Published by Morally Offensive
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.
Listen on Apple PodcastsBill 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. Follow our guest: AVA DAVIS https://theavadavis.com/ Support the show: AMERICAN GIALLO T-SHIRTS AND MERCH ARE IN! Merch: https://morallyoffensive.bigcartel.com/ SUPPORT THE SHOW JUST BECAUSE Buy Us a Coffee: https://www.buymeacoffee.com/morallyoffensive Website and Contact info: https://www.morallyoffensive.com Follow and watch: YouTube: https://www.youtube.com/@MorallyOffensivepod TikTok: https://www.tiktok.com/@morallyoffensivepod Instagram: https://www.instagram.com/morallyoffensivepod Threads: https://www.threads.net/@morallyoffensivepod
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. Follow our guest Michail Takach: https://www.instagram.com/michailtakach/ Support the show: FILTHY HABITS T-SHIRTS AND MERCH ARE IN! Merch: https://morallyoffensive.bigcartel.com/ SUPPORT THE SHOW JUST BECAUSE Buy Us a Coffee: https://www.buymeacoffee.com/morallyoffensive Website and Contact info: https://www.morallyoffensive.com Follow and watch: YouTube: https://www.youtube.com/@MorallyOffensivepod TikTok: https://www.tiktok.com/@morallyoffensivepod Instagram: https://www.instagram.com/morallyoffensivepod Threads: https://www.threads.net/@morallyoffensivepod
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. Follow our guest Michail Takach: https://www.instagram.com/michailtakach/ Support the show: FILTHY HABITS T-SHIRTS AND MERCH ARE IN! Merch: https://morallyoffensive.bigcartel.com/ SUPPORT THE SHOW JUST BECAUSE Buy Us a Coffee: https://www.buymeacoffee.com/morallyoffensive Website and Contact info: https://www.morallyoffensive.com Follow and watch: YouTube: https://www.youtube.com/@MorallyOffensivepod TikTok: https://www.tiktok.com/@morallyoffensivepod Instagram: https://www.instagram.com/morallyoffensivepod Threads: https://www.threads.net/@morallyoffensivepod
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. Follow our guest J. Patrick Hanley: https://jpatrickhanley.com/ Support the show: FILTHY HABITS T-SHIRTS AND MERCH ARE IN! Merch: https://morallyoffensive.bigcartel.com/ SUPPORT THE SHOW JUST BECAUSE Buy Us a Coffee: https://www.buymeacoffee.com/morallyoffensive Website and Contact info: https://www.morallyoffensive.com Follow and watch: YouTube: https://www.youtube.com/@MorallyOffensivepod TikTok: https://www.tiktok.com/@morallyoffensivepod Instagram: https://www.instagram.com/morallyoffensivepod Threads: https://www.threads.net/@morallyoffensivepod
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? Support the show: FILTHY HABITS T-SHIRTS AND MERCH ARE IN! Merch: https://morallyoffensive.bigcartel.com/ SUPPORT THE SHOW JUST BECAUSE Buy Us a Coffee: https://www.buymeacoffee.com/morallyoffensive Website and Contact info: https://www.morallyoffensive.com Follow and watch: YouTube: https://www.youtube.com/@MorallyOffensivepod TikTok: https://www.tiktok.com/@morallyoffensivepod Instagram: https://www.instagram.com/morallyoffensivepod Threads: https://www.threads.net/@morallyoffensivepod
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. Support the show: FILTHY HABITS T-SHIRTS AND MERCH ARE IN! Merch: https://morallyoffensive.bigcartel.com/ SUPPORT THE SHOW JUST BECAUSE Buy Us a Coffee: https://www.buymeacoffee.com/morallyoffensive Website and Contact info: https://www.morallyoffensive.com Follow and watch: YouTube: https://www.youtube.com/@MorallyOffensivepod TikTok: https://www.tiktok.com/@morallyoffensivepod Instagram: https://www.instagram.com/morallyoffensivepod Threads: https://www.threads.net/@morallyoffensivepod Follow Tif Robinette at: https://www.instagram.com/hollywoodjunkyard/
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. Support the show: FILTHY HABITS T-SHIRTS AND MERCH ARE IN! Merch: https://morallyoffensive.bigcartel.com/ SUPPORT THE SHOW JUST BECAUSE Buy Us a Coffee: https://www.buymeacoffee.com/morallyoffensive Website and Contact info: https://www.morallyoffensive.com Follow and watch: YouTube: https://www.youtube.com/@MorallyOffensivepod TikTok: https://www.tiktok.com/@morallyoffensivepod Instagram: https://www.instagram.com/morallyoffensivepod Threads: https://www.threads.net/@morallyoffensivepod Follow Tif Robinette at: https://www.instagram.com/hollywoodjunkyard/
