Morally Offensive
- Episodios
- 68
- Se publica
- cada semana
- Último episodio
- 13 Nov 2026
Sobre el podcast
Morally Offensive is a weekly film podcast about the movies the Catholic Church tried to warn you about. We revisit films “Condemned” by the Legion of Decency, unpacking the outrage, the censorship, and the cultural shifts behind them.
Episodios 68
Carrie (1976) Part 2: Life Is For the Wicked, Not So Heaven-Sent
SPOILER ALERT: This episode has spoilers for and discussion of Mike Flanagan's Carrie series. In Part 2 of Morally Offensive’s two-part episode on Carrie (1976), Bill and Jess are joined by Morally Offensive …
Notas del episodio
SPOILER ALERT: This episode has spoilers for and discussion of Mike Flanagan's Carrie series.
In Part 2 of Morally Offensive’s two-part episode on Carrie (1976), Bill and Jess are joined by Morally Offensive co-founder Cisco Scartozzi to dig into Brian De Palma’s classic Stephen King adaptation, from the infamous prom night massacre to the behind-the-scenes stories, cinematography, special effects challenges, and production mishaps that brought Carrie White’s telekinetic revenge to life. Has the film’s opening slow-motion tracking shot through the girls’ locker room aged poorly, or were Catholic reviewers overreacting? And why is a supposedly fundamentalist Protestant household decorated with so much Catholic kitsch? The discussion gets into the performances, the film’s religious imagery, Brian De Palma's mastery of the motivated moving camera, and footage that didn’t make the final cut, including additional scenes of Carrie practicing her telekinetic powers and the infamous "rain of stones".
The conversation also compares De Palma’s 1976 horror classic with Mike Flanagan’s new Carrie series, with major spoilers for the series. What changes when Stephen King’s story is reimagined for a new generation, and what do both adaptations have to say about religious fanaticism, bullying, repression, and the horrors of adolescence? Plus, one of the hosts REALLY had to rub it in that he got to see Haute and Freddy play a small venue before Flanagan recruited them to basically score his verion of Carrie.
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SPOILER ALERT: This episode has spoilers for and discussion of Mike Flanagan's Carrie series. In Part 1 of a two-part episode on Carrie (1976), Morally Offensive examines the Catholic Legion of Decency’s …
Notas del episodio
SPOILER ALERT: This episode has spoilers for and discussion of Mike Flanagan's Carrie series.
In Part 1 of a two-part episode on Carrie (1976), Morally Offensive examines the Catholic Legion of Decency’s condemned reviews of Brian De Palma’s adaptation of Stephen King’s debut novel, along with the film’s script, pre-production, and casting. Hosts Bill and Jess are joined by guest Cisco Scartozzi for a conversation about Stephen King, Catholic guilt, and growing up during the Satanic Panic, when horror movies and the occult could make for some very uncomfortable family discussions.
Cisco’s parents wouldn’t let him watch horror movies, but they were perfectly happy to see him reading Stephen King (at least the kid WAS reading). Jess evidently made it through years of Catholic catechism without ever cracking open a Bible, while Bill grew up in a household where demons were considered a genuine threat and Stephen King was definitely off the table. Instead, he buried himself in the classics, from Ukrainian folk horror to Edgar Allan Poe. The episode also looks at Mike Flanagan’s new Carrie series and revisits King’s original novel to compare it with De Palma’s vision of religious extremism, teenage bullying, and telekinetic revenge.
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In Part 2 of our two-part episode on Bride of Frankenstein (1935), Morally Offensive finally gets into the movie itself. Bill, Kevin, and Robert L. Kelly of the Record All Monsters podcast (and former …
Notas del episodio
In Part 2 of our two-part episode on Bride of Frankenstein (1935), Morally Offensive finally gets into the movie itself. Bill, Kevin, and Robert L. Kelly of the Record All Monsters podcast (and former Exorcist's assistant) walk through the plot of James Whale’s Universal horror classic, digging into the making of the film, behind-the-scenes stories, and the creative decisions that helped make it one of the most celebrated monster movies of all time.
We also get into the legacy of Mary Shelley, Boris Karloff’s defining performance as Frankenstein’s Monster, and the meaning behind a story that has become so much bigger than its original novel. What does Frankenstein’s Monster represent, and why does he continue to haunt popular culture nearly 200 years after Shelley first brought him to life? From classic Hollywood horror and the Universal Monsters to questions of creation, humanity, and what it means to be an outsider, we try to figure out why this story refuses to stay dead.
TW for Suicide
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In Part 1 of our two-part episode on Bride of Frankenstein (1935), Morally Offensive takes a look at the Catholic Legion of Decency’s censorship records (courtesy of the Academy Film Archive) and the crew …
Notas del episodio
In Part 1 of our two-part episode on Bride of Frankenstein (1935), Morally Offensive takes a look at the Catholic Legion of Decency’s censorship records (courtesy of the Academy Film Archive) and the crew discover that James Whale’s classic Universal monster movie had some very specific problems for Joseph Breen and company. The objections include exposed breasts, a priest getting injured by Frankenstein’s Monster, a baby wetting its diaper, and the Monster attempting to pull Jesus off the cross. Apparently, even a family classic like the Bride of Frankenstein wasn’t safe from a little Catholic pearl clutching.
