Morally Offensive

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. 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.

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.

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.

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.

In this Christmas episode of Morally Offensive, Jess and Bill take a deep dive into Black Christmas (1974), the landmark horror film that helped define the slasher genre several years before Halloween. Joining them is Professor Eric D. Wesselmann, who brings an academic lens to Bob Clark’s deeply unsettling and surprisingly nuanced film. The conversation covers the film’s complex female characters, the origins of the “the call is coming from inside the house” trope, and how Roe v. Wade and second-wave feminism shaped the movie’s themes and cultural reception.

Bill and Stephanie sit down with Thomas Negovan to discuss the restoration of Caligula: The Ultimate Cut and how he and an editor pieced the film back together. Thomas explains how they uncovered hours of never-before-seen footage and used it to assemble a version of Caligula that reflects what was originally filmed, offering a clearer look at the movie’s intended narrative. The episode also explores Bob Guccione’s controversial attempt to reshape Caligula in the edit, the bizarre choice to make an additional R-rated release, and of course the Catholic Reviews from the time. The crew gets into film restoration, the lost footage, and how a movie’s meaning changes depending on who controls the final cut. 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.

Stephanie and Bill head on up to the lab, to see what’s on the slab...and it turns out it’s The Rocky Horror Picture Show, a cult classic that started as rebellion and transformed into a midnight movie ritual. With special guest props expert and technical theatre professional Jeffrey Rockey, they dig into the history of the movie that became a cultural touchstone, especially for Catholic school kids who found they didn’t quite fit in. Jeff talks coming out, Bill shares the story of how he originated the first stage role of the Captain of the Edmund Fitzgerald, and Stephanie recounts the experience of getting into Rocky Horror as a young Jewish woman. They also revisit Richard O’Brien’s problematic remarks, the Catholic media’s moral outrage, and the often-forgotten sequel Shock Treatment. It’s a science fiction double feature of faith, fishnets, and the strange comfort of finding community in the most “morally offensive” places.

Bill and Stephanie are joined by film scholar Christopher Hoppe to unlock Sergio Martino’s Your Vice Is a Locked Room and Only I Have the Key (1972), a cornerstone of Giallo cinema, laced with gothic unease, which explores the cultural anxieties of 1970s Italy. The film follows a washed-up writer, his abused wife, and the arrival of his seductive niece, as secrets, betrayals, and murders spiral inside (and outside) a crumbling villa. Lurking over it all is the ghostly presence of the writer’s domineering mother, and watching with uncanny menace is the family’s black cat named (yes, really)...Satan.