Greetings, and welcome back to Horror Business. We have one awesome Christmas episode in store for you guys, because we’re talking 1972’s Silent Night, Bloody Night and 1995’s The Day Of The Beast.

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We start by talking about what we’ve done involving horror recently. Liam talks about re-watching Onyx The Fortuitious, as well as the newest Godzilla jawn, Godzilla Minus One, and the Robert Kirkman comic, Oblivion Song. Justin talks about the films Night of the Hunter, It’s a Wonderful Knife, Baby Blue, A Creature Was Stirring, and The Sacrifice Game.

Up first is Silent Night, Bloody Night. We talk about how heavily the Warhol crew was involved in this film and Justin posits the film functions better as a mood than an actual story. Liam talks about how it reminds him of Shriek Of The Mutilated in that on paper, it sounds great, but the movie itself wasn’t that great; it has some lackluster pacing and odd exposition, despite overall being engaging.

We discuss the film’s place in the timeline of the “slasher” genre and how it’s not considered a slasher despite having all the trappings of one, as well as giallo (the red herring, etc.). We talk about how the institutional violence of the asylum setting is far more upsetting than the actual initial murders in the beginning and how the actual story that unfolds those murders are forgotten. Justin talks about how he’s not usually a fan of blatant exposition, but this movie executed it in an effective and unsettling way.

We discuss how the father’s most monstrous act is regretting the murder of his associates, but not the rape of his daughter. We talk about the possibility of this film influencing later films as it had, despite being somewhat unknown in present times, a relatively decent following while it was on the drive-in circuit.

Up next is The Day Of The Beast. We talk about the very real possibility that the entire movie is happening in the protagonist’s head only. We talk about the social criticism of fascism in the film and how Spanish neo-fascists are the tangible villains.

We briefly talk about the lingering impact of the Spanish civil war and how it affects the film in the way evil is depicted through acts of violence against vulnerable people, instead of committing acts of vice. Justin talks about the concept being as evil as possible to prove a theological point. We talk about the comedy of the film coming from the earnestness of it all.

We briefly talk about the silliness of the film having real heavy metal records displayed in scenes, but the actual music the characters listen to is obviously made for the movie by people who have no idea what heavy metal sounds like.

As always thank you for listening and to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening and donating. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to [email protected]. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, Paul Sharkey, and Doug Tilley for their technical contributions and fliers, Mike Smaczylo for the shirts and fliers (you can check more of his work out at here), and also thanks to Josh Alvarez for the theme song, Chris, Brad, and LVAC for the support and buttons (check them out at and on Twitter), Essex Coffee Roasters ( and a HUGE thank you to anyone who retweeted us or shared something on Facebook that we posted. Follow us on Twitter and Instagram at @thehorrorbiz666, like us on Facebook at, check out our Spotify account at Cinepunx, and remember to rate, review, and subscribe to us on ITunes. In fact, if you write us a review, email us with your mailing address and we’ll send you some free pins and stickers!  Check out for more info on some of our other podcasts, some ultra stylish Cinepunx related merchandise, and how you can donate to our Patreon! Until next time…thanks!