We also get into the film’s pre-production, the development of its screenplay, and the career of director James Whale, whose success in 1930s Hollywood came alongside a degree of openness about his homosexuality that was unusual for the era. Joining Bill and Kevin for this deep dive into classic horror, Hollywood censorship, and the Catholic Church’s crusade against supposedly offensive movies is Robert L. Kelly of the Record All Monsters podcast and book. Naturally, we also take the opportunity to grill him about his time as an Exorcist's assistant, because that seems like a perfectly normal thing to bring up while discussing Frankenstein.
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Bill and Stephanie are joined once again by the winner of the Milwaukee Film Silent Auction, Bill's Sister-In-Law, Shannon, for episode two on Basic Instinct (1992), as part of the American Giallo series. They …
Notas del episodio
Bill and Stephanie are joined once again by the winner of the Milwaukee Film Silent Auction, Bill's Sister-In-Law, Shannon, for episode two on Basic Instinct (1992), as part of the American Giallo series. They really try hard to make it through the plot of the movie, but when a movie is built around intense, often ludicrous, sex and violence, it’s hard to get very far without asking some uncomfortable questions about the people who made it. Doubly so, if your podcast is about Catholic moralizing and pearl-clutching.
Sharon Stone’s infamous interrogation scene becomes a sticking point as the trio get into the ethics of filmmaking, the treatment of its leading actress, and the thin blue line between pushing boundaries and exploiting actors. Bill, Stephanie, and Shannon get into a HEATED debate about the merits of the movie and its makers, in an incredibly intense, but respectful conversation about several delicate topics.
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For the next installment in their American Giallo series, Bill and Stephanie are joined by Shannon, Bill’s sister-in-law and the winner of the Milwaukee Film Silent Auction prize to guest on the show, to …
Notas del episodio
For the next installment in their American Giallo series, Bill and Stephanie are joined by Shannon, Bill’s sister-in-law and the winner of the Milwaukee Film Silent Auction prize to guest on the show, to discuss Paul Verhoeven’s Basic Instinct (1992). Starring Michael Douglas and Sharon Stone, this erotic thriller inspired protests from the religious right, feminists, and the LGBTQ community, all for very different reasons. The question is: Was there overlap with the Catholic review from the Catholic Film Office? Why did THEY condemn the movie?
The crew get into the movie’s reputation, its depiction of bisexuality, and the long-running debate over whether showing sexualized violence on screen is the same as normalizing it. Those questions haven't gone away, particularly in a culture that still has deep-seated problems with misogyny, SA, and not holding men accountable for their actions. This was recorded in the wake of the Cornell 7 case and right before the airing of Shane Gillis’s misogynist and controversial SNL monologue, which makes revisiting Basic Instinct at this moment far more prescient than the podcast had ever intended.
Finally, Bill just HAD to talk about Joe Eszterhas and Mel Gibson's wacky adventures trying to make a movie about the Maccabees.
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When we initially released this episode, in the early days of the podcast, Cisco had temporarily returned to the Movie Buffs podcast, and film curator and writer Stephanie Sack stepped in to the fill the void …
Notas del episodio
When we initially released this episode, in the early days of the podcast, Cisco had temporarily returned to the Movie Buffs podcast, and film curator and writer Stephanie Sack stepped in to the fill the void. We had no idea if we would keep going, we had no clue that our Devils episode would help us reach an entirely new audience, and we certainly did not anticipate Warner Brothers FINALLY re-releasing an uncut, restored version of Ken Russell's vision. We were joined by film and TV producer/writer/ghost hunter/sex expert Ken Melvoin-Berg (Sex with Sunny Megatron on Showtime) to talk about one of the MOST Morally Offensive films of all of the films Condemned by the Catholic Church (NCOMP, really, but we all know that doesn't make for good hook copy). Not only was Russell's film especially naughty, still garnering an NC-17 in it's re-release, but it directly called out religious hypocrisy and the evils that can occur when the church and state are one. Based on the Aldous Huxley novel, this is a film that is incredibly prescient and relevant, at a time when billionaires preach about the anti-christ, and wave upside-down bibles in the air, while defending and covering for perpetrators of the most vile acts of human depravity imaginable. This film is, in many ways, a spiritual companion piece to our podcast, and it is incredibly moving to see this masterpiece finally get its due. So, if you are new to the film, new to the podcast, or a subscriber and may have missed it, here is our detailed, epic episode on Ken Russell's The Devils. We hope you enjoy and choose to subscribe to our podcast about morality, religious trauma, hypocrisy and dirty movies.
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In Part Two of our discussion of The Eyes of Laura Mars (1978), Bill and Kevin are joined by Ben Schneider from Reel Beans Podcast, and finally get into the movie itself. As part of the continuing American …
Notas del episodio
In Part Two of our discussion of The Eyes of Laura Mars (1978), Bill and Kevin are joined by Ben Schneider from Reel Beans Podcast, and finally get into the movie itself. As part of the continuing American Giallo series, they walk through the plot, dig into the production and behind-the-scenes history, and see whether the Catholic reviews from Part One actually hold any weight.
