This week on The Rotten Horror Picture Show Podcast, Clay and Amanda are tackling a film that might just be the most confusing sequel in horror history: Mike Flanagan’s Doctor Sleep (2019). Now, don’t get me wrong — it’s a solid, spooky ride with Ewan McGregor as an older Danny Torrance, still haunted by the Overlook and trying to cope with his powers. But here’s the thing: is this a sequel to *The Shining* the book? Or *The Shining* the movie? Or some strange in-between hybrid stitched together with ghostly typewriters and whiskey breath? Because I swear, every time I try to explain it to someone, I feel like I need a chalkboard, some red string, and a shot of bourbon.

On the one hand, Doctor Sleep is based on Stephen King’s novel of the same name, which itself was written as a direct sequel to his original Shining book. That means we’re supposed to be following King’s continuity — the one where the Overlook Hotel burned to the ground at the end. But on the other hand, Flanagan clearly loves Kubrick’s *film*, and he goes out of his way to make *Doctor Sleep* visually and tonally connect to that version. Which means the Overlook is still standing, the carpet patterns are back, and suddenly it feels like we’re living in a cinematic multiverse before Marvel made it cool.

Clay and Amanda dive into all this messy, fascinating crossover territory — breaking down how Flanagan managed to honor both King and Kubrick, while still creating something that stands on its own. They’ll also talk about Rebecca Ferguson’s terrifyingly charismatic performance as Rose the Hat, creepy steam-slurping cults, and what happens when childhood trauma grows up with you.

Me? I’m still stuck asking: so wait… which Shining is this shining shining from?

And don't forget to head over to patreon.com/thepenskyfile to follow Clay and Amanda down the muddy path of remakes and reboots too!

This week on The Rotten Horror Picture Show Podcast, things are going to sound a little different. Amanda’s not here, which means Clay is flying solo — and that alone has me feeling… well, a little nervous. Don’t get me wrong, Clay knows his horror inside and out. He’s got the knowledge, the wit, and the enthusiasm to carry a show, no doubt about it. But Amanda’s the one who keeps things balanced. She’s the counterpoint, the voice of reason, the one who’ll call Clay out when he gets too deep into some cinematic rabbit hole about killer dolls or obscure slashers from the ‘70s. Without her? I just don’t know how this is going to feel. Like eating peanut butter without jelly. Or watching Jaws without the shark.

That said, Clay’s not just rambling into the void. He’s using this opportunity to do something special: take listener questions and give a quick rundown of some horror movies he’s been watching lately. That means you’re going to get Clay’s raw, unfiltered opinions on a whole stack of films — the good, the bad, and the so-bizarre-it ’s-worth-watching-anyway. He’ll dig into what’s been keeping him up at night, what deserves a spot on your watchlist, and maybe even what deserves to be avoided at all costs. Listener questions give him a chance to dive into topics that don’t always make it into regular episodes, which is pretty fun.

Still, I can’t help but feel like Amanda’s absence is looming large. Her takes, her insights, her way of steering the conversation in unexpected directions — that’s what makes the show click. So while Clay’s holding it down this week, I’ll just be sitting here, missing Amanda’s voice, waiting for the dynamic duo to reunite next time.

And don't forget to head over to patreon.com/thepenskyfile to follow Clay and Amanda down the muddy path of remakes and reboots, too!

Clay and Amanda are back with a brand-new episode of The Rotten Horror Picture Show Podcast, and this time they’re diving into Candyman (2021), the haunting remake-slash-sequel directed by Nia DaCosta. This isn’t just a rehash of the original 1992 horror classic — it’s a smart, visually stunning continuation that weaves in the legend of Candyman with new layers of social commentary about art, trauma, race, and gentrification. Featuring Yahya Abdul-Mateen II in a chilling lead performance, some inventive shadow-puppet storytelling, and a tone that’s equal parts eerie and poetic, it’s a film that honors its roots while creating something wholly its own. Of course, it also brings back one other key ingredient from the original: bees. Lots and lots of bees.

And that’s where things get… complicated for me. See, I’ve got a bit of a history with bees — one bee in particular. His name was Barry. And Barry the Bee? He ran away with my wife. I know, I know, it sounds ridiculous. But it happened. One day she’s talking about how “cute” and “funny” he is, and the next, she’s gone. Off to some flower-filled meadow in the countryside, I assume. Ever since, I can’t look at bees without feeling a mix of fear, rage, and heartbreak. So when this movie started throwing bees at me left and right, all I could think was, “Here we go again. First my wife, now my peace of mind.”

Still, Clay and Amanda make it worth pushing through my insect-related PTSD. Their discussion breaks down how the film connects to the original, why its horror feels so timely, and how Nia DaCosta’s direction elevates the material. I just wish they’d warn me when the next bee movie is coming. Barry’s still out there. I can feel it.

And don't forget to head over to patreon.com/thepenskyfile to follow Clay and Amanda down the muddy path of remakes and reboots too!