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. Support the show: FILTHY HABITS T-SHIRTS AND MERCH ARE IN! Merch: https://morallyoffensive.bigcartel.com/ SUPPORT THE SHOW JUST BECAUSE Buy Us a Coffee: https://www.buymeacoffee.com/morallyoffensive Website and Contact info: https://www.morallyoffensive.com Follow and watch: YouTube: https://www.youtube.com/@MorallyOffensivepod TikTok: https://www.tiktok.com/@morallyoffensivepod Instagram: https://www.instagram.com/morallyoffensivepod Threads: https://www.threads.net/@morallyoffensivepod Follow Christopher Hoppe at: https://www.tiktok.com/@onsetlocationnyc
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 Support the show: FILTHY HABITS T-SHIRTS AND MERCH ARE IN! Merch: https://morallyoffensive.bigcartel.com/ SUPPORT THE SHOW JUST BECAUSE Buy Us a Coffee: https://www.buymeacoffee.com/morallyoffensive Website and Contact info: https://www.morallyoffensive.com Follow and watch: YouTube: https://www.youtube.com/@MorallyOffensivepod TikTok: https://www.tiktok.com/@morallyoffensivepod Instagram: https://www.instagram.com/morallyoffensivepod Threads: https://www.threads.net/@morallyoffensivepod
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 Support the show: FILTHY HABITS T-SHIRTS AND MERCH ARE IN! Merch: https://morallyoffensive.bigcartel.com/ SUPPORT THE SHOW JUST BECAUSE Buy Us a Coffee: https://www.buymeacoffee.com/morallyoffensive Website and Contact info: https://www.morallyoffensive.com Follow and watch: YouTube: https://www.youtube.com/@MorallyOffensivepod TikTok: https://www.tiktok.com/@morallyoffensivepod Instagram: https://www.instagram.com/morallyoffensivepod Threads: https://www.threads.net/@morallyoffensivepod
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. Support the show: Merch: https://morallyoffensive.bigcartel.com/ Buy Us a Coffee: https://www.buymeacoffee.com/morallyoffensive Follow Syd King on Instagram: https://www.instagram.com/syd.the.king/ Website and Contact info: https://www.morallyoffensive.com Follow and watch: YouTube: https://www.youtube.com/@MorallyOffensivepod TikTok: https://www.tiktok.com/@morallyoffensivepod Instagram: https://www.instagram.com/morallyoffensivepod Threads: https://www.threads.net/@morallyoffensivepod
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. Support the show: Merch: https://morallyoffensive.bigcartel.com/ Buy Us a Coffee: https://www.buymeacoffee.com/morallyoffensive Follow Syd King on Instagram: https://www.instagram.com/syd.the.king/ Website and Contact info: https://www.morallyoffensive.com Follow and watch: YouTube: https://www.youtube.com/@MorallyOffensivepod TikTok: https://www.tiktok.com/@morallyoffensivepod Instagram: https://www.instagram.com/morallyoffensivepod Threads: https://www.threads.net/@morallyoffensivepod
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. Support the show: Merch: https://morallyoffensive.bigcartel.com/ Buy Us a Coffee: https://www.buymeacoffee.com/morallyoffensive Check Out "Shadow Carriers" Podcast with Orion Couling: https://podcasts.apple.com/us/podcast/shadow-carriers/id1533170469 Follow Orion on Instagram: https://www.instagram.com/nawlins_crawlins/ Website and Contact info: https://www.morallyoffensive.com Follow and watch: YouTube: https://www.youtube.com/@MorallyOffensivepod TikTok: https://www.tiktok.com/@morallyoffensivepod Instagram: https://www.instagram.com/morallyoffensivepod Threads: https://www.threads.net/@morallyoffensivepod
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. Support the show: Merch: https://morallyoffensive.bigcartel.com/ Buy Us a Coffee: https://www.buymeacoffee.com/morallyoffensive Check Out "Shadow Carriers" Podcast with Orion Couling: https://podcasts.apple.com/us/podcast/shadow-carriers/id1533170469 Follow Orion on Instagram: https://www.instagram.com/nawlins_crawlins/ Website and Contact info: https://www.morallyoffensive.com Follow and watch: YouTube: https://www.youtube.com/@MorallyOffensivepod TikTok: https://www.tiktok.com/@morallyoffensivepod Instagram: https://www.instagram.com/morallyoffensivepod Threads: https://www.threads.net/@morallyoffensivepod
Bill and Jess continue their two part deep dive into the classic film Black Narcissus (1947) as part of the new Morally Offensive series Filthy Habits. Joining them, once again, is film director Dalila Droege (No More Time). In part two - they discuss the film’s back half, where everything starts to come apart. Sister Clodagh (Deborah Kerr) loses her grip on the order, while Sister Ruth (Kathleen Byron) finds her commitment to her vocation quickly disintegrating. The crew and their guest discuss Byron’s performance and how it reads today, especially in the context of dated portrayals of mental health and the long history of women on screen being framed as unstable or hysterical. What may have once felt intense now lands differently, and