I’ve been watching horror movies since I was a little girl ,who was supposed to be asleep at 11 o’clock at night. I went through a period, with my mother, where I think we tried to watch every horror movie that got made between 1980 and 1988, before I went off to college, so I have seen a helluva lot of movies, many of which have been forgotten, unless your’e a serious horror movie fan. I admit, not everything I watched was any good, but I found something interesting in these five movies, which have stayed in my memory even though I haven’t watched some of them in decades.
Don’t Look in the Basement(1973)
This move was made back in 1973 so I wouldnt go in expecting it t be enlightened about mental illness. I saw this movie when I was a teenager, and there was just something about it that I found deeply disturbing. Yes, the characters are disturbed, certainly, becasue this is an asylum, but that’s not the reason why this movie has haunted me for years. I suspect its some quality of mood, or lighting, or acting that I found mesmerizing back then.
A young nurse gets a job in a remote asylum for the mentally ill, and has a great deal of difficulty doing her work, as the director of the facility seems as deeply disturbed as her patients. You can probably guess what the twist is long before the plot spirals down into a hot mess of murder and mutilation.
Children Shouldn’t Play With Dead Things
A troupe of method actors and their despotic director head out to Coconut Grove, Florida where, as a prank, they exhume a corpse called Orville and are subsequently horrified when his similarly deceased friends emerge from their graves to play some deadly games of their own. Filmed as America experienced its post-60s comedown, director Bob Clark’s first horror feature began a truly terrifying trilogy that continued with the powerful anti-Vietnam war statement Dead Of Night and climaxed with the classic seasonal (and subsequently re-made) scarefest Black Christmas.
You can definitely tell this movie was filmed on the cheap, but this is also one of the first zombie movies I ever saw, long before ever watched Night of the Living Dead, and of course this is nearly forgotten, except by zombie movie enthusiasts like me. The acting isn’t great, and the special effects aren’t either, but the movie has such a distinctive feel, that I’ve never forgotten it, despite having not watched it in decades.
Let’s Scare Jessica to Death (1971)
I haven’t seen this movie in decades but for some reason I still remember the haunted feeling I had watching this. The plot is a little fuzzy, but I think its about a woman who moves out into the country, with her boyfriend, to recover from a nervous breakdown, and encounters strange events, and possibly ghosts and vampires.
The movie is surprisingly well acted for a horror movie from the 70’s, and the cinematography looks gorgeous. The only drawback seems to be that the plot is a bit murky, but I do remember enjoying watching this on late night TV.
This is another movie I remember watching as a kid, late one night, when I was supposed to be asleep. I haven’t seen it in decades, but I still remember it pretty well, although it took me some time to find the title. I remember that I started off excited about the movie because, Hey! Zombie Bikers!, but by the end I recall a distinct feeling of melancholy for the bikers, and their inability to die, and at least part of that was due to this song.
I remember thinking something along the lines of how all these characters eventually became pretty jaded by the1974 lifestyle they thought was a form of true freedom, only to be trapped in a kind of hellish living afterlife.
The Little Girl Who Lives Down the Lane(1976)
This is another movie I watched late one night, without my mother’s permission, even though she was the one who told me about it! Its more of a mystery than a horror movie, but I’m going to put this here because it does have some onscreen kills. It stars a very young Jodi Foster, who was still riding on her fame from Taxi Driver, I think, which came out the same year.
It’s been awhile since I’ve seen this, but I think one of my mother’s objections to this movie, is the character is a serial killer ,who genuinely regrets killing people. My guess is that my Mom was opposed to kids killing adults in movies, which is understandable, but it might also have been the pedophilia from one of the characters, which she thought I was too young to be watching.
I wanted to see it because I was under the impression, at about nine years old, that Jodi seemed to be about my age, when she was, in fact, thirteen, at the time. I have observed that little girls often gravitate to movies about other little girls, and I was no different, except I gravitated to horror movies that starred little girls.
I cannot recall if she was alone because she killed her parents, but I do remember her making up various stories for the adults who investigated her situation, as to why she was alone, and killing the ones who got too nosy, as well as a man who was trying to get too cozy with her, if y’all know what I mean.
The Jungle is the symbolic opposite of the desert and the tundra. The Jungle environment is a stand in for confusion, the loss of civilization, wildness, overabundance, hardship, danger, fear, threat, and powerlessness. The colors associated with jungle environments in movies are greens, black, and red. The kind of horror stories that take place in the jungle often embody all these themes. In fact, many movies that take place in the jungle involve many elements of horror, even if they’re not actually horror movies.
The jungle is the opposite of the desert/Arctic, in that it has an overabundance of life, and most of that life is indifferent to ours. So dropping human beings into such an environment automatically makes it horrific, with the jungle itself as an external threat. Jungle movies that contain both internal and external threats are kind of rare, because often just the backdrop of the jungle itself is enough of a threat to human life that it makes the movie horrifying.
In the 2017 movie Jungle, starring Daniel Radcliffe, there is no more threat needed than the act of simply attempting to survive while in the jungle, with no food, no tools, and no resources, or skills. The movie is based on the true story of Yossi, an Israeli traveler who gets stranded, alone, in the Amazon, after a series of misadventures with friends. After several days of trying to get food and make shelter, Yossi is rescued by one of his friends. The movie is filmed much like a horror movie, except the killer is the environment, as Yossi and his companions encounter one challenge after another, from sickness and wounds, to river rapids and hunger.
In the 1972 movie, Aguirre the Wrath of God, directed by Werner Herzog, the horror comes not just from the environment, but also internal, as it comes from the weaknesses of other people. In 1560, a group of Conquistadors get lost in the Amazon, while searching for the fabled City of Gold, El Dorado. One by one, they succumb to the dangers of river rafting, sickness, hunger, angry natives, and their own perfidy, until their cruel leader is finally left alone to die in his madness. The soldiers were not only ill prepared for the rigors of survival in the jungle, but were brought low by their own greed, selfishness, and cruelty.
Writers don’t really need to add more to make the environment more threatening to increase the horror, but writers will occasionally drop in another external threat, such as in the most famous of these types of film, the 1987 Predator, in which Arnold Schwarzenegger, and a small, heavily armed, paramilitary rescue team, encounter a hostile alien in Central America, The alien possesses advanced weaponry and, one by one, stalks and kills them, until only Arnold’s character is left to outsmart it. The soldiers deal with multiple external threats that make watching the movie especially harrowing. They don’t just have to survive the dangers of the jungle, but the hostile insurgents they came to fight, and the alien, all while attempting to rescue a government official.
Alien beings are not the only threats form Outside however. Sometimes the threats are humans, or animals. Since the beginning of cinema, the deep, dark jungles of Africa, and South America have been shown to be the place where White explorers fear to tread, largely because of cannibals. The most recent one of these is Eli Roth’s 2013 Green Inferno, in which a cast of white plane crash survivors are set upon by a tribe of hungry natives.
