13 O’Clock Matinee LIVE: The Sons Of Sam: A Descent Into Darkness (2021)

Tom and Jenny talk about a new Netflix docuseries that delves into the late journalist Maury Terry’s theory that serial killer David Berkowitz didn’t act alone, and was in fact part of a Satanic cult.

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Visit Jenny’s Amazon author page!



13 O’Clock Episode 126 – Son of Sam

On today’s crime-ridden installment, Tom and Jenny are tackling yet another of America’s most notorious serial killers: David Berkowitz, better known as the Son of Sam, who terrorized New York City in 1976 and 1977 and was ultimately convicted of six murders and seven attempted murders. Though this loathsome creep was eventually caught, mysteries still swirl around the case. Did he really commit the crimes at the behest of a demon-possessed dog? Was he a member of a Satanic cult? Did he actually act alone, or were there other shooters? Travel back in time to the poisoned Big Apple of the 1970s on this bloody and violent episode 126.

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13 O’Clock is hosted by Jenny Ashford & Tom Ross.


13 O’Clock Episode 96 – Robert Stack Attack! A Wide-Ranging Tribute to Unsolved Mysteries

One of our favorite TV shows of the 80s and 90s was Unsolved Mysteries, particularly during the Robert Stack era. As the show was such a beloved touchstone for us and inspired us to make the 13 O’Clock Podcast the crazy combination of paranormal, true crime, and weird history stories that it is, we thought it only fitting to discuss this cultural icon on our own little show. On this tangent-filled and far-reaching episode, we get into a brief history of Unsolved Mysteries, some fun facts about the show, and a few of our favorite featured cases, including some that the show helped solve. We also weave in digressions about D.B. Cooper, Son of Sam, the Beale ciphers, the inaccuracy of witness testimony, and much, much more! All this, plus some awesome listener-contributed ghost stories in our news segment! So sit back and listen to this homage to a childhood favorite, and you may be able to help solve the mystery presented on episode 96.

Watch the YouTube version here or download the audio version here.


Clip at the beginning taken from the opening of Unsolved Mysteries.

Song at the end: Unsolved Mysteries theme, composed by Michael Boyd and Gary Remal Malkin.

13 O’Clock is made possible through support from our patrons and fans: Anthony, Arif, Ashley, Ben, Brandon, Corinthian, Dan, Daniel, Dean, Duncan, Eric, Greg, Ima Shrew, James, Jamin, Jen, Joanie, John, Joseph, Kieron, Lana, Lars, Lindsey, Matt, Matthew, Michael, Paul, Richard, Samantha, Sandra, Sheena, Tara D., Tara M., Tina, Thomm, Valtrina, Veronica & Victoria.



13 O’Clock Episode 84 – The Haunting of Bobby Mackey’s

On this ghostly episode of 13 O’Clock, we’re going back to our recaps of “A Haunting” episodes, and this one is about one of the most famous haunted locations in the United States. Bobby Mackey’s Music World has been a popular Kentucky honky tonk since the late 1970s, but it’s evidently been haunted for as long as anyone can remember. Its alleged former use as a slaughterhouse and a speakeasy, as well as being the site of alleged suicides and at least one gruesome murder, has practically ensured that paranormal activity has often been reported and several ghost hunting teams have conducted investigations of the place. So slap on your ten-gallon hat and climb onto the mechanical bull as we run down the tale of the infamously spirit-infested country and western bar on episode 84.

Watch the YouTube version here or download the audio version here.


Clip at the beginning taken from A Haunting S01E02: “Gateway To Hell.”

Song at the end: “Johanna” by Bobby Mackey.



Horror Double Feature: Starry Eyes and The Invitation

It’s yet another Double Feature day at Chez Hellfire, and damn, if all the movies I’m going to be watching for this series are as fantastic as these two, then I’m going to be a very happy horror nerd indeed.

Like We Are Still Here, discussed previously, Starry Eyes also premiered at the South by Southwest film festival, albeit a year earlier, in 2014. Written and directed by Kevin Kölsch and Dennis Widmyer and partially funded through a Kickstarter campaign, the film has received tons of positive press, and it’s not hard to see why. Starry Eyes is essentially an homage to classic 60s and 70s Satanic cult flicks (Rosemary’s Baby, To the Devil a Daughter) filtered through the dark-side-of-Hollywood motifs of David Lynch’s Mulholland Drive and Inland Empire, with a giant, sticky dollop of gruesome, Cronenberg-style body horror thrown into the mix. The film is intensely disturbing, gloriously gross and violent, blackly comic, and absolutely riveting from start to finish, not only a fun (if extremely grim), gory ride, but also a startlingly cynical meditation on the lengths people will go to for fame, the soul-sucking nature of the Hollywood system, and the corrosive effects of unfettered ambition.


