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AMC’s Shudder: Is This Spooky Streaming Service Worth It?

Are you a fright-fest fanatic in the mood for haunting tales and scary flicks? With Halloween on the horizon, there’s no better time of year to amp up the terror by indulging in some spooktacular programming. Whether you’re a fan of pure horror, slasher films, psychological thrillers, monster movies, or cult classics that are as nostalgic as they are nauseating, plenty of streaming services offer Halloween-themed marathons to satisfy your needs.

But what’s a true horror fan to do when all the ghoulish gross-outs are spread out across multiple platforms? Put down the hockey mask and machete — AMC’s Shudder  is here to administer your necessary dose of screams. With hundreds of films and TV show episodes on its roster, this horror-only streaming service might be just what you need to quench your thirst for terror. Ready to conjure up Candyman or mingle with Michael Myers? Find out what Shudder offers and whether it’s worth the subscription price.

Shudder: A Platform for Horror Fanatics, by Horror Fanatics

Shudder is a streaming platform designed to meet the niche needs of a key group of film buffs: horror fans. By all accounts, the streaming service has successfully pulled off this mission. Shudder is a premiere service that offers scary programming — and only scary programming — in the form of old and new films, television shows, and documentaries that fall into the genres of horror, supernatural, and thriller themes. It caters to movies and episodic horror fans and provides an impressive library of options to explore.

What makes Shudder such a fantastic platform is its variety. Shudder’s collection of films and shows spans hundreds of movies, dozens of TV shows, and even a handful of horror-themed podcasts. The platform features a large number of classics that have defined the horror genre — think iconic flicks like John Carpenter’s Halloween , George Romero’s Night of the Living Dead , The Texas Chainsaw Massacre,  and Train to Busan . But it also offers up plenty of indie films, comedies, and old-school titles that paved the way for today’s horror. Ever watched Chopping Mall , Hell Night, or Butcher, Baker, Nightmare Maker ? With Shudder, you can dive into films that might not have crossed your radar before.

Shudder also organizes content by collections so you can spend less time reading endless summaries to hunt down the films or series that fit your taste. Curated collections like “Love Sick,” “Horror Noire,” “Anthologies” and “Queer Horror” make it easier to tap into the topics you’re dying to watch. And, what’s even better is that these super-specific lists aren’t left to the whims of AI software; instead, actual people — vetted horror fans — create the lineups, so you know they’re good. With over a million users subscribed to the streaming service, Shudder may have cracked the code for successfully spooky programming.

Shudder’s Perks Include Original Flicks and Spooky Shows

While Shudder features many classic horror flicks and shows, these aren’t the platform’s only claim to fame. It also provides exclusive and original content designed to appeal to Shudder subscribers One of the most popular original series available is Creepshow , which is inspired by the 1982 film of the same name (directed by George Romero and written by Stephen King) and the E.C. horror comic books of the 1950s. Creepshow  is structured like an anthology, bringing horrifying comic panels to life and exploring everything from the supernatural to the super-strange. The platform is also releasing new episodes of the original series Slasher , which features a storyline about a family on a secluded island who’s forced to fight against one another for survival.

Shudder’s original films are also some of its highlights. The movie Host  was one of the top films of 2020 on Shudder’s platform. Recorded utilizing Zoom only (giving it that pandemic-anxiety vibe), the movie features a group of friends gathering online for a socially distant hangout…and succumbing to dark forces on each end of the camera. Another Shudder original is 2021’s Prisoners of the Ghostland which stars Nicolas Cage as a bank robber who has five days to find a wealthy man’s daughter otherwise, the bomb collar secured around his neck will detonate. These titles represent only a handful of the unsettling nailbiters within Shudder’s library. But what’s the verdict?

Is the Subscription Worth the Horrific Hype?

If you love all terror all the time, Shudder is the perfect platform for you. Even if you subscribe to Netflix, Hulu, or another popular streaming platform , Shudder has the widest variety of curated horror on the streaming market centralized in one place. With over 400 movies and hundreds of television episodes already on its docket, this collective of frightening tales is slated to only grow in size, with new films and episodes appearing weekly. Like most streaming platforms, you may not love all the content that you view on Shudder — but there’s a handy rating system (with skulls instead of stars!) so you know what fellow horror fans think.

