We’re in Spooktober mode, and we’re planting our flag. For our continuing October Halloween exploration we bring you an often overlooked Horror movie series: Warlock. It's one of those franchises we keep waiting for people to rediscover, because the first film has everything genre fans claim they want: a confident supernatural villain, strange old-world witchcraft rules, and a time-travel chase that never stops pushing forward. Julian Sands brings a “posh evil” presence that feels genuinely dangerous, sexy, and unpredictable, the kind of performance that should have made him a bigger horror household name.

We dig into what makes Warlock feel different from the slasher giants and even from its supernatural peers. The magic has texture: pennies in mouths, toes bound to thumbs, cold iron, nails in footprints, boiled fat for flight, and a Grand Grimoire that can literally unmake creation if the Warlock speaks the name of God backwards. Along the way, we talk about the film’s underappreciated craft, its VHS-fueled cult life, and how studio chaos and release timing helped keep it from getting the recognition it deserved.

Then we take the full franchise tour. Warlock 2 The Armageddon goes bigger, louder, and more 90s, with druid stones, eclipse stakes, and set pieces that flirt with comic book logic before that became the norm. Warlock 3 The End of Innocence, though, is where we draw a hard line, and yes, we explain why. We also hit the spin-off legacy, including a novelization, comics, and the 90s video game, plus a sober note on real-world media panic and why blaming horror movies is a shortcut.

If you enjoy smart horror deep dives and cult franchise autopsies, subscribe, share the show with a fellow monster nerd, and leave us a review. What’s your Warlock ranking: 1, 2, or refuse to acknowledge 3?

In this classic Halloween episode we look back upon a near-forgotten Horror anthology TV series - Tales from the Darkside. We trace how Creepshow and the EC Comics tradition (Tales from the Crypt, Vault of Horror) set the blueprint, then get into the messy rights reality that forced Romero’s team to build something adjacent rather than literal. From there, we spotlight the October 1983 premiere “Trick or Treat,” a nasty little morality play about debt, greed, and a Halloween-night reckoning that feels like the purest form of anthology justice.

Then we jump into one of the most fun conversations of the night: “Inside the Closet,” directed by Tom Savini, complete with our beat-by-beat reaction to the tension, the synthy creep factor, and the moment the “closet monster” earns a nickname and an unexpected kind of charm. We also nerd out over how stacked the bench is, from major horror authors and short-story adaptations to an absurdly deep guest star list that makes the show feel like a secret casting time capsule.

In a scattered discussion, we break down the cult vampire film Sundown: The Vampire in Retreat. We talk through the movie’s best hook: a hidden vampire community that’s trying to go legit with sunscreen, public-facing small-town life, and a factory producing a synthetic blood substitute so vampires can stop feeding on humans. From there, the story splinters into factions and a quiet coup against David Carradine’s Mardulak, a human family dragged into vampire politics, and a rival vampire’s nasty, sexually charged scheme that drives the ugliest tension in the plot. Along the way, we call out the moments that feel weirdly ahead of their time, especially if you like True Blood style vampire society storytelling.

Star Trek turns 60 and somehow the big story is this: the pipeline is drying up, the creative direction feels scattered, and the one show still on the air is starting to lose us. We talk through Strange New Worlds season four and why the constant genre tribute approach starts to feel like “holodeck episodes all season” with none of the payoff. When every week becomes a parody or a pastiche, the ship stops feeling real, character choices stop carrying weight, and we catch ourselves checking out instead of leaning in.

We also get specific about what works and what does not. A musical can land when the format reveals character and the plot uses Star Trek logic to justify the weirdness. But when an episode is “just Buffy” or “just a soap opera” or “just Crimson Tide in space,” it can feel like modern TV is regurgitating familiar IP instead of taking a real swing at something new. That frustration becomes a bigger conversation about Hollywood’s dependence on recognizable templates and why audiences can sense desperation even when the production values look great.