The Green Inferno received negative reviews, not just for its gore, but for the tired racist concept of Indigenous people as inherently bloodthirsty and cannibalistic, predators lying in wait for white tourists, or travelers, to happen by, so they can torture and kill them. Among these films were a series of exploitation films, by Italian directors from the 80s, like 1980s Cannibal Holocaust, 1981s Eaten Alive, and Cannibal Ferox, that were devoted to the topic of white people being eaten by natives in jungle environments.
The Ruins, which was released in 2008, follows much the same plot, at least on the surface, when a group of backpackers in the Amazon, are attacked by the Indigenous tribe of that area, after they stumble across a forbidden site. The cannibal narrative is overturned, however, as the natives aren’t simply out to kill tourists, but are keeping them trapped in the jungle, to save the rest of the world from the sentient carnivorous plants the travelers have become infected with.
There is always an element of racism involved in such movies, as the natives, often people of color, are depicted as hostile, primitive, and cannibalistic, and whatever religions they practice are also demonized. The local natives in such films are often shown to jabbering hysterically in foreign languages, ignorant, uneducated, and not in charge of their own fates. The pagan religions they practice are associated with the jungle landscape, and represent the wild outer reaches of civilization, where human beings can survive, but not without the assistance of unknowable animal or eldritch gods, who are depicted as greedy, bloodthirsty, and requiring ritual sacrifices of animals and people, or involving arcane and mysterious rites of appeasement, as in the 1987 film The Believers, where a man is terrorized and cursed by the members of a Santeria cult, after he stumbles across a plot to sacrifice his son to a pagan god, to prevent World War 3.
In film after film, South and Central American religions like Voodoo and Santeria are associated with cults, jungle tribes, primitivism, a lack of education, gullibility, zombies, and Satanism. In fact, the term Witch Doctor comes directly from such movies, differentiating itself from the European witch model, by combining pagan religious rituals with medical and scientific experiments, as in the 1988 The Serpent and the Rainbow, supposedly based on the true story of Wade Davis, where a medical doctor, gets zombified by the local Witch Doctor, while researching the zombie myth. With rare exceptions, the only time Black people (or Indigenous peoples) appear in such films is when they’re the villains.
When attractive looking White people, (because let’s be honest, urban Black people are not traveling to the jungle for any reason, and we never star in these films as the victims), are not being eaten by humans in the jungle, they are being chased and eaten by the many dangerously large animals that live there. Every year since America’s environmental awakening in the 70s, Hollywood has produced a host of movies nature’s revenge movies, involving people being chased by giant snakes (Anaconda 1997), giant bears (Grizzly 1976), giant crocodiles (Primeval 2007) or giant pigs, (Razorback 1984) as a punishment for their hubris in believing they could conquer such an environment, or for not paying proper respect to it.
The premise of “Lost World” films is often based on revenge for the hubris of white colonizers, where there is some part of the world that is so unexplored, or uninhabitable, that it is still available for exploration and/or exploitation by white men, which nature duly rebukes for their trouble. The latest movie featuring a lost world plot is the 2017 Kong: Skull Island, wherein a group of military specialists get stranded on an unknown jungle island during the Vietnam War. They encounter the titular ape, and get picked off, one by one, by a menagerie of dangerously massive animals like spiders, pterosaurs, and to make the setup complete, horrific underground monsters.
But the most famous of these giant animal movies, upon which the new version is based, is the 1933 King Kong, in which an intrepid group of explorers get stranded on a jungle island that’s been lost in time. They get hunted by everything from hostile tribesmen, to dinosaurs, to the actual ape himself. The Jurassic Park franchise of the mid-90s, is just a scientific way to upgrade the Lost World myth to the modern world, with humans being hunted through dark jungles, by ancient creatures, while still addressing the same issues of economic exploitation. The dinosaurs are a scientific version of King King, (only without the elements of racism that mar the original film.)
The jungle is where human beings go to kill or be killed. That’s its only purpose. There’s no compromising with it, anything can be imagined in such a place, and a person can only exist in there on its terms, which makes movies set in jungles the most exciting and terrifying adventures to have.
A couple of weeks ago saw the debut of the new HBO series, Lovecraft Country, based on the book of the same name by Matt Ruff. In the book, a young black man named Atticus goes on a road trip through the Jim Crow South, with his uncle, and childhood friend, to find his father, who has mysteriously gone missing up North. They stumble across racist cops, sundown towns, Lovecraftian monsters, and occultism, in their travels.
I watched the first two episodes of this series. Normally I would not have watched any show that’s based in the Jim Crow South because that’s just a particularly triggering time period, but the writers and producers are black, so I was willing to give it a chance. Its still a very nerve-wracking show, but in a kind of good way, because its also surprisingly cathartic, entertaining, and not wholly based on Black pain and suffering. The characters are very likable, and there are other, more personal issues they deal with besides racism.
I can honestly say I enjoyed this episode. I know that sounds weird, considering how I’ve complained about no longer being interested in shows that are based on black pain and suffering, in different eras, but this show, along with the Watchman series, was very entertaining. For one thing, the plot isn’t necessarily based in suffering. the Jim Crow era in which the story takes place is simply the backdrop, and the way the story is written, the racism of the white characters is just one of the primary obstacles that the protagonists have to navigate, occasionally in the form of harrowing car chases.
It doesn’t hurt that the three main characters, Atticus, the very fine looking lead character, his uncle George, played by the incredible Courtney B. Vance, and the gorgeous Leticia, Atticus childhood friend, played by Journee Smollet, who you may remember as Black Canary, from the Harley Quinn/Birds of Prey movie, released earlier this year, are all immensely likable, and reasonably smart.
Outside of the mystery itself, the series presents a lot of ideas about black people that don’t often get seen in popular culture, which are merely glimpses into the lives of regular black people, in the midst of horrific circumstances, because that too is as important to our representation, as seeing ourselves be heroic, hearing our own stories, or seeing ourselves existing as a culture in the future. We get loving black couples, black people who love books, clothes, and superheroes, ordinary disputes between family members and black people snatching little moments of joy, even in the darkest times.
The episode begins with Atticus on his way home from the Korean War. Its 1954, and that particular war (the one depicted in the MASH series) ended around 1953. He’s dreaming of a mashup of all the scifi he’s ever read, Cthulhu, John Carter of Mars, and an ass kicking cameo from #42 himself, Jackie Robinson.
When the bus he’s riding breaks down, he and the only other black passenger, rather than being allowed to hitch a ride with a local farmer, have to walk several miles to the next town. During their walk is when we get Atticus broad opinions on fantasy stories with racist characters, or written by racist writers, like Robert E. Howard, or Lovecraft himself. Genre fiction, whether movies, books, or TV, has always been problematic for black people. Most of it was not written with us in mind, and what was, often had negative connotations.