The platform is easy to access through most devices and browsers, so you can queue things up on your Roku or fireTV device or take the streaming service with you on your laptop or phone. A standalone Shudder app is available via Google Play, Apple’s App Store, and Xbox One, and it works similarly to other streaming apps.

If you’re not sure you want to make the subscription leap, Shudder has you covered. It offers a seven-day, no-strings free trial so you can take your time browsing titles and collections to see if the variety is enough to capture your interest. Just keep in mind that you’d be hard-pressed to engage with all that Shudder has to offer within a week. As an added bonus, the platform is entirely ad-free.

Membership plans start at only $5.99 a month, making this an affordable option. To save a bit on this month-to-month price, you can opt to purchase a yearlong subscription for $56.99 — which comes out to $4.75 per month . If you’re more interested in getting your scare on for the Halloween season without committing to the entire year, subscribing to Shudder at least through October can help you scratch the itch.

Ultimately, if horror is your top streaming genre, signing up for Shudder is a no-brainer (sorry, zombies). With an influx of new flicks and shows frequently hitting its library and an affordable monthly fee, you won’t run out of terrifying titles anytime soon.

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Trip metal festival is one of america's last refuges for real freaks.

Universal Eyes. Photo by Doug Coombe.

Wolf Eyes. Photo by Doug Coombe.

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Trip Metal was a free festival in Detroit that started the day with a joint lunch with all participating artists. NTS broadcast a selection of performances and interviews from the festival's various locations, including Marshall Allen (of Sun Ra's Arkestra), DJ Sotofett, Count Mack and more…

Trip metal was a free festival in detroit that started the day with a joint lunch with all participating artists. nts broadcast a selection of performances and interviews from the festival's various locations, including marshall allen (of sun ra's arkestra), dj sotofett, count mack and more….

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Critic's Notebook

Made in Detroit, Differing Music Models

In motown, new musics.

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By Ben Ratliff

• May 31, 2016

DETROIT — If the giant commercial music festival seems to be a model of the recent past and the small, carefully framed festival seems one of the evolving future, Detroit experienced both past and future last weekend.

The Movement Electronic Music Festival had its tenth annual edition here on Memorial Day weekend, attracting a total of more than 100,000 people from Saturday to Monday to Hart Plaza downtown and to after-parties until daybreak around the city. They wandered among six stages in the waterfront plaza to see artists from various eras, places of origin and levels of popularity: Kraftwerk, Adam Beyer, Four Tet, Carl Craig, Kevin Saunderson, the Black Madonna, the duo of Juan Atkins and Moritz Von Oswald. For a major festival with sponsorships and heavy promotion, it’s low on flash — no fireworks shows, no A-list movie stars on private terraces. But Movement is easy to understand from a distance. It’s a dance-music locus and a tourist draw in the city that gave rise to techno. It appeals to the body.

Running concurrently with it was Trip Metal , approximately 100 times smaller: a first-time, and perhaps only-time, festival of largely nondance music, experimental or improvised or freaky or aggressive, in small clubs and cafes. It was organized in part by Nate Young, from the 20-year-old Detroit band Wolf Eyes, who headlined Sunday’s show. A few years ago one of its members, John Olson, who plays saxophone and electronics, started using the poetic term “trip metal” to describe its sound. Wolf Eyes is essentially an improvising rock trio with crude electronics and no drummer; it has often been called a noise band, and is certainly not a metal band. Its set at times came within shouting distance of jazz. Any confusion the term may have caused is only the kind of confusion that Wolf Eyes likes.

Most of the smaller event took place in El Club, a new venue in the Mexicantown neighborhood that holds 300 people; it was free, supported by private fund-raising and a small matching grant from the Knight Foundation. (Mr. Young has been clear that he has no plans to continue Trip Metal, at least under that name.) Its only advertisement, paid for by the club, was a billboard on the corner of Trumbull Street and Michigan Avenue, by the site of the old Tiger Stadium, with only four words — all caps, no punctuation, no website address: “Trip Metal Is Free.” That would raise a series of questions: What is Trip Metal? Why is it free? Why is it happening at the same time as Movement? Do these two festivals have something to do with each other?

