How many Tinder dates does it take to change a lightbulb? Let's all find out together!

How does what happened match up with what you would expect to happen when Michelle and JD sit down to watch a horror movie about pro wrestling on a horror movie podcast that sponsors pro wrestling? Let's all find out together!

What happens when you blend up a goodly amount of grotesque and goopy body horror with a healthy portion of giallo murder thriller? Let's all find out together!

How many movies about artificially intelligent physical and sexual assault surrogate dolls does it take to make Michelle and JD psychologically collapse like a black hole? Let's all find out together!

Shoutout to Not the Funeral Home and Shannon Cosgrove with Shore Fire Media for inviting us to see and discuss their film, available now on blu-ray exclusively through Vinegar Syndrome.

Not The Funeral Home is a full-service production company specializing in high-value, cost-effective films and productions shooting in North America, Eastern Europe, Southeast Asia and beyond. Founders Matt Manjourides and Justin Martell created the company in 2016 and bring innovation and high production value to filmmaking. Manjourides and Martell’s company created and produce The Last Drive In with Joe Bob Briggs on Shudder and AMC+ (“here to shake things up" - The New York Times), 2024’s Street Trash (“Melted Gonzo Goodness” - Variety) and Black Eyed Susan (100% on Rotten Tomatoes), plus Shudder exclusives Hell Hole (2024), Eight Eyes (2024) and Castle Freak (2020).

Are Michelle and JD able to settle the "zombies versus rage virus" conflict once and for all? Let's all find out together!

Has Michelle managed to find her sense of humor in time for the first Shudder Original release of 2025? Let's all find out together!

Look, just gonna shoot straight with you: we got a little out of contol and maybe kinda sorta chattered fo about 37 minutes before actually getting down to horror business. If you don't want to listen to Michelle dish about he Vegas tip, or hear our thoughts on the classist nature of Broadway shows, skip to 37:15 (Chapter 2).