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If you have finished watching Netflix’s Monsters season 2, then you might remember the scene where the gossip writer Dominick Dunne narrates sensationalized stories to his upper-class lobby. Well, that’s Ryan Murphy for you, ladies and gentlemen. To answer the question first, no; Erik Menendez, in his own words, told Barbara Walters during the 1996 interview that he wasn’t gay. That was some bizarre theory that the deputy district attorney, Lester Kuriyama, came up with during the closing arguments of the first trial. It wasn’t just a theory but actually a general, very problematic perception that any male kid who was sexually assaulted by a male figure in their life was homosexual. And the public prosecutor questioning Erik about his sexual orientation was just the result of such a mindset. He believed that Erik was only able to describe the abuse in so much detail because he was gay.

Killer Collectibles highlights five of the most exciting new horror products announced each and every week, from toys and apparel to artwork, records, and much more.

Here are the coolest horror collectibles unveiled this week!

V/H/S/99 Blu-ray from Rlje Films

Produced by Bloody Disgusting, V/H/S/99 is going to Hell on Blu-ray and DVD on May 23 via Rlje Films. Pre-orders are only $14.99.

The fifth installment in the found footage horror franchise consists of five segments from directors Johannes Roberts (47 Meters Down), Vanessa & Joseph Winter (Deadstream), Maggie Levin (Into the Dark: My Valentine), Tyler MacIntyre (Tragedy Girls), and Flying Lotus (Kuso).

Special features include a filmmaker audio commentary, New York Comic Con panel, deleted scenes, bloopers, and more.

Bride of Chucky Vinyl Soundtrack from Enjoy the Ride Records

Bride of Chucky’s original motion picture soundtrack is available on vinyl for the first time for $40 via Enjoy the Ride Records.

The early ‘70s were really just the hung over ‘60s; idealism had turned to realism as Vietnam marched on and acid dreams turned to lysergic comedowns. And that cutting pall was definitely there in the mainstream culture; TV sitcoms like All in the Family took on bigotry and racism with a sharpened blade and cynical tongue. Meanwhile in the underground, transgressive art was alive and well and still hitting its marks; sordid, seedy, and sprinkled with a devious sense of humor, Paul Bartel’s feature length debut Private Parts (1972) tried to bring that sensibility above ground to an audience not quite ready for its peculiar charms.

Released in September by MGM (!), Private Parts never even received much of a chance to offend mom and pop, as the title prevented it from being advertised in several newspapers and it quickly faded away. Such would be the directorial course of much of Bartel’s career,...