Maybe, yes.

The story that led to Movement began with the 1980s work of African-American D.J.s and producers including Mr. Atkins, Mr. Craig, Rik Davis, Eddie Fowlkes, Derrick May and Mr. Saunderson. They were creating the language of techno, triangulating a new sound from funk and electronic music — all the electronic music that existed then, whether from German art-pop groups like Kraftwerk or American experimental composers like Morton Subotnick. And they were interested in the future — technologically, philosophically, sometimes in a dystopian way.

At a daytime panel discussion on Saturday at the Museum of Contemporary Art in Detroit — separate from the festival — Mr. May was asked about the future. “I think the future is going back into the past,” he shot back. “We’ve forgotten so much so quick that we don’t know where we’re going.”

All of them, except for the reclusive Mr. Davis , remain on the scene. Mr. Craig, Mr. Fowlkes and Mr. Saunderson played D.J. sets in this year’s Movement festival. And Mr. Atkins played a live set on Saturday afternoon in his austere, minimal duo with Mr. Von Oswald, the German techno producer.

Movement has had to negotiate a balance. For several years starting in 2000, before it was called Movement and taken over by the local production company Paxahau, it was called the Detroit Electronic Music Festival and was directed by Mr. Craig. Because it focused on local artists, didn’t charge admission and was hospitable to entire families, it generated a certain kind of civic pride. After growth and financial troubles, it became rebranded in 2006 as a more commercial proposition, charging admission and half-tilting toward currents in the exploding global club-music landscape: exactly what ensures a young audience, and turns off an aging and discriminating one.

It’s trying to serve both functions, and fills the park doing it, but the thrills can sometimes feel rootless. Jason Huvaere, a Paxahau founder, told me that the festival tries to keep roughly 40 percent Detroit artists in the lineup. This is where you can hear the Detroit originators, but also where you hear D.J.s from the world market, if generally not the most commercial ones (though Skrillex did play Movement last year, as part of the duo Dog Blood).

What’s this audience’s profile? It’s hard to know. The audience is not all young and wearing panda suits. Some people are serious dancers; some are older, or student tourists, or casual fans. They were generally enthusiastic for: Kraftwerk’s performance in front of 3-D digital visuals; the joyous house music of Delano Smith and DJ Pierre; the ghettotech of DJ Godfather; the warm left-field disco of the Black Madonna; and a complex, lovely set by the English producer Kieran Hebden as Four Tet, bringing dynamics, voices and guitarish sounds into his mix.

Forty-percent Detroit may seem low, knowing that techno is a generator of authentic pride in a city that eats pride for breakfast. But in another sense that amount is principled. One wonders if the sizably young and white part of the audience would know the difference if the percentage were 30 percent, or 20. One also wonders if the more ahistorical dance-music fans wouldn’t quickly become more historical, and more Detroit-minded, if the festival were to produce some visible extra layers of content — publications, documentaries, panel discussions.

Offsite and after hours in the clubs is a different story. At the Saturday night party for Tresor, the German record label with a stake in Detroit culture, I saw the old-school Detroit D.J. Claude Young play a vertiginous set, teasing the room with techno and disco records, interrupting and cutting up songs relentlessly, keeping the tempo high and ending with David Bowie’s “Golden Years,” weirdly accelerated to beat-match the song that came before it. Some time after 3 a.m. Monday at No Way Back, the Sunday night party for the Detroit record label Interdimensional Transmissions, I heard BMG — Brendan Gillen, the label’s founder, a kind of historian and a rigorous underground techno D.J. since the mid-1990s — hold forth for about 90 minutes. He ended with a deconstruction of Prince’s “Erotic City,” or so I heard; I had moved on by then. That party wrapped up at 10 a.m.

