Florida’s Favorite Creep Sabrina Ace and The Evil Barbie Edy head straight into the worst tourist trap in America: Derry, Maine — where balloons float, morals don’t, and Pennywise is basically the HOA president.

The duo tears into Welcome to Derry, dissecting how this prequel ties back to IT, why the town itself should be declared a biohazard, and which characters desperately need therapy, relocation, or both. They dive into the messy friendship drama, the racial tension baked into the story, Marge’s struggle to fit in, and Lily’s ongoing commitment to making terrible life choices.

They also break down the personalized fears haunting the group, the questionable military involvement (because of course the government shows up late and confused), and the moment Pennywise steps onto the scene to remind everyone why Derry never has a full graduating class.

Class is back in session, and the phone won’t stop ringing...so naturally, Mista Malave and Sabrina Ace decided to answer it. This week, your unqualified educators of evil dive headfirst into The Black Phone 2, Blumhouse’s latest reminder that sometimes it’s better to let unknown numbers go to voicemail.

The Grabber’s back with a more “hands-on” curriculum, Ethan Hawke’s giving full Freddy Krueger exchange-student energy, and somehow Finney’s too busy training dragons to show up for class, so the spotlight falls on Gwen, the only one still doing the homework.

We’re talking missing kills, overactive grabbers, and Blumhouse’s undying love for milking sequels until the audience develops Stockholm Syndrome. So grab your rotary phone, ignore the static, and let’s see if this call is worth answering…

Tonight at Night School Horror, class is in session, and the lesson? Never let Netflix do your homework for you. We’re diving headfirst into Monster: The Ed Gein Story, a show so “based on true events”.

The faculty tears into everything from Charlie Hunnam’s Oscar-worthy audition for Creepiest Mama’s Boy Alive to the series’ creative “liberties” (read: lies so bold they deserve their own SAG card). Along the way, we unpack the messy blend of mental illness, media exploitation, and true crime clickbait that somehow turned a grave robber into binge-worthy content.

From Psycho to Texas Chainsaw Massacre, we follow Ed Gein’s nasty fingerprints across horror history, asking the hard questions: why do women always get the short end of the shovel, and how much sensationalism is too much when the truth was already nightmare fuel?

And honestly.... do you believe “Owner of a Lonely Heart” fit that final Titanic/Stairway to "HELL" scene?

Tommy James and Big Money Eddie put on their hazmat suits and wade through the radioactive mess that was the Alien Earth finale. Spoiler alert: it sucked. From limp storytelling and cardboard “character arcs” to the ever-present fingerprints of corporate greed, our boys dissect how Hollywood once again proved it can milk a franchise until it’s bone-dry. Along the way, they chew over the role of horror in the Alien universe, gush (and gag) about the beauty of the xenomorph design. In the end, the lesson is clear: if you’re a Hollywood writer, maybe stop writing like your audience has the memory span of a goldfish.

Grab your tissues, your chew toys, and maybe a stiff drink, because this episode of Night School Horror gets weirdly emotional. The Movie Guy BayBay, Florida’s Favorite Creep Sabrina, and Mista Malave dive nose-first into the indie gut-punch Good Boy. From Indy the dog’s POV (seriously, give that pup an Oscar), to the big themes of life, death, and the subtle reminder that we’re all just killing time until the Grim Reaper shows up—this one’s a ride. Expect dramatic cinematography breakdowns, existential dread dressed up as sarcasm, and emotional punches you won’t see coming. Because sometimes horror isn’t just about blood and guts… sometimes it’s about realizing the only thing standing between you and the void is a four-legged friend who actually is a good boy.

Indy’s a good boy, Todd.

Good Boy will be releasing in USA Cinemas on October 3rd and UK Cinemas from October 10th

FB: @VertigoReleasingUK | IG: @vertigoreleasing | TW: @VertigoRel / TT: @vertigoreleasing | https://www.vertigoreleasing.com

A loyal dog moves to a rural family home with his owner Todd, only to discover supernatural forces lurking in the shadows. As dark entities threaten his human companion, the brave pup must fight to protect the one he loves most.

Strap in, students, Tommy James and Big Money Eddie are back in session, and this time they’re dissecting episodes 5 and 6 of Alien Earth. Yes, the show where corporate greed is scarier than the monsters, pacing issues move slower than a Xenomorph on Ambien, and somehow… the aliens are the ones we feel bad for.

The boys wade through philosophical plant life, identity crises, and the looming “machines rise up” subplot that absolutely no one asked for, but we’re all here for anyway. Predictions fly, shade is thrown, and somewhere in the chaos Tommy proves that the scariest thing in the universe might just be his inability to pronounce Timothy Olyphant. (Offright? Oaf-lint? Who knows?)

Tommy James and Mista Malave crack open The Conjuring: Last Rites and let’s just say the spirits aren’t the only things restless. From Michael Chaves’ direction to the Smurl family case, they dig into mirror metaphors, character arcs, and the eternal soap opera that is the Warrens. Expect previous film war stories, eye-rolling at the plot holes, and a brutally honest breakdown of what worked, what didn’t, and where the franchise should’ve quit while it was ahead. Oh, and yes.....they rank the whole Conjuring universe, so prepare for blasphemy.

On this episode of Night School Horror, Tommy James and Big Money Eddie sink their teeth into the indie horror-comedy Draculaw. They pick apart its charm, budgetary bruises, and that whole “time as an energy vampire” thing—because nothing says horror like losing a weekend to deadlines. From pacing quirks to soundtrack surprises, the hosts balance praise with playful stabs of criticism, proving once again that low-budget doesn’t mean low-bite.