Easily the best thing about the film is the astounding breakout performance of lead actress Alex Essoe, who goes to unbelievable lengths for the role and makes her tragically flawed protagonist not only completely grounded and believable, but also simultaneously sympathetic and monstrous. Essoe plays Sarah Walker, one of millions of aspiring young starlets trying to make it in L.A. To pay the bills, she works at a dreary Hooters-type restaurant called Big Taters, but she feels she is destined for bigger things. To this end, she has been constantly going out for auditions and getting rejected, all the while trying to tamp down her extreme insecurity and self-hatred by pulling out her own hair and going into psychotic rages where she feels she must punish herself for her failings.

Not helping matters are the “friends” she surrounds herself with, only a few of which (particularly her roommate Tracy, played by Amanda Fuller, and aspiring indie film director Danny, played by Noah Segan) seem genuinely supportive of her goals. One friend in particular, a rather passive-aggressive bitch named Erin (played with cunty relish as well as surprising depth and humanity by Fabianne Therese) continually chips away at Sarah’s self-esteem with her denigrating comments.


As unsure of herself and relatively unstable as she is, Sarah does manage to pull off a decent audition for a horror film called The Silver Scream, produced by a long-running production company called Astraeus Films. The only problem is, her performance is really nothing special, just like all the others, and she is summarily dismissed by the intensely creepy casting agents (played by Maria Olsen and Marc Senter). In the bathroom after her audition, she looses her frustration in a torrent of primal screaming and hair pulling, and wouldn’t you know it, the casting agent happens to come into the bathroom and witness the psychotic episode, which piques her interest anew, prompting Sarah to come back to the casting office to re-enact her terrifying tantrum for them, so they can see “the real Sarah.”


As the story goes on, Sarah is called back for more auditions that get weirder and sketchier until she eventually gets called to meet the producer, a perpetually leering and overly tanned old creep who predictably wants to make a Faustian bargain with Sarah, essentially asking her to give herself up body and soul for the tantalizing reward of fame. It shouldn’t come as a surprise to anyone that Sarah is not being recruited for a horror movie so much as initiated into a Satanic cult of Hollywood elites, one that will of course require sacrifice in order to achieve Sarah’s final transformation from struggling actress and breastaurant waitress to glamorous Tinseltown screen idol.

Though the plot is, as I mentioned, essentially a retelling of the Faust tale and therefore familiar territory, the real fun of the film is in watching Sarah slowly spiral downward as she siphons off bits of her soul to achieve her dreams. After accepting the cult’s invitation, Sarah begins to physically deteriorate to a horrifying degree, so much so that the viewer is simultaneously revolted and intrigued, not particularly wanting to see whatever disgusting indignity is coming next, but also unable to look away. Again, Essoe is outstanding in the role, laying herself bare in every way imaginable and completely going for it in the gross-out department (there‘s a lot to be said for the dedication of an actress who is willing to fill her mouth with real maggots). Her performance is such that as I watched it, I found myself hating her for her weakness and naivety, empathizing with her outsider status, insecurity, and desire to achieve her dream, and actually rooting for her to go all the way with her horrible deeds to get what she wanted in the end. The fact that I could feel all these emotions at once is a testament to Essoe’s extraordinary talent.


All the other actors in the film are great too, and I thought it was fantastic how even characters like Erin and Big Taters manager Carl (wonderfully played by Pat Healy) that were supposedly “villains” (at least from Sarah’s perspective) were given dimension and humanity; even though they did and said some shitty things and were seemingly standing in the way of Sarah‘s aims, they did still genuinely care about Sarah’s well-being, which made her act of viciously turning on them near the end all the more devastating.


The special effects were also top-notch, with Sarah’s bodily disintegration especially grotesque and nauseating. The violence was also wickedly nasty and brutal, portrayed in an unsettlingly matter-of-fact fashion, with one kill in particular (in which the camera barely flinches as someone’s head is pounded into pulp) being almost unwatchably grisly. Topping the film off with a flourish is a fantastic score and terrific sound design that really adds to the atmosphere. Put it all together and you’ve got one skin-crawling, black-hearted blast of a movie that I would not hesitate to wholeheartedly recommend, though definitely NOT to the squeamish.

Another South by Southwest festival alum comprises the second movie in our double bill, and even though it’s a completely different style and experience than Starry Eyes, it is equally stellar, and likewise comes very highly recommended.


2015’s The Invitation was directed by Karyn Kusama (of Girlfight and Jennifer’s Body fame) and features a splendid ensemble cast that includes Logan Marshall-Green (Prometheus), Tammy Blanchard (Into the Woods, Moneyball), and John Carroll Lynch (Fargo, Zodiac, “The Walking Dead”). The film is actually far closer to a thriller than a straight horror film, but don’t let that dissuade you, because this thing had me perched on the edge of my seat biting my fingernails the entire time; it is fantastically, unbearably tense.