Beneath its prankish or weird surfaces — a set by Nautical Almanac included some creatively guided hypnotherapy — Trip Metal was just as history-minded as Movement. It had panel discussions. It showed films. Its aesthetic tributaries would include Detroiters like the Stooges and Alice Coltrane, as well as the Chicagoan Sun Ra. (Sun Ra’s saxophonists Marshall Allen and Danny Ray Thompson played a Trip Metal set on Saturday, in collaboration with the younger Chicago-based electronic house-music experimenter Jamal Moss, a.k.a. Hieroglyphic Being.) They would also include earlier mavericks of electronic-music composition, particularly the 83-year-old Mr. Subotnick, who played a Trip Metal set on Saturday night on his modular synthesizer, starting with sounds like gurgles and human cries and ending with rippling melodic pulsations, pretty close to techno without the patterned thumps.

During a daytime Trip Metal panel discussion — at Trinosophes, a cafe in the Eastern Market neighborhood — Mr. Subotnick was also asked about the future. “I don’t think there is a future,” he said, evenly. “I know that sounds bad, but the concept of the future and the past is going to disappear.” He was coming at it from a different angle than Mr. May, talking about documentation rather than memory; with documentation, he seemed to be saying, the past becomes the future. “Nothing disappears anymore,” he said. “Things used to disappear because there weren’t any recordings.”

There was a little audience crossover between Movement and Trip Metal. Look at Mr. Gillen’s biography and you find that he engineered or produced a couple of Wolf Eyes records. There’s no real reason Hieroglyphic Being and others on the bill wouldn’t fit in at Movement — maybe even Mr. Subotnick too. And there were Trip Metalesque moments at Movement: a wild minute of palpitating noise during Mr. Young’s D.J. set, Terrence Dixon’s set of live electronics with musicians toward the end of the Tresor party (so I heard). Perhaps a philosophical version of the future — and/or the past — is to be found in that crossover.

Movement Electronic Music Festival

Established 2006

What it is An extension of the original Detroit Electronic Music Festival, which started in 2000, celebrating the city’s history of techno in the context of electronic dance music’s global evolution.

Attendance About 40,000 people a day, from Saturday to Monday.

Number of events Around 125 on the festival’s six stages, and many more at the after-parties.

Landscape Hart Plaza, a concrete city park on the Detroit River built in 1975, designed partly by Isamu Noguchi.

Typical festivalgoer Mixed in age, background and style, but an even split between genders. Lots of ravers under 30, shifting from the casual to the committed as day turns to morning. A lot of “Detroit Hustles Harder” T-shirts.

Only here Kraftwerk performing “Numbers” in front of 3-D digital visuals at 10:15 p.m. on Saturday on the main stage; the Detroit D.J. Claude Young taking the same song apart with turntables and cross-faders four hours later during the party for Tresor, the German record label, in the Milwaukee Junction neighborhood.

Established 2016

What it is A three-day festival organized by and around the Detroit “noise” (or “trip metal”) band Wolf Eyes.

Attendance 300 people a night, in the main space and in the back garden of El Club, a promising new spot in Mexicantown.

Number of events 25 sets in three nights, with talks, film screenings and after-parties at other sites, including the cafe Trinosophes and Jack White’s Third Man Records.

Typical festivalgoer Late 20s to early 60s. Highly knowledgeable about the last hundred years of experimental music, especially in Detroit.

Only here The semi-rock-star and motivational speaker Andrew W. K., Nate Young of Wolf Eyes and Twig Harper of Nautical Almanac, who all attended Community High School in Ann Arbor, Mich., performed an improvised set on Sunday; its foundation was Bach’s slow and meditative Chorale Prelude in F minor, featured in Andrei Tarkovky’s film “Solaris,” played on the keyboard by Andrew W. K.