When Atticus gets home, he finds the neighborhood is preparing to have a block party. This is something that really resonated with me, because I remember attending quite a few of these, during my childhood. My family is/was huge, so most of the block party consisted of me, my little brothers, and a seemingly vast number of cousins, uncles, and aunties! Anyway Atticus finds out from his uncle George that his father has gone missing but left a note saying he could be found in a place called Ardham. That’s right, not Arkham, but Ardham House. He, and George are joined by Leticia, a young woman that Atticus knew when they were children, because Letty was the only girl in his Science fiction book club, but who is now a traveling photographer.
Uncle George offers to come along because he is the publisher of the Chicago based green book. His wife, Hippolyta, offers to come, but George says no, out of a sense of protection. He knows how dangerous it would be for her to do such a thing., considering that he once had both his knees broken, by some racists, while on a previous trip for his travel books.
The travel books, that George writes, (based on the real life Negro Motorist’s Green Book), aided black people in navigating through the Jim Crow South, listing problem areas, like eating and sleeping places that were safe, but most especially, listed all the Sundown Towns, in both the North and South. At that time, these were all white towns, in which black people would be either run out, or murdered, if they were found within the town limits, after sundown.
Welcome to the world’s only registry of sundown towns. A sundown town is not just a place where something racist happened. It is an entire community (or even county) that for decades was “all white” on purpose. “All white” is in quotes because some towns allowed one black family to remain when they drove out the rest. Also, institutionalized persons (in prisons, hospitals, colleges, etc.), live-in servants (in white households), and black or interracial children (in white households) do not violate the taboo.
“On purpose” does not require a formal ordinance. If, for example, if a black family tried to move in, encountered considerable hostility, and left, that would qualify the town as “sundown.” Note that some sundown towns kept out Chinese Americans, Jews, Mexican Americans, Native Americans, even Mormons.
One of the most hair raising, but exhilarating, chase sequences occurs when George mistakenly takes them to a cafe that does not serve black people, and the local firefighters chase them out of town. They are saved by Letty’s well honed survival instincts, her ability to drive like a maniac, and a little bit of hoodoo, from a mysterious benefactor.
This same benefactor comes to their aid at the end of the episode, after they get stopped in a sundown county by the local sheriff, who challenges them to get out of the county 8 minutes before sundown, but without speeding. This is very probably the slowest, most nerve wracking car chase in television history, and does a spectacular job of showing how frustrating, and enraging it was to live during the Jim Crow era, in which those who held authority, (yes, the police, but regular citizens were encouraged to get in on the fun), could terrorize black people on a whim, or simply for their own pleasure.
They do follow the cops rules and manage to barely make it out of town, only to be stopped by the police in the neighboring county, who were lying in wait for them. This is an especially relevant point, because it speaks to the arbitrary nature of the rules. It ultimately doesn’t mean anything that Atticus and the others followed the rules. They’ll be killed anyway, because a group of people determined that they should, and no amount of rule following would’ve saved them. However, the three of them are inadvertently saved by monsters.
*I want to point out some of the images used in the show, which is rich with detail. This particular image here was based off some famous photographs by Gordon Parks.
And here is another, which can also seen in the episode:
*There’s also a famous interview from James Baldwin, which is used in voiceover, before the trio’s second encounter with the police.
*Hippolyta (George’s wife) is also the name of Wonder Woman’s mother, and George has a daughter named Diana.
The cops take the three of them into the woods to execute them. This is an especially chilling scene when you think about how many black people might have been murdered in this fashion, who were never missed, or whose bodies were never discovered. In fact there are a host of activities that black people don’t do today, not just because we were discouraged from participating in everyday American life, but because, even today, we are still recovering from the trauma of the constant terrorizing and policing of our actions, which lasted some sixty to seventy years. Activities like road trips, camping, swimming, walking on the sidewalks, or just out enjoying nature, could (and did) get us murdered.
Until the seventies, many state parks were off limits to black people and earlier this Summer a young black man posted videos where he was threatened with lynching, by a white mob that assaulted him in a park. The bottom line is that many of the nature activities that white people took for granted, were enduring traumas for PoC, but especially black people. So when you hear us joking about not going into the woods, or never going hiking, keep this in mind, as one of the factors.
“When I’m walking to work with park rangers or with other campers and hikers who treat me in some sort of way that make me feel unwelcome, that make me feel unsafe, that is startling,” Tariq said. “And that goes unchecked because there’s, there’s just no channel for us to be able to challenge that in such remote places.”
As much as white people claim to be afraid of black people because…..crime, or something, I don’t think many of them have ever thought about what it must be like to live one’s life in constant fear of stepping on white people’s toes, at work, or the store, in a park, or just out of doors. Always having to watch what you say, how you look, dress, act, and carefully structure one’s facial expressions, lest you set one of them off, as if they were unexploded ordinance.
The police take them into the woods to execute them, but before that can happen, they are all attacked by what viewers are calling Shuggoths, but what the characters in the show are calling vampires. They are covered with eyes, shun the light, and can move extremely fast, so they manage to take out the five or six cops rather easily. Letty and Atticus escape to an abandoned cabin, along with two of the cops, one of whom had their arm bitten off. After George joins them in the cabin, they make a plan to get more light from the cars parked at the edge of the woods. Atticus wants to go, but is prevented from doing so by the cops who 1) don’t trust him, and on top of that 2) aren’t very bright, because why would he leave his friends behind just to spite the police? The cops nominate Letty to run to the vehicles.
Okay, I’m going to have to stop here for another aside. These are the same type of white men who will happily kill a black man for breathing too hard in a white woman’s direction but are perfectly happy to sacrificing a black woman to save their skins. In their minds, black women are not worth protecting. So even though they are armed and can take care of themselves, they insist that this black woman attempt to outrun the monsters, to save their skins. To calm everyone down, Letty does make a case that she is faster than Atticus, having run track as a girl, and off she goes.
And this is the way that people should be running in a Horror movie. Letty is seriously hauling ass! I wonder how many times Journee had to do that scene, because this is not a stunt double, and she is seriously working out! There’s none of that glancing behind, or tripping and falling shit in your typical generic horror movie. This is also probably the reason black people don’t get to star in too many of them, because they would be boringly short films.
Letty makes it to the car, and heads back to the cabin, where the two cops are so busy concentrating on holding those two scary black men in check, that they don’t notice that one of them is turning into a one of the creatures that attacked them, but that’s not what’s interesting . What’s fascinating is even though the cop next to him is turning into a nightmare that’s going to eat him, he is hesitant to shoot him, despite Attticus’ and George’s warnings, instead choosing to keep his weapon aimed at the two unarmed black men in front of him. See ,this is one of the reasons I don’t trust white people, (no, not even my white friends), with my safety. After decades of fear-mongering propaganda, the majority of them simply do not have good judgment when it comes to what’s actually dangerous, and what isn’t.