The crew goes over Faye Dunaway’s performance, Tommy Lee Jones' moralizing detective, the film’s strange blend of murder mystery and 1970s thriller, and the Helmut Newton fashion photography at the center of it all. The crew digs into what the movie might be saying about advertising, voyeurism, Capitalism, and the exploitation of women’s bodies. Is The Eyes of Laura Mars really just sleazy sexploitation ala Helmut Newton and Studio 54, or is there a more interesting argument buried underneath the pile of bodies and haute couture?
Were the Catholic reviewers onto something in their critiques, or were they totally off base? Did some of the reviewers get it, or at LEAST seem to grasp part of its meaning? Tune in (are we still saying that in the streaming era?) to find out!
Theme song by Bill "Netherlands" Holland
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Bill and Kevin are back with another installment in the American Giallo series, and this time we’re staring directly into The Eyes of Laura Mars (1978) with Ben Schneider from Reel Beans Podcast. In Part One …
Notas del episodio
Bill and Kevin are back with another installment in the American Giallo series, and this time we’re staring directly into The Eyes of Laura Mars (1978) with Ben Schneider from Reel Beans Podcast. In Part One, the guys dig through the Catholic reviews and internal memoranda on Irvin Kershner’s Faye Dunaway thriller, and apparently the “Catholics” had some thoughts. One reviewer dismissed the movie as “twaddle,” another wrote it off as grocery store schlock, and then there’s the surprisingly thoughtful review from one B.F. Dick. Yes...that's actually his name.
We also get into the bizarre screenwriting history behind The Eyes of Laura Mars, including the long-running rumors about Italian screenwriter Ernesto Gastaldi’s involvement, and talk about Faye Dunaway’s absolutely killer run of movies leading up to this one. Along the way, we look at the film as a piece of American Giallo, the Catholic obsession with sex and violence on screen, and the strange path this very strange movie took from hands of John Carpenter, to the Eyes of Laura Mars.
Check out episode one, and definitely come back for a deep dive into the movie and behind the scenes tidits in episode two.
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Bill and Jess continue their American Giallo series with Cisco Scartozzi for the second half of Brian De Palma’s Body Double (1984). Once again, Cisco is playing defense for De Palma, and Jess is dissecting …
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Bill and Jess continue their American Giallo series with Cisco Scartozzi for the second half of Brian De Palma’s Body Double (1984). Once again, Cisco is playing defense for De Palma, and Jess is dissecting some of the less savory subtexts within his films. This time, we dig into the behind-the-scenes stories surrounding the film’s second half, including the casting of Melanie Griffith, De Palma’s obsession with the Hitchcock blonde, and the unexpected Frankie Goes to Hollywood music video that splits the movie in half.
We also get into the movie’s wildly uneven tone, its mix of erotic thriller, horror, satire, and whether all those competing ideas ultimately work. Despite its shortcomings, there’s plenty to unpack in Body Double, from its elaborate set pieces and technical filmmaking to the strange collection of ideas that make it such a memorable entry in the American Giallo series.
*The views and opinions expressed in this program are those of the hosts and guests. They do not necessarily reflect the official policy or position of the podcast, its management, or any affiliated organizations. Information provided by guests is their own and does not constitute an endorsement by the show.
Theme song by Bill "Netherlands" Holland
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Do you like dirty movies? Did you grow up Catholic? Did you not grow up Catholic, but dislike censorship? Are you passionate about the history of film? Do you enjoy discussing film in the context of the past as …
Notas del episodio
Do you like dirty movies? Did you grow up Catholic? Did you not grow up Catholic, but dislike censorship? Are you passionate about the history of film? Do you enjoy discussing film in the context of the past as well as modern social issues? Do you enjoy hearing weird personal anecdotes about DIY Exorcisms, being condemned by your own parents, or having your entire high school banned from a cathedral? Are you looking for a film podcast made by a bunch of native midwesterners who unironically use the word "Ope"? Then, this podcast MAY be for you!
Body Double (1984): Makes You Hot, Doesn't It? | Part One (American Giallo)
In this episode of Morally Offensive, Bill and Jess are joined by former co-host Cisco Scartozzi to take on Brian De Palma’s Body Double (1984), a voyeuristic erotic reimagining of Vertigo packed with Hitchcock …
Notas del episodio
In this episode of Morally Offensive, Bill and Jess are joined by former co-host Cisco Scartozzi to take on Brian De Palma’s Body Double (1984), a voyeuristic erotic reimagining of Vertigo packed with Hitchcock references, murder, sex, bright red blood, and some of De Palma’s most controversial ideas about the male gaze, desire, and women.
We read the Catholic condemned review of Body Double and dig into De Palma’s career, his obsession with Hitchcock, and the ongoing debate over his treatment and sexualization of violence against women. Jess is firmly anti-De Palma, with Carrie as the notable exception. Cisco comes ready to defend De Palma, while Bill plays referee in a heated debate about the nature of sex and violence onscreen.
