It wouldn't be Family Is Hell Month without Ari Aster's Hereditary. We look at the film from an academic, analytical and personal lens from Toni Collette's genius to the metaphors for generational trauma passed down. This episode is brought to you by Paimon.

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Continuing Family Is Hell Month with Stanley Kubrick’s The Shining, a domestic horror masterpiece where addiction, resentment, and generational violence turn a winter isolation job into the world’s worst family retreat. We break down the plot, the psychology of the Torrances, and why the Overlook Hotel feels less like a haunting and more like an extension of the family’s curse.

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Welcome to 'Family is Hell' month. No better way to kick off this month's trope with an analysis of 2015's The Witch. A Puritan family unravels in the wilderness as grief, paranoia, and patriarchal terror turns home into hell. Beyond the movie, we look at the history of witchcraft and the roots of puritanical religious culture.

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For Final Girl month, we're diving into Ready or Not (2019). It's a blood-soaked, dark horror-comedy where a new bride, Samara Weaving, becomes the ultimate Final Girl. We break down the full plot, the film’s class-war satire, cursed family traditions. We explore class consciousness, how the movie skewers the ultra rich and evolves Final Girl tropes.

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This week we’re diving into Scream (1996), the genre-defining slasher that mixed gore with postmodern humor and created a new rulebook for horror. From Casey Becker’s devastating opening to Sidney Prescott navigating survival, we explore how Scream turns teen girl vulnerability into power and why its commentary on sexuality, violence, technology, and media obsession still feels sharp today.

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The hosts dive into 1997 horror film 'I Know What You Did Last Summer.' They discuss the film's plot, its cultural impact, and its place in the Final Girl patheon.

They also delve into the movie's trope of the 'final girl,' and offer insights on how the film reflects the social anxieties of its time.

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Final Girls Club revisits John Carpenter’s Halloween (1978), the low-budget indie that carved the path for modern slasher cinema. We break down how this film gave us both the unstoppable masked boogeyman and the original Final Girl: Laurie Strode.

Inspired by Carol J. Clover’s Men, Women, and Chain Saws, we trace the birth of the “Final Girl” and what makes her endure, her awareness, resilience, and sharp instincts, and how each of us can channel our own inner Final Girl.

📖 Reading: Men, Women, and Chain Saws by Carol J. Clover Listen here: Spotify

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Final Girls Club explores how Hollywood turns aging women into horror villains through Death Becomes Her (1992), the cult-favorite dark comedy starring Meryl Streep, Goldie Hawn, and Bruce Willis.This feminist analysis of the hag archetype, plastic surgery culture, and female rivalry spotlights the film’s camp satire of eternal youth, beauty standards, and the cosmetic procedures that promise ‘forever flawless’ womanhood. By examining Madeline and Helen as iconic ‘hags’ punished for refusing to age, we connect the movie’s body horror and surgical spectacle to today’s Botox, fillers, and anti-aging industry.

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