The cop turns into a monster and eats the other cop, which is a nice conflation of the idea that there are other types of monsters in the world, but the human ones are the scariest. Letty arrives with the car just as the monster turns its attention to Atticus and George, but they still need to hold the monsters off until daylight, or fight them, and that’s when the mysterious benefactor arrives and calls them off using, what else…a dog whistle!
We next see the three travelers arriving at Ardham house, exhausted, and covered in blood, where they are welcomed and expected by their happy blond host, and yes, I’m immediately suspicious.
So that’s my first impression of the show. I have, since the posting of this review, watched a couple more episodes, and the show manages to keep that same energy for each episode, which is more like a connected anthology than a serialistic show. The second episode finishes out the first story arc at Ardham House, and the third focuses on Leticia buying a haunted house. Both episodes continue with the same wealth of detail, racist white men, and historical asides, including references to the Garden of Eden, and a chilling cameo from Emmet Till!
There are so many layers to this show, but its also just entertaining, even if you don’t get, or see, all the socio-historical references. The show is fun to watch, with a lot of exciting moments, because its well written, and the characters and plot are compelling.
The DCEU just had this thing online in August, that was sort of like ComicCon, but only for DC and its properties, called the FanDome. Basically they showcased all their shows, movies, and trailers online, for a week. So here are the relevant trailers, and a couple of random trailers, and videos, I threw into the mix, just because I liked them!
This is a new series on Netflix, based on the Enola Holmes Mystery books, which I have heard about, but never read. Enola is Sherlock and Mycroft’s little sister, and Since I like her brothers, and I like this actress, I’m looking forward to the first episode, which looks like lighthearted fun.
Zack Snyder’s Justice League
For the record, I cared not one whit for the Zack Snyder cut to be released, let alone that it even existed. I’m also not exactly a Zack Snyder fan, even though I’ve probably seen all his films. Its more that Zack Snyder keeps directing movies that have actors in it that I like, and so I end up seeing his movies.
All that said, I actually am looking forward to this and will definitely watch this mini-series, which I understand will take place over four days. Frankly, that’s how it should’ve been approached in the first place, rather than a 2+ hour movie, that seemed to displease everyone.
The Suicide Squad
Now, I must state up front, that I am a fan of the first Suicide Squad, which is differentiated from this one by not having the word ‘The” in front. I know people hate that first movie, but I found a lot of things to like about it, (as well as hate), and it’s more likely that I was looking at that film through a very different lens, than the white fanboys who hated it, and one day I’m going to have to write about why that is.
Anywho, I am a big fan of James Gunn, whose career got canceled briefly, but who has since been reinstated, in his role as the director of the Guardians of the Galaxy movies, which I personally love. Those are two of my absolute favorite MCU films ,so I’m very much looking forward to his version of the Suicide Squad.
This movie actually looks okay. Yeah, I was more than a little dubious about Robert Pattinson playing this role, but I never liked Ben Affleck, and I’ve since watched Pattinson in other roles, and I feel confident that he is gonna bring it as The Batman.
Now this is a much younger Batman than we’re used to. I’d say year one or two, in his role as Gotham’s protector, and you can see that he is not as controlled in his manner, as we’ve seen the older Batmans, and that there is a little more hand to hand combat, rather than the reliance on gadgets, that a lot of the movies fall into. Hopefully, this movie will also focus on Batman being a detective, because that was the part of his role that made him interesting in the comic books, and which hasn’t really been depicted onscreen yet.
You guys all know I’m a dedicated Stephen King fan despite some of my issues with some of his characters, but I will admit that I disliked the original mini-series of this book intensely, because the acting was so spotty, and it was trying just a little too hard to be faithful to the book, without actually being faithful to the book. But I’m kind of looking forward to this version. For one thing, it stars much better actors ,and it looks like its going to remain faithful to the spirit in which the book was written, and it happens to be timely.
Now, I don’t know how many of you want to sign on to see a pandemic destroy the Earth, considering what we’re all going through. I tried reading the book back in May, and just couldn’t get through it, and I also believe the money spent on this would have been better served filming The Talisman, but I’m gonna watch this in December, even though it ain’t got nan but two black people in it, and let you guys know what I think.
Taika Waititi continues to be comedy gold! I just love this man’s humor ,and of course the Thriller dance would be a Haka!
Raised by Wolves
Not sure what to think about this one, but I’m going to check it out because its SciFi, and based on my blog name, I am required by law to watch this, I think.
I am definitely going to watch this, and then we’re going to talk about my love of Christopher Nolan films
I think this is an American remake of the French movie, The Night Eats The World, a zombie type movie, in which people act insane, but are not actually zombies, right? It stars that guy from Teen Wolf. There’s also a bunch of other movies out right now called Alone, but with 0009949443528
a different type of horror, so try not to get confused. This looks intriguing, but I’m not sure I want to binge on too many end of the world flicks right now, because I’m just not feeling it.
*Hopefully, my review of Lovecraft Country’s first episode, will be ready by this Friday!
Yeah, I’m still on this thing where I look through files about the SCP organization. That place is really a lot weirder than I ever thought it might be. Although there are at least a couple of these that are just joke SCPs, some of these I’m not too sure about.
SCP 8003 – Talking Penny
This one you’ll have to read for yourself as it defies description, and may not, in fact, exist at all.
This umbrella attracts lightning, when held directly above the head of its holder. It only attracts lightning when held directly overhead, and only during inclement weather, otherwise its just a regular umbrella.
SCP 799 – Carnivorous Blanket
This object appears to be a typical woolen blanket, that occasionally transforms into a large predator, that lies in wait for someone to wrap themselves in it, and then consumes them.
SCP 789 – Haunted Toilet
This is a butt ghost, which only consists of a face, that talks to people while they poop into the toilet. It will stop talking if you poop on it, and can only be gotten rid of by wiping your behind!
SCP 1057 – Invisible Shark
I think the above photo is a little misleading, since this is just a tank that holds a shark shaped space in it. The shark cannot be seen by the human eye, or measured by most instrumentation, but is capable of killing and eating anyone who gets inside the tank. As long as you don’t get int the tank with it, then you’re fine.
SCP 2852 – Cousin Johnny
This is definitely one of the creepiest of the cognito-hazards. Cousin Johnny is an alien entity that induces psychotic and cannibalistic behavior in the humans it comes into contact with at parties and weddings. The people it infects have no memory of interaction with the entity, which shows up at their special events masquerading as a previously unknown cousin named John, but after the event is over, the people are induced to brutalize one another in violent rituals.
SCP 1728 – Butter Man
Sadly, there are currently no photographs of Butter Man!
A man without a head, whose body exudes a buttery substance from his skin, making him exceptionally slippery, and difficult to contain in the facility.
SCP 2662 – Worship Him/F*ck Cthulhu!
A man, voluntarily residing in a containment facility, who has strange tentacles growing from his back. People are compelled to form cults and worship him. Sometimes people from outside the containment facility attempt to break in and hold violent, or sexually ritualistic services in his name, which cause the anomaly a great deal of emotional distress.