We also discuss De Palma putting his foot in his mouth during interviews, Jake Scully getting cucked, the cinematic legacy of driller killers, LA's famed Chemosphere house, Hitchcock's bounced check movie "Under Capricorn", and, naturally, putting onions on hot dogs. With three hosts in one room, it's a sweatbox of an episode, where the crew heatedly debates the merits of DePalma's desire to push the mainstream erotic thriller as far as the ratings board would let it.
Alice Sweet Alice (1976): When Rigid Catholic Devotion Becomes Psychosis | Part Two (American Giallo)
In Part 2 of Morally Offensive’s deep dive into Alice, Sweet Alice (1976), Bill and the gang look beyond the film’s Catholic imagery to examine director Alfred Sole’s career and the real-world religious and …
Notas del episodio
In Part 2 of Morally Offensive’s deep dive into Alice, Sweet Alice (1976), Bill and the gang look beyond the film’s Catholic imagery to examine director Alfred Sole’s career and the real-world religious and psychological ideas lurking beneath the movie’s murders, masks, and First Communion.
The episode explores Sole’s two later feature films and his career as a production designer, before turning back to the film’s depiction of Catholicism and mental health. The discussion digs into the Catholic fear of therapy and the recurring cultural idea that confession can serve as a substitute for psychological care. The hosts also tackle excommunication and ask whether the extreme punishment actually makes sense within Catholic theology given the film’s known acts of mortal sin.
From there, the conversation gets into religious psychosis, scrupulosity, and the ways high-control religious environments can affect people who struggle with ADHD, OCD, and other disabilities. The hosts discuss how an obsessive focus on religious rules and sin can come at the expense of a person’s psychological and physical well-being.
Part 2 of Alice, Sweet Alice takes the film’s Catholic horror seriously, asking where religious devotion ends, where psychological distress begins, and what happens when the two become impossible to separate.
*The views and opinions expressed in this program are those of the hosts and guests. They do not necessarily reflect the official policy or position of the podcast, its management, or any affiliated organizations. Information provided by guests is their own and does not constitute an endorsement by the show.
Theme song by Bill "Netherlands" Holland
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In Part One of their two-part deep dive into Alfred Sole’s Alice, Sweet Alice (1976), Bill and Kevin are joined by Janecka Deer of Scream Queen Podcast to explore a now-classic Catholic adjacent horror films of …
Notas del episodio
In Part One of their two-part deep dive into Alfred Sole’s Alice, Sweet Alice (1976), Bill and Kevin are joined by Janecka Deer of Scream Queen Podcast to explore a now-classic Catholic adjacent horror films of the 1970s.
Set in Paterson, New Jersey, in 1961, Alice, Sweet Alice follows twelve-year-old Alice Spages as her younger sister Karen prepares for her First Communion. When Karen is murdered, a mysterious figure in a translucent mask sets off a disturbing mystery involving childhood, first communion, puberty, family dysfunction, and violence.
Bill, Kevin, and Janecka dig into the film’s religious imagery, First Communion iconography, grimy 1960s setting, Brooke Shields’ early role, Paula Sheppard’s unsettling performance, and Sole’s distinctive approach to horror.
The discussion also looks back at Sole’s controversial debut, Deep Sleep, which attracted Catholic criticism, the FBI, and got the director excommunicated from the church. While Alice, Sweet Alice had no Catholic reviews of its own, Sole’s history with Catholic censors provides important context for this strange and provocative piece of American horror.
And this is only the beginning. Part Two takes the investigation through the rest of Alice, Sweet Alice.
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This week on Morally Offensive, past guest Ophelia Crane returns for Pretty Maids All in a Row (1971), Roger Vadim’s deeply unpleasant high school sex comedy/murder mystery, written by Star Trek creator Gene …
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This week on Morally Offensive, past guest Ophelia Crane returns for Pretty Maids All in a Row (1971), Roger Vadim’s deeply unpleasant high school sex comedy/murder mystery, written by Star Trek creator Gene Roddenberry. We ask the question: Why does Quentin Tarantino LOVE this movie?
We get into Roger Vadim’s sleazy history, Roddenberry’s involvement and our subsequent ruining of Star Trek for ourselves, the curious casting of Rock Hudson, and Angie Dickinson shedding her Police Woman uniform. Or is it Lady Cop? Woman Cop!? Cop Woman!? Plus: Telly Savalas, every 1971 auntie's favorite sex symbol (evidently).
There’s a lot more going on in Pretty Maids All in a Row than its swinging ’70s exterior suggests, and watching it in 2026 makes some of its choices land particularly badly. The film offended secular and religious audiences when it first came out, but it feels particularly disturbing and irresponsible in a post-Epstein Files world. We hated this movie on just about every level, and oddly found ourselves often agreeing with the Catholic censors and reviewers.
