Pete has hosted as well as been a panelist on a number of episodes.
This page features episodes on which he has been a panelist.
See episodes where Pete has hosted right here.
Matthew joins TruStory FM’s The Film Board to probe Denis Villeneuve’s Dune: Part Two’s themes of destiny, faith, and the weight of power in Herbert’s epic sci-fi universe.
Long-lost Kyle Olson is back and he leads us on a journey to the deep looking at the monsters that plague deep-sea miners everywhere!
House on Haunted Hill and House of Wax are classics of the Vincent Price collection. But what happens when they’re given the 90s remake treatment? We’re talking about the Hill ’99 and Wax ’05 with Pete, Ray, and Tommy this month!
On this episode of Sitting in the Dark, host Tommy Metz III is joined by Pete Wright and Andy Nelson for an exploration of found footage and epistolary films. As Tommy explains, the goal is to examine how certain horror movies have upheld the literary epistolary tradition on screen through the use of found footage techniques.
This month, our fine teacher Ray DeLancey and his sidekicks Pete Wright and Tommy Metz III dive headfirst into the hairy world of werewolves in film.
Tommy is back in the big chair right over the drain in the dark in the basement and he’s brough the experimental treat, Skinamarink, for the viewing discomfort of Pete and Ray.
Lester Ryan Clark and Kynan Dias join us from The Exorcist Minute with a set of films hand-picked to help us understand the genesis and genius of demons and demonic possession in film.
What is that constant buzzing? It’s the Fly! And it’s coming to realign your genetic material! This month, Ray DeLancey leads Pete Wright and Tommy Metz III in a lesson on the history of the big-screen bug-eyed monster made popular in 1958, then popular and disgusting in 1986.
Overwhelmed by the deluge of new Star Wars content and don’t have time to watch all the shows and read all the books? Or maybe
Our very own Tommy Metz leads us on a harrowing tale of tropes this month. We start with the Book of the Vampyre as depicted in 1922’s “Nosferatu” and beyond, then pose the most important question three men could ask about horror movies: is the Final Girl a feminist icon?