SCP 123 – I Can’t Believe Its Not Butter
A tub of what appears to be butter, that apparently tastes like butter, but when consumers are informed that it is not, in fact, butter, they react in an incredulous or sometimes disgusted manner.
SCP 919 – Needy Mirror
A mirror that compels a person to keep looking into it, making eye contact with their reflection. Should they break eye contact, their reflection will scream, and then burst into flames, until eye contact is returned.
SCP 1048 – Builder Bear
This seems ot be a harmless sentient bear, that is friendly and affectionate, except it likes to dismember human bodies, craft them together into a replica of itself, that will resurrect, and attempt to kill any humans nearby.
I was just looking over a list of of horror movies I made early on this blog, of some of my favorite monsters, and took note of how damn weird all the monsters on that list were. I remember deliberately leaving certain types of traditional monsters off the list, like vampires and werewolves.
I also noticed a trend, from decade to decade, too. Whatever social or economic concerns Americans were voicing in the media at that time, got appropriated by Hollywood to make these movies, although its not quite that simple, as Hollywood didn’t just reflect our fears, but reinforced them, as a lot of these films had a sort of dialogue with one another.
In the fifties, the big theme was nuclear generated monsters because people were still reeling from the use of atomic weaponry during the war. In the sixties, the theme was zombies, and other human related horrors, as people began to question American lifestyles, and there was a great deal of social and racial upheaval. In the seventies, it was environmental concerns, and in the eighties, Hollywood focused on human and supernatural related horrors, like zombies, and slashers.
Here is my top ten list of the weirdest horror movie monsters ever screened. There’s a lot more, these just happen to be my personal favorites.
Little Shop Of Horrors – Giant Venus Flytrap
This is certainly one of the strangest monsters ever seen in a movie, (especially considering the sheer numbers of strange monsters in movies), a giant flytrap that is actually from Venus, that talks and sings. It took me years to figure that that’s what Audrey II was, probably because I wasn’t paying attention to the dialogue as closely as I should have, and well…Audrey is certainly distracting. The 1986 movie stars the music of Alan Mencken, was directed by Frank Oz, of Muppet fame, while Audrey was voiced by Levi Stubbs of The Four Tops.
Food of the Gods – Giant Mice, Chickens, and Hornets
This 1978 movie was loosely based on the H.G.Wells novel of the same name about a strange substance that bubbles out of the ground near a farm, which gets fed to various animals. This causes the farm animals, and all the nearby woodland wildlife to grow to tremendous sizes. The audience gets treated to giant chickens, giant hornets, and of course, giant mice. Yes, the acting is terrible, and the special effects are laughable, but there are at least a couple of truly effective scenes, which makes this movie worth taking a look at.
Part of the reason for all these giant and killer animal movies, during the 70s, was America’s new awareness of ecological issues, which prompted Hollywood to try to cash in on these new environmentalist fears. Movies like Squirm, Slugs, Day of the Animals, Frogs, and the many Grizzly films gave vent to American’s fears of humans destroying the environment, which prompted the environment to take revenge on us.
Attack of the Killer Tomatoes – GiantTomatoes
In keeping with the theme of ecologically based monsters, this is an utterly ridiculous, 1978 satirical film, whose style is loosely based on the giant nuclear animal movies of the fifties, and The Blob. The tomatoes even have their own theme song, written by John Dibello. The acting is atrocious, which only contributes to the films very, very, broad humor.
Night of the Lepus – Giant Rabbits
This is a 1972 horror scifi movie about a town being overrun by giant rabbits. The special effects are incredibly laughable because the rabbits don’t look especially evil or angry. They just look like rabbits, which is entirely in keeping with the “nature is trying to kill us all” phase of horror that happened during the 70s.
Rubber – Killer Car Tire
This 2010 movie is about a rubber tire, named Robert, that somehow becomes sentient enough to psychically kill the people it encounters. It rolls around the desert, exploding the bodies of hapless animals and unsuspecting people. Directed by Quentin Depieux, and starring a cast of nobodies, this film is much more surreal, as it also has a chorus of bystanders, who view the events, while making commentary, and who eventually all contract food poisoning by eating some bad poultry they brought with them for a picnic. Quentin needs help!
Attack of the Killer Shrews – Giant Shrews
This 1959, black and white, giant animal movie revolves around a boat captain and his crew, who get stranded on a research island, with a mad scientist, his daughter, and the staff. The mad scientist believes shrinking human beings to the size of party snacks is a way to solve world hunger. He should have stuck with enlarging plants, because naturally, he gets to be one of the first people eaten by the shrews. Its also a monumentally stupid idea.
This movie has the distinction of being one of the few movies, on this list, that scared the living beejeezus out of me…when I ten years old, and watched it on some idle Saturday afternoon. its always those childhood fears that stick with you, because I saw this a couple years ago, and yeah, I laughed at it, but it was, lowkey, still effective.
From Hell It Came – A Tree Stump/Zombie?
In keeping with the theme of murderous, sentient, wildlife, this is a 1957 scifi horror movie, about what appears to be an angry, nuclear generated, tree stump, on yet another desert island. This movie has the rather unique plot of having a witch doctor and human sacrifice involved, as well. As usual, there is the demonization of some sort of African pagan religion, which I’ll be speaking on later.
Black Sheep – Sheep
Black Sheep is a 2006 movie from New Zealand, about a brother who accidentally zombifies a flock of sheep, by performing genetic experiments on his father’s sheep farm. Just one bite from one of these fat, and perfectly normal looking sheep, is enough to transform a man into a horrific man-sheep monstrosity. The humor is that all of this is played completely straight and the actors really sell it.
The Crawling Eye – Giant Loose Eyeball
Originally called the Trollenberg Terror, this is a 1958 British, black and whit,e film. This one of the few films where the monster’s origins are not a result of nuclear something or other. The location is isolated, scientists are involved, and the monsters seemingly have a form of mind controlled.
Squirm – Worms
This is another movie I remember watching as a kid where I wasn’t so much terrified, as disgusted. This movie, released in 1976, was one of the worst of the ecologically based horror movies, if only for the acting, but I still found it intriguing, because…worms. During a thunderstorm, a farm full of worms get struck with electricity from downed power lines, and decide they like the taste of people. There’s some greatly ridiculous scenes of screaming worms, and houses being swarmed by regular sized, bloodthirsty, worms.
The Swarm – Killer Bees
This was apart of the great Swarm! of killer bee movies that we all got inundated with in the 70s, thanks to the media horror stories about the Africanized honey bee, the most hostile and aggressive bees on the planet because…Africa! taking over America.