Theme song by Bill "Netherlands" Holland
Special "Space" intro Music: Geoff Harvey
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In Part 2 of Morally Offensive’s American Giallo deep dive into Brian De Palma’s Dressed to Kill (1980), Bill, Jess, and Ava Davis get into the cast, production, infamous shower scene, and the choices that made …
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In Part 2 of Morally Offensive’s American Giallo deep dive into Brian De Palma’s Dressed to Kill (1980), Bill, Jess, and Ava Davis get into the cast, production, infamous shower scene, and the choices that made Dressed to Kill one of the most controversial films of Brian De Palma’s career. The discussion looks at the film’s place between Italian giallo, Hitchcockian thriller, erotic thriller, and American horror, while taking a closer look at what has and has not aged well in De Palma’s most provocative work.
The episode examines the controversial use of Victoria Lynn Johnson as Angie Dickinson’s body double in the shower sequence, the making of Dressed to Kill, and De Palma’s decision to double down on the film’s transgender themes, or what we would now recognize as its portrayal of transgender identity. The conversation also digs into the film’s technical craft, from De Palma’s elaborate camera movements, split screens, POV shots, Hitchcock references, and elaborate set pieces to Pino Donaggio’s extraordinary and unmistakable score. Bill makes the case for the formal brilliance of Dressed to Kill, while Jess and Ava argue that its troubling representation of transgender identity, uneven filmmaking, and exploitation of its own controversial themes make the film increasingly difficult to defend. Is Dressed to Kill a great American Giallo? A deeply flawed Brian De Palma thriller? A Hitchcock homage filtered through 1980s exploitation cinema? Or is it somehow all three at once?
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Bill and Jess are joined by filmmaker and actor Ava Davis to kick off their discussion of Brian De Palma's highly controversial film Dressed to Kill (1980). Starring Michael Caine, Angie Dickinson, Nancy Allen …
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Bill and Jess are joined by filmmaker and actor Ava Davis to kick off their discussion of Brian De Palma's highly controversial film Dressed to Kill (1980). Starring Michael Caine, Angie Dickinson, Nancy Allen, and Keith Gordon, Dressed to Kill blends Hitchcockian suspense with the stylish murder mysteries of Italian giallo, helping define the American Giallo movement while becoming one of the most influential psychological thrillers of the 1980s. Upon its release, the film ignited fierce debate over violence, sexuality, gender, artistic freedom, and censorship, and more than four decades later it remains one of Brian De Palma's most celebrated and polarizing films.
For the first time, Morally Offensive draws from previously unexplored material in the National Center for the Study of Censorship and the Moving Image (NCOMP) archives at the Catholic University of America. These archival files reveal how Catholic critics reacted to Dressed to Kill in real time, including surprisingly candid reviews, pointed disagreements with mainstream critics, and one especially memorable attack aimed at legendary film critic Pauline Kael. Along the way, Bill, Jess, and Ava explore Brian De Palma's Catholic upbringing, Alfred Hitchcock's influence on his filmmaking, the film's place within the American Giallo tradition, how Dressed to Kill has aged in light of modern conversations about transgender representation in cinema, and its enduring influence on horror, thrillers, and contemporary filmmakers.
Featuring exclusive archival research from the Catholic University of America, this episode examines Dressed to Kill through the lenses of film history, Catholic censorship, American Giallo, and modern cultural criticism, uncovering why Brian De Palma's controversial masterpiece continues to inspire debate more than forty years after its release.
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Bill and Kevin are joined once again by Milwaukee journalist Michail Takach to conclude their discussion of American Gigolo (1980), the first film in the American Giallo series. The conversation covers the …
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Bill and Kevin are joined once again by Milwaukee journalist Michail Takach to conclude their discussion of American Gigolo (1980), the first film in the American Giallo series.
The conversation covers the film's second half, from Julian Kaye's downfall to its quietly redemptive ending. Bill argues that Paul Schrader's screenplay, informed by the filmmaker's strict Calvinist upbringing in rural Michigan and the spiritual questions that run throughout his work, ultimately tells a deeply Christian—and even distinctly Catholic—story of grace, redemption, and transformation. Drawing comparisons to Robert Bresson's Pickpocket, the hosts revisit the Catholic reviews discussed in Part One and make the case that the film's theological undercurrents are richer than its Catholic critics gave it credit for. Along the way, they discuss Richard Gere's star-making performance, Lauren Hutton, Héctor Elizondo, and the supporting cast, examining the performances and creative choices that have helped American Gigolo endure.
Michail also shares his personal experiences at Los Angeles's legendary Probe nightclub, one of the clubs that helped define the city's late 1970s nightlife and inspired the world of American Gigolo. The episode closes with a discussion of American Gigolo as a critique of the Baby Boomers' "Me Generation," exploring how Schrader's portrait of image, wealth, and self-invention anticipated the hollow materialism that would come to define much of the 1980s.
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Bill and Kevin kick off a brand new season of Morally Offensive with American Giallo, a series exploring American thrillers from the 1970s through the 1990s that borrow the style, themes, and visual language of …
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Bill and Kevin kick off a brand new season of Morally Offensive with American Giallo, a series exploring American thrillers from the 1970s through the 1990s that borrow the style, themes, and visual language of Italy's legendary giallo films.