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Wolf Eyes Detail Inaugural Trip Metal Fest, Reissue Campaign

By Evan Minsker

On Memorial Day Weekend (May 27-29), venues across Detroit will host Wolf Eyes ' inaugural Trip Metal Fest . Curated by Wolf Eyes' Nate Young, the festival will feature performances from Wolf Eyes, a collaborative performance from Andrew W.K. and Young, synth pioneer Morton Subotnick, Hieroglyphic Being with Marshall Allen & Danny Ray Thompson of the Sun Ra Arkestra, and more. There will be film screenings at Third Man Records, two "Everything Is Terrible!" shows, a long-distance conversation with composer Pauline Oliveros, and much more. Find full details here .  Update (4/26, 10:34 p.m. EST): It's now been announced that Trip Metal Fest will be completely free and all-ages. They announced the news with a billboard in Detroit—find it below.

Wolf Eyes have also announced plans to reissue several out-of-print records.  Dread  (2001) and  Mugger  (2003) will both be available on cassette at Trip Metal Fest with vinyl reissues coming later this year. They're also planning eventual reissues of  Dead Hills (2002),  Stabbed in the Face EP (2004), and  Burned Mind (2004).

Read " Let's Build a Home: Third Man Records Returns to Detroit ," and listen to our  podcast interview with Wolf Eyes .

Watch Wolf Eyes perform "Choking Flies" as part of Pitchfork and GoPro's GP4K series:

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The Answer Is In The Beat

• Helium Ointment
• WRSU Archives

Trip Metal Fest @ El Club 5/25/18

El Club patio

vegan sliders from The Grim Feeder

BMG (Ectomorph) on NTS Radio

Drew McDowall and Puce Mary on NTS Radio

Universal Eyes (Universal Indians + Wolf Eyes)

dancing to Pure Rave

Puce Mary & Drew McDowall

MGUN on NTS Radio

flyer for the Nigh/Day party my sleep schedule wouldn’t allow me to attend

Guttersnipe

The Art Ensemble of Chicago

dancing to Nídia

Trip Metal Fest 2017 & other Memorial Day Weekend happenings

Trip Metal Fest poster

mural @ El Club by ZelooperZ

DJ Blk_out (+ not sure other DJ’s name)

drum installation by Apetechnology

Apetechnology

Crime Victims

Siobhan (or maybe Pure Rave?)

Knox Mitchell

Apetechnology drum installation in action

Apetechnology neon ghost robot in action

John K King Books

Submerge (Underground Resistance headquarters)

Ron Zakrin painting @ Submerge

burger cakes @ Royale With Cheese

John Olson & Andrew Kirschner

Twig Harper

Sliki (Viki & Stallone the Reducer)

Aaron Dilloway

Princess Dragonmom setting up

Princess Dragonmom

Princess Dragonmom distributing cardboard weaponry

Princess Dragonmom (Warren Defever)

Elysia Crampton

Suzi Analogue & DJ Earl

Suzi Analogue, DJ Earl, & DJ Taye

Suzi Analogue, DJ Taye, & DJ Earl

Troller (DJ set)

Curved Light

Samantha Glass

Amber from Troller

Russell Butler

Dylan Cameron

Something Cold

Trip Metal Fest, Detroit, Memorial Day Weekend, 2016

scenes from Mexicantown

Morton Subotnick

Panicsville

Panicsville doing magic tricks

Apetechnology + Cotton Museum

Cotton Museum lifting his gear table off the ground

Derrick May, Kevin Saunderson & Juan Atkins in discussion @ MOCAD

poster for the Transmat 30th anniversary party

upcoming events wall @ MOCAD

building near Submerge

purple building blasting Prince

giant bag of carrots near the Eastern Market

Trinosophes Trip Metal discussion schedule

Hieroglyphic Being, Marshall Allen, and Danny Ray Thompson in conversation

Lexie Mountain & Scroll Downers

Marshall Allen, Hieroglyphic Being, Danny Ray Thompson

Marshall Allen

Danny Ray Thompson

Hieroglyphic Being

Marshall Allen, Danny Ray Thompson, Hieroglyphic Being

Joseph Hammer

Viki + Magas

Trip Metal Menu

Josh Cheon of Honey Soundsystem @ Movement

Brain Transplant

Wooden Highway

group photo shoot

Nautical Almanac

Twig Harper, Andrew WK, Nate Young

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