Frogs – Frogs
This movie released in 1972, is a rather slow moving thing that doesn’t contain monsters so much as deeply stupid people. A wealthy family has a reunion on their private island, so they can fight among themselves in private, but are inundated by swarms of frogs, and other wildlife, that apparently hate them. The frogs and other animals, aren’t grown to large sizes, or are even especially malevolent. They pretty much just act like snakes, birds, and lizards, while the family members act like accident prone ninnies.
So hey everybody, have a happy weekend, and watch out for the trees!
[These last reviews of the Red Dragon arc were originally published after the end of the series in 2015. I’ve edited these reviews to reflect new thoughts and information.]
The last episode I reviewed was about the different character’s perceptions, as has been the theme for most of the series., but this episode is about Agency, how each of the characters have it, take it, and/or employ it. Agency is the ability to affect change over the environment by one’s actions. One can affect change oneself or use proxies to do so.
We pick up the narrative where we left off in the last episode.
Graham is outlining the situation for Crawford. Crawford is incredulous that Dollarhyde ate a painting. Graham surmises that Hannibal knows who Dollarhyde is, and that he was once a patient. He’s only half wrong. Dollarhyde is Hannibal’s current patient through secret phone calls, after Dollarhyde masquerades as Hannibal’s lawyer. We flashback (not really) to Hannibal telling Dollarhyde to save himself by attacking Will and his family. This is about Dollarhyde taking and using agency, regarding his relationship with Hannibal, the Red Dragon, and Reba, but he is also Hannibal’s proxy.
Hannibal is using Dollarhyde to get back at Will for rejecting him. Lecter does, as Bedelia states later, have agency in the world, even though he is locked away. The difference is that she attributes this agency to the wrong person. She thinks the person executing Hannibal’s agency is Will Graham, when its really Dollarhyde. This is Hannibal, once again, playing his old game of I love you/I want to hurt you! Will may be tired of it, but Hannibal always finds this game amusing (except when Will enacts this particular game against him.)
Oh yeah, the flashbacks aren’t actually flashbacks. They’re conversations that Lecter had/is having, with Dollarhyde, over the phone, but are imagined from Lecter’s point of view, and usually from inside what he calls his mind vault. Being given Lecter’s POV is often done without any warning for the audience, an effect with which I’m not entirely comfortable, as nobody really wants to be in Lecter’s head, and is probably equally disconcerting for people who are “first watchers” of this series.
As the next full moon approaches, Reba and Dee (as she calls him), spend some quality time together. I don’t see a whole lot of chemistry in their relationship, (that’s just my inability to see romance between characters, in general), but these are both very good actors, who convince me that they’re in the beginning stages of a relationship. Dollarhyde wants to, but can’t let the Red Dragon go, not even for Reba’s sake, not even as he fears for her. While she cuddles with him on the sofa, he watches home movies of his next possible target, Molly and Wally.
Will’s wife is at the vet because the dogs are sick. She doesn’t understand that the Red Dragon always kills the pets first. I know this from reading the books, but she believes she poisoned the dogs with some food from China, because that was a thing going around in the news at the time this show was written, and Fuller, who absolutely loves dogs, was so incensed by that, that he put it in the script.
Graham goes to Lecter to beg for the identity of the Red Dragon, but Lecter would rather tease him. This is one of the quietest, and most sinister arguments, I’ve ever heard, conducted almost entirely in sharp whispers. This may also be the reason I can’t understand what the hell is going on. I managed to get around this by remembering to turn on the captions.
Dollarhyde tries to murder Will’s family, hunting them through their house, and injuring Molly. Both she and Wally survive, but Will, naturally, feels incredibly guilty about what happened. He has a conversation with Wally, about the killer’s mental illness, which forces him to divulge the time he spent in a psychiatric hospital. The conversation does not go well. Incidentally, we don’t see or hear from either of these characters again, and no end is written for Molly, as Will seemingly forgets all about her. Make of that what you will because the fans certainly did.
Will, incensed, confronts Lecter, who readily admits to giving Dollarhyde Will’s home address. Crawford, and Alana threaten Lecter into cooperating with Crawford’s scheme to capture Dollarhyde using drop boxes.
Because he failed to kill Will’s family, Dollarhyde imagines himself getting beaten by the Red Dragon. Reba walks in on him just after this event, and there’s a very tense moment where he is probably contemplating killing her, as he has not quite come back to himself, and the Red Dragon, having been deprived of the other kill, wants to be satisfied.
This scares Francis because he genuinely cares about Reba, and in an effort to be proactive, to save her from himself, shows up at Reba’s job and breaks up with her, saying that he’s afraid he might hurt her. Reba, not knowing or even suspecting any of this, (she is a true innocent), is understandably angry, and tells him to get out. It looks bad no matter what he does. From her point of view, they slept together a few times, and now he suddenly doesn’t want to be with her, having given no indication that he’s no longer interested.
These are both fine actors, who really sell this scene. I am touched by their conversation, (even though I hate romance movies). I suddenly realize that Francis isn’t as much afraid of hurting her, as he is also afraid of being in love, and being loved. In the flashback sequence with Lecter, he talks about how she makes him feel, and believes himself to be completely unworthy of the level of happiness he feels with her, or her desire for him. Love can be terrifying, especially for someone unused to giving or receiving it, and who has some deep self esteem issues due to child abuse.
I would also like to commend the show for showing an inter-racial relationship as if its no big deal. I like it that the show treats the characters, especially the women, like people, and doesn’t feel the need to change the dialogue to reflect the character’s race or gender. The same dialogue spoken by a White man in the movie, is the exact same dialogue that’s spoken by a Black man or a White woman on the show. In fact the only major recurring characters to remain unchanged are Graham, Lecter and Dollarhyde.
Dollarhyde calls Lecter, not knowing that their conversation is being overheard. Lecter gives him a quick warning, because that’s the kind of shit he does, and afterwards is duly punished. Alana keeps her word to him, by having all of his amenities taken away, including his toilet seat. He also gets restraints and the famous Lecter mask, first seen in Silence of the Lambs, (but was also seen on Will Graham in the second season).
Will talks to Molly at the hospital and she nominally forgives him for what happened to her. She’s not really blaming him, but yeah, she’s still pretty pissed that the man Will was hunting, tried to kill her, and her son. Will then goes to see Lecter in his new accommodationless accommodations. The story is not over. Normally, after the attack on Will’s family, the films end with the restoration of the status quo, and Dollarhyde dead, but Fuller has a lot more story to tell.
This is one of television’s strengths. It has the ability to tell complicated, interwoven, long form stories that cannot be done in a two hour movie. It has the ability to flesh out characters and plot in a way that’s more difficult on the big screen, (unless the movie is totally dedicated to a specific person or subject.)
On TV, the writers can create a tapestry of a story, using multiple threads, and deeper characterization, and I think this is where TV has really gained momentum as a storytelling medium, especially in the last ten years. TV didn’t always take full advantage of its serial nature. In fact it always tried to do what movies did, but in less time, as it would try to wrap up it’s mini- stories in the space of 45 or 50 minutes. Fortunately, its starting to break away from this model somewhat, and watching a series requires a certain level of dedication, if a viewer wants to understand the entire story.