Their first stop is American Gigolo (1980), Paul Schrader's sleek and controversial neo-noir starring Richard Gere in the role that transformed him into an international star. Joining them is Milwaukee journalist and LGBTQ historian Michail Takach to examine how the film blends erotic thriller, crime drama, psychological character study, and high fashion into one of the defining American films of the early 1980s.
The conversation explores Schrader's Calvinist worldview, Giorgio Moroder's groundbreaking electronic score, Dan Perri's iconic title sequence, and the turbulent behind the scenes behind Blondie's "Call Me." Along the way, Bill, Kevin, and Michail discuss how this film announced the style of the 1980s, the influence of Italian giallo on American filmmaking, masculinity, rampant consumerism, the cocaine hangover from the sexual revolution and the disco era homophobia in film, and why American Gigolo remains one of the most stylish, influential, and misunderstood neo-noirs ever made. Diversions include Giorgio Moroder eating chicken, Chevy Chase almost being offered the lead role, the worst Catholic review we've found so far, and the man who got rich off a fake autobiography of Howard Hughes. We also discuss the fact that Pretty Woman and American Gigolo are perfect bookends to the Reagan 80s, and even float our conspiracy theories about the films taking place in the same universe.
Whether you're a fan of Paul Schrader, Richard Gere, Italian giallo, neo-noir, erotic thrillers, film history, cult cinema, or classic 1980s movies, this episode launches our American Giallo series by tracing the DNA between European genre cinema and the American thrillers it inspired.
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Bill and Stephanie are joined once again by author and screenwriter J. Patrick Hanley for part two of their discussion of Abel Ferrara's Ms. 45 (1981), the controversial cult classic revenge thriller starring …
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Bill and Stephanie are joined once again by author and screenwriter J. Patrick Hanley for part two of their discussion of Abel Ferrara's Ms. 45 (1981), the controversial cult classic revenge thriller starring Zoë Tamerlis Lund. This episode focuses on the film's second and third acts as Thana evolves from a traumatized garment worker into one of the most infamous vigilante figures in 80s exploitation cinema. The conversation explores Thana's origin story as a female vigilante, and how Ms. 45 fits within the rape-revenge subgenre alongside other landmark exploitation and horror films of the 1970s and 1980s.
More than forty years after its release, Ms. 45 remains one of the most controversial and influential cult movies ever made, continuing to generate debate among horror fans, film historians, and critics about violence, gender, morality, and the enduring legacy of one of New York's most notorious exploitation films.
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Bill and Stephanie are joined by author and screenwriter J. Patrick Hanley to discuss cradle Catholic Abel Ferrara's cult classic Ms. 45 (1981), one of the most controversial, influential, and widely debated …
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Bill and Stephanie are joined by author and screenwriter J. Patrick Hanley to discuss cradle Catholic Abel Ferrara's cult classic Ms. 45 (1981), one of the most controversial, influential, and widely debated revenge films of the 1980s.
The conversation explores the film's place in New York exploitation cinema, Ferrara's early career, and the unforgettable performance by Zoë Tamerlis Lund as Thana, a mute garment worker whose life is shattered by violence and her autonomy reclaimed through bloody revenge. Patrick, Bill, and Stephanie dig into what makes Ms. 45 so unsettling decades later: its refusal to offer easy catharsis, its grim portrait of urban alienation, and the way Ferrara blurs the line between exploitation filmmaking and social commentary. They also wrestle with the film's competing readings as both a feminist statement and a provocative grindhouse revenge fantasy, examining why audiences continue to debate its intentions and legacy.
Along the way, they unpack the film's connection to the rape-revenge subgenre, Ferrara's filmography's place in the broader context of genre and exploitation cinema. The group discusses how Ms. 45 helped cement Ferrara's reputation as one of American cinema's most provocative and haunted cradle Catholic directors, while exploring the film's lasting influence on horror, thriller, and revenge movies that followed.
The conversation also dives into Lund's fascinating life and career, Ferrara's recurring Catholic themes of sin, guilt, judgment, and redemption. More than forty years after its release, Ms. 45 remains a lightning rod for debates about exploitation cinema, it's artistic value, and whether a film which focuses on violence against women, can ultimately transcend it's own genre trappings.
Is Ms. 45 a feminist revenge story, a cult horror classic, an exploitative pile of trash, or more complicated than it's lurid promo materials?
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Co-Hosts Dr. Jess and Bill are joined again by Tif Robinette for part two of their series on The First Omen (2024), focusing on the film’s third act, religious horror themes, and connections to the larger Omen …
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Co-Hosts Dr. Jess and Bill are joined again by Tif Robinette for part two of their series on The First Omen (2024), focusing on the film’s third act, religious horror themes, and connections to the larger Omen franchise.
They get into the film’s cinematography, the obvious influence of Andrzej Żuławski’s Possession, and the way director Arkasha Stevenson blends psychological horror, Catholic horror, and themes of bodily autonomy, pregnancy, and church control. The conversation also turns toward modern politics, the Antichrist as a political figure, and why certain strains of reactionary Catholicism seem less concerned with morality than with defeating secular culture at any cost.