that tension becomes part of the conversation. We also look at how Michael Powell and Emeric Pressburger, working as The Archers, use color, design, and stylization to mirror the characters’ unraveling. The result is a film that’s as striking as it is uncomfortable, especially in how it handles desire, repression, and collapse. Support the show: Merch: https://morallyoffensive.bigcartel.com/ Buy Us a Coffee: https://www.buymeacoffee.com/morallyoffensive Follow Dalila Droege on Instagram: https://www.instagram.com/daliladroege For the latest updates on Beauty Night, follow the official account: https://www.instagram.com/beautynight_film Website and Contact info: https://www.morallyoffensive.com Follow and watch: YouTube: https://www.youtube.com/@MorallyOffensivepod TikTok: https://www.tiktok.com/@morallyoffensivepod Instagram: https://www.instagram.com/morallyoffensivepod Threads: https://www.threads.net/@morallyoffensivepod
Bill and Jess begin a two part deep dive into the classic film Black Narcissus (1947) as part of the Morally Offensive series Filthy Habits, where the show examines religion, repression, and scandal in films about nuns and clergy. Joining them is film director Dalila Droege to help unpack one of the most visually stunning and psychologically intense films of the 1940s. This episode also introduces a new format for the show. Before diving into the movie itself, the hosts examine Catholic reactions and reviews of Black Narcissus. Religious critics have long been divided about the film’s themes of temptation, vocation, and spiritual crisis, and those responses reveal a lot about how the movie has been interpreted by faith communities over the decades. In Part One, the discussion focuses on Act I of the film. The panel explores the arrival of the Anglican nuns at a remote Himalayan palace that is being converted into a convent, the unsettling atmosphere of the mountain setting, and the early hints of emotional and spiritual tension that begin to emerge within the mission. Bill, Jess, and Dalila also discuss the filmmaking of Michael Powell and Emeric Pressburger, the performances that made the film legendary, and why Black Narcissus remains one of the most provocative and talked about “nun movies” ever made. Support the show: Merch: https://morallyoffensive.bigcartel.com/ Buy Us a Coffee: https://www.buymeacoffee.com/morallyoffensive Follow Dalila Droege on Instagram: https://www.instagram.com/daliladroege For the latest updates on Beauty Night, follow the official account: https://www.instagram.com/beautynight_film Website and Contact info: https://www.morallyoffensive.com Follow and watch: YouTube: https://www.youtube.com/@MorallyOffensivepod TikTok: https://www.tiktok.com/@morallyoffensivepod Instagram: https://www.instagram.com/morallyoffensivepod Threads: https://www.threads.net/@morallyoffensivepod
In this episode of Morally Offensive, Bill and Jess are joined by horror author Ophelia Crane to dig into the Oscar-nominated film Sinners—and the very different reactions it’s sparked. The trio wades into Catholic reviews of the movie and what they reveal about how religious critics approach controversial art, while also exploring the film’s bigger ideas about religion, colonization, and the long history of cultures borrowing—sometimes stealing—stories, music, and folklore. Along the way, the conversation touches on Catholic film criticism, horror traditions, cultural ownership, and the strange moment when theology collides with awards season. It’s a lively, occasionally irreverent discussion about one of the year’s most talked-about films. *We apologize to our listeners for the slight drop in audio quality on this episode. We have been changing up how we handle remote audio, and we are still learning the ropes with our new setup for recording remote guests or co-hosts. For our upcoming series, we should have the audio quality back to where it usually is on this show. Thank you for your patience.* Support the show: Merch: https://morallyoffensive.bigcartel.com/ Buy Us a Coffee: https://www.buymeacoffee.com/morallyoffensive Follow Ophelia Crane here Website and Contact info: https://www.morallyoffensive.com Follow and watch: YouTube: https://www.youtube.com/@MorallyOffensivepod TikTok: https://www.tiktok.com/@morallyoffensivepod Instagram: https://www.instagram.com/morallyoffensivepod Threads: https://www.threads.net/@morallyoffensivepod Keywords: sinners movie, sinners film analysis, sinners movie review, sinners oscars, sinners oscar nominations, sinners themes explained, sinners religion themes, catholic review sinners, catholic film criticism, religion in horror movies, controversial religious films, colonization in film, cultural appropriation in movies, folklore in horror movies, horror film themes, movie podcast, horror movie podcast, film analysis podcast, morally offensive podcast, ophelia crane interview