None of that however, is going to help the casual viewer to understand whats going on in this show. I love this show, but this level of complexity, always just slightly out of grasp, may be the reason this is the show’s last season. You know there’s more depth to the show then you understand, but its ten o’clock in the evening, your mind is gone, and there’s a lot of urgent whispering that requires you to turn on the captions, so you can find out just what the Hell is being said.
“ And behold a great red dragon, having seven heads and ten horns, and seven crowns upon his heads. And his tail drew the third part of the stars of heaven, and did cast them to the earth. ” Revelations 12:3-4
I was a teenager the first time I read the Book of Revelations, so naturally, I found it pretty terrifying. Mostly because of some incredibly lurid imagery, I just wasn’t expecting the Bible to have. Reading it when I got older, I was less afraid, and struck instead, by the incredible beauty and poetry of those chapters.
Most people don’t know this, (Hell, I didn’t know it and I went to art school), but the painting featured in the movie version, but which I’ve not seen in the show, is one of a series of paintings by Willliam Blake, about the Book of Revelations, and his interpretation of the Rise of the Antichrist. The one featured in the Red Dragon movie is the painting titled The Great Red Dragon and the Woman Clothed IN the Sun.
The second painting in the series, and that of the first episode of The Red Dragon arc of this series, is titled …And the Woman Clothed WITH the Sun. There are two other paintings in the series, which are also the titles of the next two episodes.
Hannibal and The Tooth Fairy are clandestinely discussing Francis’ transformation into the Red Dragon. This episode is sort ofabout how characters perceive themselves, vs, how others perceive them, and each character discusses who they are, which is contrasted to the reality. For the first time, we hear Francis declare himself to be the Dragon. This is how he perceives himself, but what we see in Hannibal’s imagination is the two of them sitting in a room together, while Hannibal looks at an ordinary man, but Hannibal responds with a line from Blake’s poem, The Tyger, in expression of the awe that Francis craves.
Bedelia, Lecter’s psychiatrist, is giving a public speech about the nature of her relationship with Hannibal the Cannibal, and how she managed to escape him. She is trying to create the public perception that she was one of Hannibal’s victims. Will Graham is there, and calls her out on her bullshit. Will’s perception of her is very different.
The two of them have a long meeting, and I have come to the conclusion that not only is Bedelia batshit-insane, she is also pretty terrifying. Not violent, so much as completely disassociated from what makes a person human, and while I want to think Lecter is responsible for that, this is most likely all her, and may be the reason he liked her so much.
Now contrast Will’s scene with Bedelia, with my favorite scene, which is when Francis takes Reba to meet the tiger. This entire scene is about perception. Francis views himself as the beast. It’s not quite obvious, but Reba has kind of caught on to that, and seems to know what he’s thinking. Apparently Reba can frame “thy fearful symmetry” just fine, of both the tiger, and Francis. I think this perception of what Francis may be thinking is what informs her actions towards him, later. Even Fuller states that this is a deeply sensuous moment between the two of them.
Francis describes the tiger’s color. Is that helpful to her? Depending on when and how she lost her sight (as we are never told), does she remember colors? In the book, Reba lost her sight as a child, and jokes to him about what animals she remembers. I can’t imagine this Reba knows what he’s talking about, if she’s been blind since birth. This scene is shot to perfection, as we see Reba’s skin tone against that of the glowing yellow fur of the tiger. She listens to its heart, while Francis stands there, barely able to contain his depth of feeling.
Francis takes Reba to his home. She is impressed by his home, and his thoughtfulness in arranging the thing with the tiger. They drink wine, listen to music, and Reba makes the first move. This is a woman who doesn’t believe in letting an opportunity to enjoy herself slip away. (Rutina Wesley appears to have these huge man-hands, which is deeply disturbing, and distracting. Her hands are as huge as Francis’ head.)
Their love scene gets the slo-mo treatment, interspersed with shots of Frank’s dragon tattoo. Francis envisions Reba, as the Woman spoken of in Blake’s painting, floating and goddess-like, in liquid gold, the same color as the tiger. Its almost like he’s worshiping her, but without the context that in the Book of Revelations, the Woman clothed with the Sun, is the Dragon’s downfall.
Later, while Reba is sleeping, he uses her hand to touch his face, but it’s not sexy, at all. It’s deeply sad, that he’s so lonely, so removed from normal people, and so starved for affection, and all of it self imposed, as he has deep self esteem issues, because of his disability. Reba is probably the only woman to ever touch him, in a very long time, with any form of love, especially his face, as he’s very self conscious about his cleft palate.
The next morning, he is summoned to the attic by the dragon’s voice, where he and his alter ego argue about what to do with Reba. The outcome of the fight is …uncertain, but I think Dollarhyde wins this round. He then takes Reba home.
Hannibal manages to get Graham’s address and home number. This does not look good.
Will and Bedelia are still talking. Will tells her she deserves to be eaten by Lecter. I’m as disgusted with her as he is, and I see why he’s so pissy with her. She was wholly complicit in Hannibal’s crimes, but claims it was curiosity that kept her with him. She’s as much a sociopath as Lecter, but couches it in a veneer of professionalism.
Zachary Quinto is guest starring in this episode. That man is everywhere. (Fortunately, I’m in love with him, so I can watch him anywhere.) Lecter used to be his counselor, and he claimed he got worst under his care. This scene switches back and forth between Graham and Bedelia, and her session with Quinto’s outraged patient. He starts having a seizure. Something that was subliminally planted by Hannibal.
To her credit, Bedelia does try to help him, but she botches the job by reaching too far into his mouth, in an attempt to reach his tongue, which she believes he is swallowing. This was apparently before she became inured to death. Now, she could probably watch him choke, with all the compassion of an insect. This is the event that gave Hannibal leverage over her, to coerce her to travel to Italy with him.
The elephant in the room is this deeply intimate relationship between Graham and Hannibal. It’s no secret that fans are shipping the Hell out of these two, and Fuller is well aware of this, and likes to play it up. Will asks Bedelia if Hannibal is in love with him and she tells him her perception of their relationship. From the beginning of the series the primary theme has always been about perception. How Will perceives the world around him, how Hannibal looks at the world ,and how the supporting characters view the two of them.
Will approaches Lecter with the Red Dragon symbol he found at the Leeds’ home, and Lecter informs him of its meaning, mentioning that the full moon is in eleven days, so Will better get a move on, before the next family dies.
At the Brooklyn Museum, Francis goes to see the the main Blake painting, and just as in the book and film, he eats it. This is probably his attempt to stop killing by ingesting the painting’s power, or so Will guesses. When Graham shows up, they finally meet face to face, which doesn’t work out too well for Graham, and Francis tosses him through the air like a kitten. Its easy to forget how large the actor is who plays Dollarhyde, next to the rather diminutive Graham. In a prodigious show of strength, Francis picks him up and throws him across the room, before making his escape.