The setup of the plot is this: Will and his girlfriend Kira have been invited to a dinner party at the home of Will’s ex-wife Eden and her new husband David. No one has really seen Eden and David for two years, so the couple claim they’re having this get-together for all their friends so everyone can catch up. It’s also established early on that Will and Eden divorced shortly after their son was killed in a freak accident (after which Eden also attempted suicide), and Will is not entirely sure he’s ready to see Eden again, as well as return to the house where the tragedy occurred, but with the help of the supportive Kira and all their other friends, he’s hoping he can make a go of it.


At first, everything seems fairly normal, if a little awkward as everyone feels each other out and gets reacquainted after such a long time apart. The weirdness begins to happen in very small increments: Eden and David introduce Sadie, a woman who is living with them and is obviously their lover. They have also invited a man named Pruitt, who seems polite enough but is also ever so slightly menacing. Eden is putting on a somewhat creepy façade of serene happiness, but early in the evening she has a bit of an episode and slaps one of the other guests, though she recovers her composure fairly quickly. Will notices David locking the doors, and when Will asks about this, David brushes it off by saying that there has been a recent home invasion in the neighborhood and he just wants to keep everyone safe. While Will is snooping around his former home, he comes across a bottle of phenobarbitol in the nightstand of David and Eden’s bedroom.


There is also the small matter of another guest, Choi, being very late, and of no one being sure where he is since there is no cell phone reception up in the hills where the house is located. As the party goes on, it comes to light that Eden and David have been in Mexico for most of the previous two years, and that while there they joined a sort of spiritual self-help group that has supposedly helped Eden let go of her grief about her son’s death. David, Eden, Pruitt, and Sadie all sing the praises of this group and its enigmatic leader, Dr. Joseph, though the rest of the party guests make jokes about them joining a cult and seem uncomfortable when it appears that David is trying to convert everyone at the party by showing them an unsettling video of Dr. Joseph and two other group members presiding over the death of a terminally ill woman.

The party grows ever stranger, becoming equal parts overtly sexual and intensely disquieting (especially after Pruitt makes a disturbing confession about what happened to his wife), and at one point, another guest, Claire, decides she’s had enough and wants to leave. David tries to prevent her, but Will, who has been getting increasingly suspicious that something sinister is going on, confronts David, and Claire is allowed to go out to her car, though Pruitt follows behind her because he has parked her in. Will goes to the window to watch Claire leave, as he believes Pruitt is going to do something to her, but he is called away before he can see anything.


The bulk of the narrative goes on in this way, as Will begins to see even the most innocuous actions of the party’s hosts as evidence that something terrible is about to go down. This was the best aspect of the movie by far, because the viewer is left to wonder if there really is something weird going on with David and Eden, or if Will is just having a breakdown because he hasn’t yet come to terms with his son’s death and Eden’s remarriage. Adding to the tension is the fact that none of the other party guests seem to think anything odd is going on at all, and several of them try to reason with Will at various points, leading the audience to think that Will is simply isolating himself from the group, acting like a paranoid weirdo, and letting his imagination run away with him. The film also plays with our expectations by making some of Will’s suspicions come to nothing. As I’ve stated many times before, I really like movies that are ambiguous like this, where you’re not sure if the protagonist is really perceiving things as they are or if their emotions are ultimately clouding their judgment.


I won’t spoil the conclusion, because it’s really terrific, and the very last scene actually made my jaw drop, due to its devastating implications. In short, this is a tightly directed, beautifully acted thriller that maintained a palpable sense of tension throughout and culminated in a terrifying and satisfying climax. Good stuff.


The Devil Went Down to Oxfordshire: An Appreciation of “The Blood on Satan’s Claw”

The small film subgenre of British folk horror is easily overlooked, with most casual fans only being able to point to a single example, the excellent and well-regarded cult classic The Wicker Man. But there were a few other sterling examples that deserve their place in the earthwork circle, as it were, such as The Devil Rides Out (based on the novel by Dennis Wheatley) and the terrific Vincent Price vehicle Witchfinder General. There is also the rather underrated gem we’re discussing today.


1970’s The Blood on Satan’s Claw (known alternately as Satan’s Skin or The Devil’s Touch) was the follow-up to Tigon British Film Productions’ hit Witchfinder General, and though it’s not quite as great or iconic as that earlier film, it still has much to recommend it. Tigon, incidentally, was a smaller horror production company that got somewhat overshadowed by film behemoths Hammer Films (who were famous for their Dracula films and their pioneering formula of gore and heaving boobies), and Amicus Productions (who were famous for their rad anthology films like The House That Dripped Blood and Vault of Horror).

