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To prepare for our next episode of Under the Silver Lake, we go back and revisit our discussion on It Follows. Still trash by the way....

A monster that follows you forever is a killer premise. The problem is when the movie can’t decide what its own rules are. We spend this whole chat arguing about *It Follows* like two people trapped in a car with the doors open, because once we start pulling on the thread, everything from the lighting to the pacing to the “timeless” props becomes part of the case for the prosecution and the defense.

We walk through the story beat by beat: the opening beach nightmare, Jay’s curse, the explanation scene, the cabin attempts, and the pool finale that tries to turn a supernatural threat into an electrical engineering project. Along the way we dig into horror movie logic, internal consistency, and why “always coming for you” stops being scary if the entity pauses to pose for cool shots. We also talk about how the film echoes classic slashers like *Halloween*, and why borrowing a vibe is not the same as earning tension.

Then we hit the bigger question people love to debate: is *It Follows* an STD allegory, and if so, what is it actually asking you to do? If the only way to buy time is to pass it on, the story flirts with a moral problem it rarely confronts directly, and that’s where we get stuck arguing. After the hate-watch, we cool down with what we’re enjoying this week, including *The Sinner* and the game *Marvel Snap*, plus a quick rant detour into *Halloween Ends*. If you’re into horror film analysis, funny movie reviews, and unfiltered takes, subscribe, share the episode, and leave a review. What rule in a horror movie matters most to you?
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Dan: @shakybacon
Tony: @tonydczech

And follow the podcast on IG: @hatewatchingDAT

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A movie about endless yellow hallways should be pure nightmare fuel, so why did Backrooms leave us split between genuine admiration and total disbelief? We go scene by scene on what works, what collapses, and why the film’s biggest swing the “evil pirate” third act lands as either bold and terrifying or just plain silly, depending on what you want from horror.

We dig into the Backrooms lore problem: if the creator has a long web series and deep worldbuilding, how much should the movie explain for newcomers? We argue about rules versus answers, why audiences confuse the two, and how sound design, production design, and found footage choices can build real tension even when the story refuses to hand you clean explanations. We also get into the monster reveal debate and the question of whether modern “elevated horror” keeps getting labeled horror without delivering actual scares.

Then we go after the character layer. Clark reads like an anti-manosphere cautionary tale: entitled, self-deluded, and stuck performing change without wanting it. We talk through the therapist storyline, the mental health subtext, the off-screen “descent” we wanted to watch, and the alternative version of this film we think would turn the Backrooms into the main event instead of a backdrop.

If you love liminal space horror, internet-born mythology, and messy movie arguments where neither side backs down, hit play. Subscribe, share this with a friend who has strong horror opinions, and leave a review with your verdict: did Backrooms stick the landing or lose you on the monster?

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Dan: @shakybacon
Tony: @tonydczech

And follow the podcast on IG: @hatewatchingDAT

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The Astronaut (2025) spends a long time whispering “something is wrong” and then, in the final minutes, it starts yelling. We go full spoiler mode on this Kate Mara sci fi thriller and try to figure out how a movie can feel like nothing is happening while also setting up one of the most unhinged twist endings we have seen in a while.

We talk craft the whole way through: what suspense is supposed to do, why thrillers need a steady climb of evidence, and how microbudget filmmaking can either feel inventive or like the movie is “vibing” its way past basic logic. Along the way we hit the weirdest choices, a remote house in the woods that no real space agency would use, surveillance tech that barely matters, and a family dynamic that seems engineered so the ending does not feel too cruel. We also get into the body horror tipping point, the cicada weirdness, and the moments where the film teases three different movies at once: alien infiltration, mental breakdown, and government conspiracy.

Then we finally land on the twist and the actual plan, and it is so bold it makes us reconsider the whole ride. After that, we cool down with what we are watching and hating this week, from Love Island UK wins to trailer disappointments to Tony’s absolute fury at Dungeon Crawler Carl. Subscribe, share the show with a friend who loves messy sci fi, and leave a review with your verdict: does a great ending forgive a slow movie?
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Dan: @shakybacon
Tony: @tonydczech

And follow the podcast on IG: @hatewatchingDAT

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94% on Rotten Tomatoes should feel like a slam dunk. Instead, Obsession (2026) sent us into full detective mode: how does a movie with gorgeous shots, impressive sound design, and strong acting end up feeling so slow, so consequence-free, and so weirdly safe?

We walk through the wish premise (a guy wishes a woman will love him more than anyone in the world), why that setup should be terrifying on a consent and agency level, and why the film keeps slipping away from its own most disturbing idea. We also get specific about what works: a genuinely hilarious helpline call, a couple of scenes that finally lean into horror, and a handful of lines that have become instantly quotable. Then we get into what doesn’t: unclear monster rules, characters who don’t feel like they have consistent opinions, and cutaways right when the story should force real emotional fallout.

Along the way we ask the question we can’t stop asking: is this a horror movie, a thriller, or a collection of TikTok-ready moments stitched together? If you’ve watched Obsession (2026) and loved it, we want to hear why, because our brains are still stuck on the “half measures.” Subscribe for more contrarian movie talk, share this with the friend who defends the 94%, and leave a review with your take: what single rewrite would fix it?

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Dan: @shakybacon
Tony: @tonydczech

And follow the podcast on IG: @hatewatchingDAT

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A world where you can literally spend your life on a cup of coffee should be terrifying. Instead, In Time (2011) somehow turns one of the best sci-fi dystopia premises of the last two decades into a story that keeps dodging its own consequences, and we could not let that slide.

We walk through Andrew Niccol’s time-currency concept scene by scene, from the moment Justin Timberlake’s character gets a life-changing windfall to the way the movie handles time transfer, surveillance, and the so-called Timekeepers. Along the way we get into the stuff that matters to anyone who loves film craft: why voiceover often signals a script problem, how music choices can kill tension, and why a police-state setting can’t have “we don’t have the last five minutes of footage” energy. We also give credit where it’s due, because Roger Deakins’ cinematography makes several moments look genuinely stunning even when the logic is melting down.

Then we hit the big pivot: when “time is money” stops being a story engine and the movie becomes a Bonnie and Clyde style bank robbery spree. We talk class zones, tolls, the weird math of the “million years” plan, and the action beats that look unintentionally hilarious. If you’ve ever argued about plot holes, world rules, or why great premises deserve better scripts, you’ll have plenty to yell about with us.

Subscribe for more hate-watching, share this with a friend who loves sci-fi movies, and leave a review with your favorite “wait, how does that work?” moment from In Time.

Written Lovingly by AI
Be our friend!

Dan: @shakybacon
Tony: @tonydczech

And follow the podcast on IG: @hatewatchingDAT