Then we zoom out to the franchise level: our breakdown of modern Trek as a post-2009 phase shaped by Abrams-era storytelling and the Kurtzman production machine, the way streaming exclusivity narrows who actually shows up, and the corporate chaos at Paramount that keeps killing movies before they happen. We end with the uncomfortable question we cannot avoid: would a real pause help Star Trek come back with a clear vision, or is this the slow fade?

Subscribe, share the episode with a Trek friend, and leave us a review on Apple Podcasts. What genre stunt finally made you tap out, and what would you want a true Star Trek reset to look like?

In the classic monologue we go into some of the details we didin't get to in our previous NüTrek breakdowns. We jump back into the debate around Star Trek: Discovery and the bigger question behind every prequel choice, where does “updating the franchise” end and where does breaking continuity begin? When a show introduces capabilities that feel too advanced for its place on the timeline, it does not just create trivia errors, it can erase the exact constraints that later episodes rely on for tension, mystery, and character problem-solving.

We dig into a deceptively small detail with huge ripple effects: the Delta insignia. In The Original Series, ship badges are not one-size-fits-all, and the Delta is tightly linked to the USS Enterprise before it becomes a broader Starfleet symbol later on. So why does it show up in places it arguably should not, including modern prequel-era storytelling and even Kelvin-era design choices? We walk through the fan logic, the timeline-split hand waves, and the uncomfortable moments where the “easy” explanations start to feel like patch jobs rather than worldbuilding.

In another installment of our series celebrating Star Trek's 60th anniversary we bring you a classic episode breaking down the fanchises' 4th wave. We spend real time on the infamous spore drive, the way instant travel wrecks stakes, and how Discovery ends up writing itself into a corner that later Trek has to tiptoe around. From there we jump to the Dilithium Burn and the far-future setting, asking basic worldbuilding questions the show never answers cleanly, like how the Romulans fit into a galaxy where dilithium suddenly becomes the only thing that matters. Along the way, we talk lost eras, canon gaps, showrunner chaos, and why a procedural, competence-driven Trek structure is still the franchise’s secret weapon.

Then we get to the Section 31 streaming film: a “redemption” pitch wrapped around Space Vegas vibes, a planet-killer box, and a crew that feels assembled for a series bible instead of a coherent movie. We’re blunt about what doesn’t work, but we also point to why Strange New Worlds proves there’s still a path forward if the writing honors consequences and lets characters earn their turns.

In our ongoing celebration of Star Trek's 60th anniversary we revisit our commentary on Trek's 4th wave (as of last year). We dig into the real-world mechanics behind the J.J. Abrams era: studio splits, blockbuster incentives, and the creative team that helped steer the franchise toward speed, spectacle, and recognizable references. Then we get specific. We break down Star Trek 2009’s strongest moves and its most telling shortcuts, from technobabble that stops meaning anything to plot coincidences that feel like the script is shoving characters into place. Along the way, we unpack Romulan and Vulcan history, the Hobus supernova, Red Matter, and how the wormhole incident creates the Kelvin universe while leaving Prime continuity to pick up the pieces.

From there, we jump to Star Trek: Discovery, where canon placement and the Mirror Universe rules get complicated fast. That sets the stage for Section 31, a concept that could deliver Star Trek’s sharpest political commentary: a Starfleet CIA analog justified by “extraordinary measures” in the name of security. We connect that idea to real intelligence history and ask what happens when a moral problem becomes an aesthetic.

To celebrate Star Trek's 60th Anniversary we thought we'd present a series of both old and new episodes that cover a wide swath of Trek topics. First up, an early show we did about the economics of the universe and how commerce works when you don't have money.

'Ever wonder how the economy of Star Trek works? Well, we'll break down the complicated concept of Future Money (or the lack there-of) in sci-fi's most enduring legacy franchise. This will be the first in a reoccurring series of Trek Talks on this topic and many others for your listening pleasure!

Hubba Hubba Hubba, Money Money Money, Who do You Trust?'