In this episode of Morally Offensive, co-hosts Bill and Stephanie continue their series on X-rated films with Stanley Kubrick’s A Clockwork Orange. Originally released with an X rating, the film remains one of the most controversial titles in cinema history, raising enduring questions about violence, free will, censorship, and state power. Guest John Enroth, composer (Regular Show, Interior Chinatown), joins the discussion to examine Wendy Carlos’s electronic score, Kubrick’s use of Beethoven, and the role of music as psychological control and moral irony. The episode places A Clockwork Orange within the history of the MPAA ratings system, film censorship, and controversial cinema of the 1970s, asking whether Kubrick critiques violence or deliberately refuses moral resolution. And of course, it DID receive the dreaded "C" rating from "The Catholics". Keywords: A Clockwork Orange, Stanley Kubrick, X-rated films, MPAA ratings, film censorship, Wendy Carlos, Beethoven, Anthony Burgess, Malcolm McDowell, dystopian cinema, controversial movies Website and Contact info: https://www.morallyoffensive.com Follow and watch: YouTube: https://www.youtube.com/@MorallyOffensivepod TikTok: https://www.tiktok.com/@morallyoffensivepod Instagram: https://www.instagram.com/morallyoffensivepod Threads: https://www.threads.net/@morallyoffensivepod Support the show: Merch: https://morallyoffensive.bigcartel.com/ Buy Us a Coffee: https://www.buymeacoffee.com/morallyoffensive
Beyond the Valley of the Dolls (1970) is an X-rated studio film written by Roger Ebert, directed by Russ Meyer, and still more culturally radioactive than most modern movies. So we had to talk about it. This week on Morally Offensive, the ex-Catholic hosts are joined by Matt Harding of Severin Films to dig into Meyer’s psychedelic cult classic and its strange place in American film history. We unpack Roger Ebert’s involvement in the script, Russ Meyer’s obsession with buxom women, and how that fixation shaped both the visual language and politics of his films. We get into the feminist debates around Meyer’s work, the film’s relationship to 60s counterculture, and the way Beyond the Valley of the Dolls became a cultural reference point for everything from Sublime lyrics to Austin Powers parody. We also go on a side quest through Catholic film criticism, breaking down a period review that condemned this movie while praising the morality of Seven Brides for Seven Brothers, which somehow manages to be more disturbing in its own way. If you’re into film history, cult cinema, Catholic moral panic, and movies that make everyone uncomfortable for different reasons, this episode lives right in that space. Episodes, essays, and archives: https://www.morallyoffensive.com Follow and watch: YouTube: https://www.youtube.com/@MorallyOffensivepod TikTok: https://www.tiktok.com/@morallyoffensivepod Instagram: https://www.instagram.com/morallyoffensivepod Threads: https://www.threads.net/@morallyoffensivepod Guest shoutout: Severin Films https://severinfilms.com Support the show: Merch: https://morallyoffensive.bigcartel.com/ Buy Me a Coffee: https://www.buymeacoffee.com/morallyoffensive
This week on Morally Offensive, Bill and Kevin dig into the origins and impact of John Waters’ Pink Flamingos. The crew is joined by Bryan Wendorf of the Chicago Underground Film Festival and Thomas Bottoms of Bottoms of the Barrel to trace Waters’ early years making films in Baltimore, from DIY shorts and church-basement screenings to cultivating an audience far outside the mainstream. We break down the production of Pink Flamingos, the creation of Divine as a transgressive screen icon, and how the film’s deliberate provocation helped spark outrage, fascination, and the rise of the midnight movie phenomenon. Along the way, we discuss censorship, exhibition, and why Waters’ brand of bad taste proved so culturally disruptive, and so enduring. Want to help us pay our bills and keep the podcast going: DONATE NOW! Check out our new Merch Store! We've got t-shirts, hats, tote bags and branded denim jackets! Follow us on our socials at Instagram and Tiktok. Check out https://cuff.org/ to find out more about the Chicago Underground Film Festival! Find out more about Thomas over at Bottoms of the Barrel: https://www.bottomsofthebarrel.com/