The Blood on Satan’s Claw is set in a tiny English village somewhere around the end of the 17th century. Affable farmer Ralph Gower (Barry Andrews) is plowing some fields one day and happens to unearth a janky-looking skull with one staring eyeball and what appear to be tufts of fur. Alarmed, Ralph summons the local judge to come check out his find, but of course, once the judge arrives, the skull is no longer there. The judge (played with great sardonic relish by Patrick Wymark) pooh-poohs all these insufferable rubes and their silly superstitions, and goes about his judgely way.


Meanwhile, lanky local Peter Edmonton (Simon Williams), who looks like a Bee Gee doing Renaissance cosplay, brings his betrothed Rosalind (Tamara Ustinov) home to meet the family. His aunt is a stone-cold bitch to the girl, and forces her to sleep up in the stinky, unused attic. Peter tries to make the best of things, and promises he’ll be up for some farm-fresh lovin’ after his disapproving relatives have gone to bed.

But later that night, Rosalind apparently sees something horrifying in her room and starts screaming her hussy head off, prompting Aunt Twatface and the other old guy living there to do the only rational thing, which is to board her up in the attic until the men with the butterfly nets can get there to cart her off to the nuthouse. As she’s carried away, she shoots her fiancé a wicked grin, and we see that one of her hands has morphed into a claw. Peter, understandably, is bereft, but his relatives are all insensitive and shit, essentially telling him that he dodged a bullet and he should be happy that he didn’t end up married to some wanton demonic harlot. Peter, obviously, seems less than convinced.


Soon afterwards, all hell literally breaks loose in the village. All the young’uns start hanging out together and playing creepy “games” out in the woods, and some of them develop icky patches of crepe werewolf hair on various parts of their anatomy. They stop turning up to their Sunday school classes, and act defiant and contemptuous toward village priest Reverend Fallowfield (Anthony Ainley).


Incidents begin to escalate. Peter has a vision that his hand has also become a claw, and slices it off in a frenzy. The children lure friendly young Simon le Bon lookalike Mark Vespers (Robin Davies) into the woods and murder him, bragging to his mother that they have done so. It soon comes to light that all of the town’s youngsters have fallen under the spell of nubile hottie Angel Blake (Linda Hayden), who apparently got in on the ground floor of the Satan worship and is now running the show. Angel attempts to seduce the Reverend and then accuses him of raping her; orders her followers to hack off their own limbs or forcibly take limbs from others to apparently reconstruct her coming Master out of the severed parts; and perhaps worst of all, paints on crazy Wolfman Jack eyebrows just a touch too high over her natural ones, making her look like some pagan blonde version of Frida Kahlo.


After Ralph’s intended, the adorable Cathy Vespers (Wendy Padbury), is brutally raped and sacrificed by the child cult (in what is actually a fairly disturbing scene, due to the frighteningly realistic terror on Cathy’s face), the judge is persuaded to come back to the village to deal with all the devilry that his rational ass was initially so dismissive of. The end of the film is actually a bit of a letdown, as it’s somewhat abrupt and anticlimactic, and I’m not too sure how I feel about the final reveal of the Supreme Evil Overlord, who looks a bit too much like a short dude wearing a gorilla suit and a papier-mache Halloween mask, but hey, it was 1970, and I can forgive a touch of cheesiness in costuming, especially since the camera doesn’t really linger on the monster before he is summarily dispatched.

If you’re a fan of this type of pagan British horror, you probably owe it to yourself to see this one, even though it’s not quite at the same level as the other folk horrors I mentioned. Despite the cast looking oh-so-painfully seventies, and despite the over-the-top accents and regionalisms, and despite the pacing being slightly off, this is actually quite an enjoyable little horror flick with some genuinely tense scenes, a bit of decent gore (such as one character having her fur patch sliced off by a doctor, and later getting her leg caught in a bear trap), and some pretty fantastic cinematography of the English countryside.

Until next time, keep it creepy, my friends, and if you suddenly develop an unexplained area of coarse black hair somewhere on your person, consult your local witchfinder immediately.

Goddess out.

13 O’Clock Podcast Episode Two: Satanic Panic!

In the 1980s, the moral scolds of America were suddenly whipped into a frenzy, convinced that everything from Dungeons and Dragons to heavy metal music to Saturday morning cartoons were irrefutable proof that an organized cabal of Satanists was roaming the land, kidnapping and molesting children, sacrificing puppies, and eating juicy babies with a side of devilled eggs. On the second episode of the 13 O’Clock Podcast, Tom and Jenny break down (and make fun of) the tragicomic period of recent history known as the Satanic Panic.
