as we explore the films that have had a lasting impact on us, along with others that have left a powerful mark on audiences.
Movies mentioned in this episode:
The Blob (1958), Bring Her Back (2025), Cannibal Ferox (1981), Cannibal Holocaust (1980), Day of the Dead (1985), The Deep House (2021), The Exorcist (1973), Faces of Death (1978), Frankenstein (1931), Friday the 13th (1980), Guinea Pig (1981), Gravity (2013), Halloween (1978), Henry: Portrait of a Serial Killer (1986), Hereditary (2018), Infested (2023), Irreversible (2002), Jaws (1977), King Kong (2005), Last House on the Left (1972), Marathon Man (1976), Mondo Magic (1975), Nekromantik (1988), Night of the Lepus (1972), Night of the Living Dead (1968), Old Boy (2003), The Omen (1976), Open Water (2003), The Orphanage (2007), Paranormal Activity (2007), Pet Sematary 91989), Piranha (1978), Psycho (1960), Relic (2020), Requiem for a Dream (2000), Ringu (1998), Scream (1996), A Serbian Film (2010), Texas Chain Saw Massacre (1974), Trouble Every Day (2001)