We also spend time on the film’s treatment of abortion and reproductive control, including one of the movie’s stranger details: why exactly does a priest have an abortion doctor on speed dial?
Along the way, we get into The Omen timeline, laicized priests, Donald Trump tear-gassing Catholic nuns, and whether The Omen franchise is perhaps less Catholic and more Protestant in its worldview, given its suspicion of the Vatican and obsession with biblical apocalypse and end-times prophecy.
If you’re interested in horror movies, Catholic horror, The Omen franchise, religious conspiracy films, or the political themes behind modern horror cinema, this episode is for you.
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The First Omen (2024) Part 1: The Anti-Christ Goes to the Disco (ft. Tif Robinette) | Filthy Habits
Bill and Jess are joined by horror author and screenwriter Tif Robinette for the first of a two part discussion on The First Omen. What starts as a conversation about the newest entry in the Omen franchise …
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Bill and Jess are joined by horror author and screenwriter Tif Robinette for the first of a two part discussion on The First Omen. What starts as a conversation about the newest entry in the Omen franchise turns into a much larger discussion about Italy in the 1970s, institutional power, the antichrist, apocalypse, conspirituality, and what this films does to differentiate itself, while still being part of an iconic horror franchise.
The episode covers the Years of Lead and the atmosphere of political violence hanging over the period the film is trying to recreate, along with discussions of mother and baby homes, bodily autonomy, and the way the film approaches pregnancy and body horror.
Bill spends part of the episode derailing the conversation into a rant about Italy’s beat nightclub era, the cultural shift into Disco (and later on Italo Disco) while going through the needle drops in the film, which cover very different eras of Italian nightlife. The episode also looks at the movie’s visual style, its use of Catholic imagery, and why it feels closer to European horror filmmaking than most modern studio horror releases.
Part one focuses on a Catholic review from our favourite "Morally Offensive" critic John Mulderig from OSV News (the latest incarnation of the USCCB film rankings), why we can't help making fun of John's insistence on calling the young women in the film "tarts", and the the historical and cultural backdrop surrounding the film. The upcoming second episode will move further into the franchise, production history, and the larger themes running through the series.
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Killer Nun (1979): So Offensive That One of Us Walked Out After 10 Minutes | Filthy Habits
Bill and Stephanie are joined once again by returning guest Christopher Hoppe, previously heard on the show’s Stigmata episode, to discuss the notorious 1979 nunsploitation film Killer Nun starring Anita Ekberg …
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Bill and Stephanie are joined once again by returning guest Christopher Hoppe, previously heard on the show’s Stigmata episode, to discuss the notorious 1979 nunsploitation film Killer Nun starring Anita Ekberg and Joe Dallesandro. Inspired by a real, true crime case, the film follows Sister Gertrude, a morphine dependent nun whose grip on reality steadily collapses inside a convent hospital.
The episode covers the strange intersection of Catholic imagery, Italian exploitation cinema, psychological horror, and late 1970s grindhouse filmmaking, along with Anita Ekberg’s career after La Dolce Vita and the larger wave of controversial religious horror films coming out of Italy at the time.
Stephanie, however, barely made it through the movie. About ten minutes in, the dentures scene had her exiting the screening room, leaving Bill and Christopher to continue through the film’s murders, hallucinations, casual hookups, elder abuse, ludicrous nude scenes, and drug abuse.
We're also discussing cult cinema, giallo films, actors in political exile, nunsploitation, Catholicism, and one of the more notorious entries in 1970s Italian horror.
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Benedetta (2021) Part 2: Burning Charismatics & Blasphemous Sex Toys (ft. Veronica Novotny, Leave Laugh Love) | Filthy Habits
In Part II, Bill and Stephanie get into the plot of Benedetta, and break down the story, the performances, and why this film stirred up so much controversy around Catholic mysticism, sainthood, visions, and …
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In Part II, Bill and Stephanie get into the plot of Benedetta, and break down the story, the performances, and why this film stirred up so much controversy around Catholic mysticism, sainthood, visions, and miracles. They are once again joined by co-host of the Leave, Laugh, Love Podcast, Veronica Novotny, who once contemplated convent life.
In this episode, the three address Benedetta’s ecstatic visions, the plague backdrop of the film, they address THAT Virgin Mary statue, and ask whether or not the Pear of Anguish was actually a commonly used torture device during the witch trial and heretic burning era of the Reformation and Counter-Reformation.
There’s also a closer look at Paul Verhoeven and his career, including Basic Instinct, Showgirls, RoboCop, and Flesh and Blood, and his surprsing side gig as a Jesus expert.
Check out the Leave, Laugh, Love podcast: https://podcasts.apple.com/us/podcast/leave-laugh-love/id1755663974
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Bill and Stephanie are joined by Veronica (Leave, Laugh, Love) to talk about Benedetta—starting with her own experience discerning religious life, and the moment that path ended when she was denied entry to a …
Notas del episodio
Bill and Stephanie are joined by Veronica (Leave, Laugh, Love) to talk about Benedetta—starting with her own experience discerning religious life, and the moment that path ended when she was denied entry to a convent because she’s a lesbian.
