My Neighbors Are Dead

My Neighbors Are Dead finds comedy in the people horror movies leave behind. Adam Peacock approaches famous horror stories from a crooked side door, interviewing imagined witnesses whose problems are usually smaller, stranger, and more self-serving than the catastrophe nearby. The setup is simple. The results are unpredictable. A town with a haunted mansion starts to sound like a local economy built on fear. A school incident connected to E.T. becomes a fifth-grade argument about order, frogs, and who actually came to learn. The Faculty turns into football dad philosophy and family rivalry. Rear Window becomes neighborhood rumor, HOA politics, and the uneasy practicalities of watching something terrible happen across the way. The Black Phone leads to a Godfather's Pizza outside Denver. Critters 2 passes through burgers, apartments, and a livelihood swallowed by chaos. The show likes horror, but it does not rely only on horror jokes. Its best bits come from ordinary speech pushed just past believability. Characters defend bad decisions with total confidence. Peacock keeps the tone chatty and incredulous, giving the guests room to build odd local histories around familiar movie worlds. It is sharp without feeling slick. It is absurd without losing the interview shape. The recurring pleasure is perspective: the monster may be famous, but the neighbor, janitor, classmate, chiropractor, restaurant worker, or town resident has the better complaint. Film knowledge helps. Comedy timing matters more. For listeners who enjoy character improv, horror references, and small-town logic collapsing under supernatural pressure, the show turns background damage into the main event.