Get ready to pour yourself a cocktail, put on an old opera record, and inject yourself with a chemical compound that stretches the bounds of death in a terrifying fusion of science and art, because the crew at Box Office Pulp is back on their wax bullshit with a commentary track for Sergio Stivaletti's Fulci-by-another-name fable, 1997's Wax Mask. The legendary special effects master responsible for the Demons franchise only ever directed a single feature, and this slasher by way of a giallo by way of a Wax Museum mystery has been unfairly forgotten by even the most stalwart horror faithfuls. Listen to the tale of Dario Argento's last boon to a dying frenemy, a museum owner driven by heartbreak to murder and mad science, and a dubbing track that descended into pure, unfiltered Italiano.

So remove your mesh mask to reveal your wax mask to reveal your robot(?) skull by listening now!

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Get ready to hustle up some bibles, condemn some apostates, and declare that someone IS NO KIN OF YOURS, as tonight the Bop Crew interviews Payton McCarty-Simas, author of That Very Witch: Fear, Feminism, and the American Witch Film. Together they have a fascinating discussion on their favorite witch films, the unique properties of American hysteria, the environmental factors that lead to booms in either witch hunts of witch flicks, why there were so many goddamn warlocks in the eighties, and the explicit fascism of the Veronica Lake vehicle I Married A Witch.

Pick up your copy of That Very Witch: Fear, Feminism, and the American Witch Film: https://www.lunapresspublishing.com/product-page/that-very-witch-that-very-witch-fear-feminism-and-the-american-witch-movie

(also available wherever books are sold!)

Check out Payon on Instagram: @paytplace

• Taboo Acts, Queer Allegories: Cannibalism, Incest, and Queerness as Transgression in Genre Film | PAYTON McCARTY-SIMAS
• The Substance Is a Witch Film | by Payton McCaty-Simas

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Once the most derided type of film adaptation, video game movies have been seeing a renaissance as of late. So what better time to borrow the conventions of a once-derided medium to tell a story all your own? In this Mini-BOP, Mike and Jamie gush about the new film by genre filmmaker Jason Trost, The Waves of Madness, the world’s first side-scrolling motion picture. With a premise that could have outstayed its welcome in minutes, Waves draws you in with its loving pastiche of PS1-era survival horror, and keeps you with a sincere Lovecraftian mystery at sea, with the best monster design we’ve seen all year. You’ll never look at load screen monologues the same way again!

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Now that Father Time has allowed one more year to pass, and Santa has been banished to his ice prison until next solstice, it's time to visit our favorite memory from this holiday season: Nosferatu, AKK Robert Eggers Presents "This Ain't Dracula: A XXX Symphony of Horror." Stalk the stone paths of turn-of-the-century Germany alongside The BOP Suitors as Lilly Rose-Depp's star-making performance ties together an all-star cast, including Bill Skarsgaard at his most uncanny, Willem Dafoe at his most grave, Nicolas Hoult at his most dandy, and Aaron Taylor-Johnson at his most obsessed with his wife. Along their stroll they'll discuss the appeal of the Nosferatu iteration of familiar vampire lore and how Eggers plays with those expectations, rank the stars of Dracula Cinema by their fashion and sex appeal, and scour forgotten lore to determine how exactly Orlok traveled by boat to a landlocked country.

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Scoop out the guts, carve out the eyes, scoop out the guts... oh, hello there! Dont mind me, just preparing the family's plus-sized gourd for Big-Ass Pumpkin Day, the only remaining holiday Hallmark hasn't gotten its grubby fingers on! This year's attraction is a slasher movie so you better believe we found it on Tubi, 2011's Beg. Its the provocative story of a small-town cop and his favorite clone batch tracking down a serial killer with a pumpkin on his head, murder on his mind, and... a shifting ethnicity? What? Join the crew for a commentary as murky as the woods this was filmed in, where Tony Todd finds himself entangled in middle-American domestic drama and also a stab man, they spend a bold amount of time discussing sexual awakenings via the Slenderverse, and Cody once again makes an ungodly mess on his desk in the name of spookiness.

BUY A ROUND FOR DET. SHOTGUN CIGAR.

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It is 2006. I am watching Hugh Jackman's last appearance as Wolverine. It is 2017. I am watching Hugh Jackman's last appearance as Wolverine. It is 2024. I am writing a description of the BOP crew's episode on Deadpool & Wolverine, the former's introduction to the MCU, and the latter's last dance with a beloved actor... who are we kidding, he's doing this till he's 90. Does Ryan Reynolds still bring the Van Wilder charm as Marvel's new golden boy, or is it too late for the Multiverse Saga: Now With Less Kang? How does a character often defined by an inferiority complex work as a mouthpiece for a dying era of film? And just how hard did those credits make us cry? Wade wouldn't give you answers, so neither are we.

Hey... remember when Deadpool's caption boxes ended up being Madcap? Wild times!

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With studios less sure how to reach audiences by the day, only one film has the answer to what people truly want: HUNDREDS OF BEAVERS. In the newest movie from Mike Cheslik and the team behind Lake Michigan Monster bring us a new descent into whimsy and madness in a film so ridiculous, we're convinced it stars Cody. Join Mike and Jamie as they talk about this delirious swirl of live action cartoon, silent(ish) movie, harrowing survival tale, XXX-ed jugs ,and 16-bit farming sim (not kidding), HUB might be the most creative movie of the year, the funniest movie were seen in ages, and without a doubt the best movie ever made on the subject of man's battle against mascot suits.

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What an excellent day for filming an exorcism. THE Exorcism, in fact! And that's the closest thing to a joke you're getting, because the duo behind The Final Girls is back with another deeply personal-- and far much colder-- look at a young woman connecting with a parent in showbiz. Joshua Miller and M.A. Fortin team up with Russell Crowe and a seemingly endless list of character actors to tell the story of a newly-sober man trying to get himself on the right track by taking what could be the role of his career, the priest in a remake of a famous exorcism movie, no matter what demons from his past it may awaken. Unable to win respect at home or on set, dodging a well-intentioned holy man, a director more interested in getting a rise out of him than his acting, and an alleged "curse" that's already claimed one actor, it's the perfect environment for a man to lose himself... or be found.

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