You have to control yourself.

You have to control yourself. And welcome back to horror queers.

We're talking special coins.

We're talking treasure hunts.

And we're talking flooded caves.

And I'm Joe.

And I'm Trace.

And we're talking one, dos, Trace, talk on the parade.

Okay.

Okay, everyone.

We are discussing J.A. Bayona's The Orphanage.

One of my personal favorite ghost stories, because it's a movie that it simultaneously scares me as much as it makes me cry.

This movie is deeply upsetting.

It's unique in that I think it's a horror film the first time you watch it.

Right.

But once you know what's going on, you're kind of like, oh, I mean, it's a ghost story.

Sure.

I don't find it as scary on a second watch except for that one, two-minute scene with that knocking game. Yes. And there's a great moment of gore. And folks, if you have not seen this film and you're just listening to us, I am going to say this is a film that has a kind of twist to it. I don't think it's a deal breaker, but I know some people do treat this like a puzzle film. So if you haven't seen it and you don't want to be spoiled, would recommend pausing the episode, watching the movie, and then coming back. Yeah, I absolutely would say that you could have this spoiled for you in the sense that, yeah, if you have it spoiled for you, the genre of film changes. Right. Yeah. Kind of. We'll discuss it. We'll discuss it. Actually, let me bring in our guests

who's waiting in the wing. So everyone, she's got a PhD in cinema studies and currently

acts as a contributing editor for Screen Anarchy. She has written essays for Blu-ray and DVD

releases of such films as Paul Verhoeven's Black Book and Patty Jenkins's Monster. Her book,

The Spanish Fantastic, Contemporary filmmaking and Horror, Fantasy, and Sci-Fi, is also available right now. And you may remember her from our episode on Your Vice is a Locked Room and Only I Have The Key, great title. Please welcome back. Sheila Rowan Legg. Hello and Graziez. Thank you. Very nice to be back. Yes, glad to have you on this. I'm so excited to talk about this. I've been waiting to cover this for a while, but yes, thank you for joining us for this film. Well, it's funny. I haven't, you know, seen it in a long time, but of course, an image from the film is the cover of my book on Spanish cinema. So it's,

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