From there, the conversation moves through fundamentalist Catholic spaces and the charismatic movement, touching on ideas like vocation, discernment, religious orders, and what it actually means to be “called” in a system with hard boundaries.
We also get into the reaction to Benedetta, including a harsh condemnation from Tradition, Family, Property and a more favorable take that approaches the film on its own terms.
Along the way, we set the stage for Part II with some context on director Paul Verhoeven—known for films like Basic Instinct, Showgirls, and RoboCop—and why a movie about Catholic mysticism, sainthood, and alleged miracles was always going to land exactly where it did: somewhere between serious religious drama and total controversy.
Check out the Leave, Laugh, Love podcast: https://podcasts.apple.com/us/podcast/leave-laugh-love/id1755663974
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This week on Morally Offensive, Bill, Jess, and special guest Syd King dive into The Little Hours—a medieval comedy where the nuns are anything but devout. Set in a 14th-century convent, the film follows a …
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This week on Morally Offensive, Bill, Jess, and special guest Syd King dive into The Little Hours—a medieval comedy where the nuns are anything but devout. Set in a 14th-century convent, the film follows a group of wildly unrestrained sisters who drink, swear, and terrorize the local help…until a fugitive posing as a deaf-mute handyman shows up and turns everything sideways.
What starts as a chaotic character study quickly spirals into a mix of lust, power plays, religious hypocrisy, and naked dancing in the woods. Along the way, the crew unpacks how the film pulls from The Decameron, why its anachronistic dialogue actually works, and how it gleefully pokes at the idea of holiness without completely dismissing it.
Tangents include youth pastors telling us we'd go to hell if we died in a car crash, that time Jess' classmates terrorized and vandalized Holy Hill Basilica, TMI Catholic confessions about your sex life, campus ministers on the run from the law, and Syd's proximity to Ryan Gosling on Saturday Night Live.
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This week, Bill and Jess are joined by comedian, actor, and writer Syd King to talk The Little Hours—a movie where nuns drink too much, swear constantly, and ignore basically every rule they’re supposed to …
Notas del episodio
This week, Bill and Jess are joined by comedian, actor, and writer Syd King to talk The Little Hours—a movie where nuns drink too much, swear constantly, and ignore basically every rule they’re supposed to follow. Loosely based on The Decameron, it’s equal parts historical weirdness and modern comedy. We get into the Catholic angle, the controversy (or lack of it), and why this kind of story keeps coming back.
In episode one, find out why Bill Donahue called the movie "Pure Trash", why a fringe Catholic Cult protested the movie (with bagpipes!), discover the existence of a creepy Catholic nun doll museum in northern Michigan, Jess finds out about "The Shack", and Bill reviews the hot dog menu from The Gay Bar in Gay, Michigan.
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In Part 2 of Jesus Christ Superstar (1973), we get into what happens when Jesus stops being a mere prophet, and is named "king" by his followers. Bill, Kevin and guest Orion Couling talk fame, ego, pressure …
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In Part 2 of Jesus Christ Superstar (1973), we get into what happens when Jesus stops being a mere prophet, and is named "king" by his followers. Bill, Kevin and guest Orion Couling talk fame, ego, pressure, and why nobody in this movie seems to have a handle on what’s a-happenin' (including Jesus).
Diversions include: stealing from David Brubeck, why the Apostles have a Hobbit problem, what you would buy with your 30 pieces of silver, and St. Peter actor Paul Thomas' storied adult film career post-JC Superstar.
This is another episode in our Filthy Habits series, which will return to focus on Nunsploitation next week, with an episode on The Little Hours.
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Jesus Christ Superstar is the musical that dared to ask: "What if the Gospels...but hippies?" This week on Morally Offensive, Bill and Kevin are joined by actor, filmmaker, ghost tour guide (and former Judas) …
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Jesus Christ Superstar is the musical that dared to ask: "What if the Gospels...but hippies?"
This week on Morally Offensive, Bill and Kevin are joined by actor, filmmaker, ghost tour guide (and former Judas) Orion Couling to break down Jesus Christ Superstar (1973). Along the way, expect some truly off-key singing as we dive into one of the most controversial religious films ever made.
We read through Catholic reactions ranging from outright condemnation to surprising praise, including claims that even the Pope was a fan, and unpack what made the film so divisive. Then we explore the fascinating history behind director Norman Jewison and the cast, pushing back on the idea that Jewison was simply a journeyman director and making the case for him as a true auteur.
Diversions include growing up Catholic on Dr. Dobson and Focus on the Family, DC Talk's "Nirvana" phase, Bill and Orion's time served on the Edmund Fitzgerald, and that one time Kevin got crucified on stage.
If you’re interested in Jesus Christ Superstar, religious film controversy, Catholic reviews, or the legacy of Norman Jewison, this episode digs into how a rock opera about Jesus became a cultural lightning rod.
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