Greetings, and welcome back to Horror Business. We’ve got one heck of an episode in store for you guys, as we’re talking about two films from Oz Perkins: The Blackcoat’s Daughter and Longlegs.

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We briefly talk what we’ve done involving horror recently. Liam talks about the film Maggie, as well as the films The Substance, Alien: Romulus, Hellboy: The Crooked Man,  and VHS: Beyond. Justin talks about Venom: The Last Dance and the new HBO Max series Dune: Prophecy, as well as the new Crow film.

 Up first is The Blackcoat’s Daughter. We talk about the very Christmas-y, Midwestern feel to the movie, as well as the deeply melancholic tone that hangs over the entire film. We talk about how a theme of the film is yearning for someone you love and the subsequent rejection.

We briefly discuss how the film dabbles in the realm of the “house of psychotic women” subgenre and how Perkins seems to be a fan of smushing true crime-style drama with the overtly supernatural.

Perkins’ own personal history with the realm of horror filmmaking is briefly touched upon, in that his family’s history with the genre very likely placed him at ground zero for many of the changes to the genre over the years.

We talk about how this film’s supernatural elements are never objectively confirmed and any sort of strange, uncanny aspects of it might just be in the protagonist’s head.

Next is Longlegs. We start by talking about the film’s early marketing in the form of short 9-1-1 audio clips. We briefly talk about the phenomenon of people bashing this film as being a rip-off of films such as The Silence of the Lambs, and how we are argue that this film doesn’t really feel any more derivative of TSOTL than any other random horror film from the last twenty years about serial killers.

Justin argues that the film feels more like a darker version of The X-Files. We briefly talk about the possibly problematic depictions of some form of transness in both films.

We talk about how one of Perkins’ trademark shots, an