The Oh, Oh, Hi everyone and welcome back to the Faculty of Horror

Podcasting from the Horrid Halls of Academia. I'm Alex West with Andrea

Subasati and we're back for another month to bring all of the

juicy brainy goodness back to your ears but right off the top we just want to

remind everyone that our t-shirts are still on sale. The class of 2018

t-shirts are on sale and we will link to them in the show note so if you haven't

picked them up yet, grab them.

Grab them all.

Yeah, grab them up.

Sales thus far have been quite good

and they've been arriving at their destinations.

We've been seeing Instagram posts and tweets

with selfies and photos of them and they look great.

Thank you so much for taking those and sharing them with us.

It's awesome to see and they are a limited edition that are going to be available until September of this year so don't

wait if you want to pick one up avoid disappointment because when they're gone they're gone for good.

But on to today's topic, today we are tackling two films which share a striking amount of DNA, not only

thematically, but also kind of in their production and in the world they were made in and

I have been wanting to tackle these two films for a really long time as a kind of pseudo origin of the slasher film which I think as many people know is one of my favorite sub-genres in horror.

This was, I mean we wanted to do psycho forever but I have to admit that there was a part of me that was kind of dreading it because there is so much scholarship done on this film.

And this is popped up again in the podcast before when we tackle something that's a classic that's really positively

regarded and heavily documented we're like what do we have to contribute to this

...