Episode Details

Greetings pinheads, butterballs, and all things in betwixt, and welcome back to Horror Business, the podcast that has such sights to show you. Thanks as always for listening, and we have a great episode for you! First and foremost we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screenprinting company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a tshirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Thanks!

This episode we are talking about works of English horror maestro Clive Barker, specifically Nightbreed and Hellraiser. 

We begin by talking about what we’ve seen recently. We were fortunate enough to catch the ‘80s classic Night Of The Comet at the Mahoning Drive In’s third annual Zombiefest, (more info on the drive in and upcoming events can be found here) and we discuss the social messages of the film and how it was much better than either of us remember it. We discuss Alien: Covenant, and then discuss the concept of personal taste and aesthetic preferences when it comes to film and how differences in such taste is handled oftentimes. We then talk about the recent film Colossal and how the actual film differs drastically from how it was marketed.

First up is 1990’s Nightbreed. We open up by talking about how each of us got into the work of Clive Barker, his particular style of writing, and the impact he’s had on the genre of horror and fantasy.

We talk about the symbolism present in Nightbreed (anti-colonialism, LGBTQ issues) and Justin discusses how growing up the movie resonated with him as a symbol for getting into punk. We talk about the difference between the theatrical cut and the directors cut, in particular the ending, Boone’s hallucinations, and the increased screen time for the monsters in the directors cut.

Listen Now