Since the show hews so closely to the filmed version, (which is not unlike the book), this really plays off the difference between television and film. In every respect, this particular part of the series is just like the film, only with a depth of detail that movies simply don’t have time for, in the space of two hours. It’s really like watching an alternate universe version of the same story.
This is also one of the reasons that television is in the midst of a kind of renaissance of storytelling, right now. The creators of these shows, informed by social media and digital streaming, can take full advantage of the medium, take serial storytelling to its ultimate conclusion, and respond to fandom critiques of their shows, almost in real time. As a result, movies are just a very different medium of storytelling, and simply can’t do what a series does, in providing the depth of character detail that fans crave.
This leads to one of the differences I noted between Transformative fandom vs Curatorial fandom. Curatorial fandom is most often concerned with the minutiae and plot detail provided in movies, which have characters and relationships as less of a priority. It’s not that movies don’t have either of those things, its that its more difficult to get deep into such issues, in a two hour genre movie, that has more pressing concerns, like advancing the plot. However, you can get more in depth character development, and relationships in a ten or twenty hour series. In fact, the success of a series depends on how invested the audience can get into the characters.
We have conculded with the portion of the Hannibal/Will Graham story that began in season one, when they first met over the body of Abigail Hobbs, and ending with the capture/surrender to the authorities of Hannibal Lecter. This is one of the first episodes that doesn’t have a reference to food or dining in its title.
The story has moved forward three years, to begin The Red Dragon storyline, from the book of the same name, along with two films, one from 1986, titled Manhunter, starring Brian Cox as Hannibal, and the other directed by Brett Ratner in 2002, starring Edward Norton. This last part of the season follows the book, and the two films, closely enough, with Will Graham coming out of retirement to catch a serial killer called The Tooth Fairy, or as he calls himself, The Red Dragon. But there is also a lot of new stuff added as we find out what the other characters have been doing.
Alana Bloom has become the Administrator of the asylum which houses Hannibal Lecter. As she says, she is holding all the keys, and has him exactly where where she wants him. She was the surrogate mother to her and Margot’s son, who is also the heir to the Verger fortune, and she lives with Margot, who we don’t get to see this season. Jack Crawford is still doing his thing at the Criminal Minds Bureau, and has not remarried after the death of his wife.
Crawford’s old forensic team, (Price and Zeller), have moved on, achieved promotions, and gone their separate ways, and we don’t learn anything new about him. Chilton stepped down from his position at the hospital to become a true crime author. He wrote a bestselling book that absolved Hannibal of responsibility for his murders, which Hannibal rebuts in a popular psychiatric journal, just to spite him.
We do get to see Hannibal too, and when we first meet him, he is sharing some Blood Pudding with Chilton as they discuss their past together. Hannibal has entered a state of mind where he has zero fucks to give about being a cannibal, as he cheerfully needles both Chilton and Alana about how he adulterated the foods and beverages he gave them.
Chilton then Hannibal by claiming that he is old news, and that nobody wants to hear about him anymore, because a new star has risen, The Tooth Fairy, so named because he likes to bite his victims. If you’ll remember, that is a callback to a speech, that Alana was giving to Will’s profiling class, in the first season.
The greatest change has been to Will Graham’s life. He has moved on from Lecter and married a woman named Molly, with a son, Wally. The three of them live on a farm with their stray dogs, while Will fixes boat motors, and tries to ignore any news of The Tooth Fairy. After the Tooth Fairy’s latest killing, Jack Crawford shows up to pull Will back in, desperate for his help in capturing him. Molly doesn’t like this, but realizes that Crawford will take Will anyway.
Crawford makes the same futile promise to Molly that he made to Alana several years ago, that he would keep Will safe, so he has not learned from that time period, it seems. But Molly relents, actually encouraging Will to leave his family, and go help Crawford. Crawford hands Will a letter from Lecter, who has been writing to him regularly. Wil lreads it and the press clipping of Dollarhyde’s most recent muder ,and burns both in the fireplace.
And I just want to talk about this moment, because one of my biggest pet peeves, in a lot of series and shows, is the depiction of wives and mothers. They are often depicted as clingy and disapproving of their husband’s work, especially in crime and cop stories. The movie version of Molly is exactly like that, but it is a cliche I’ve seen across a lot of media, so its very refreshing to see that Molly understands Will’s talent, knows the good he has done, and knows that he is saving lives, and encourages him to do so. Its very refreshing to see her give her approval here, rather than nag him for leaving her, or endangering himself.
We get to do a profiling walk-through with Will, as he tours the home of The Tooth Fairy’s latest victims, the Leeds. I just want to point out one more time that this is not anything like the way actual profiling gets done. Profilers rarely get to visit the actual crime scenes and touch stuff. They normally work from photographs and investigative reports.
I find it difficult to believe that Will can do any profiling since he never turns on any lights in the house. For some reason, Hollywood has decided that profiling needs to dramatized by having it be done in darkened rooms, with flashlights, since this is the exact approach that was used in the movie.
Price and Zeller return after a long hiatus from the series. Price’s character is now an agent, and Graham, Zeller, and Price pick up their dynamic right where they left off in their forensic investigation of the Leeds’ homicide. Price and Zeller had long gotten used to Graham’s interruptions of their analysis with insights into the killer’s mind.
Unlike the police procedural versions of the first and second season, we spend a not inconsiderable amount of time in the presence of The Tooth Fairy, aka The Red Dragon, aka Francis Dollarhyde. Fuller doesn’t dwell on showing Francis committing his crimes, focusing instead on Francis’ mental illness, motivations, and private life. The end result is not the sensationalism of the murders, but the mindset of the perpetrator, resulting in the profile of a man who, as Will Graham says, with his usual level of empathy, later in the season, was not a freak, so much as a man with a freak on his back.
We are introduced to Francis, and I’m assuming this scene is set sometime around, or just before, the time that Hannibal was captured, as Francis sits in the cafeteria at his job, contemplating an issue of Time magazine, in which there is an article about Blake’s painting of The Great Red Dragon and the Woman Clothed with the Sun. He is so enamored of the painting that he gets one of the paintings tattooed on his back. He also has a great deal of admiration for Hannibal Lecter, and like a lot of serial killers in movies, has a murder scrapbook filled with press clippings of his and Hannibal’s murders.
As we will discuss in a later post, the Red Dragon painting is actually a series of watercolor paintings, based on Blake’s images from the Biblical Book of Revelations. This has the effect of bringing a religious element into the discussion of this season.
The reason we know this scene happened several years ago, is that it takes about that long for someone to get the kind of full body tattoo, that’s displayed on Francis’ back, at the end of this scene. Tattoos of that size, with such photo realistic detail, are often called “Full Suit” or “Body Suit” tattoos, and can take upwards of a 100 hours to finish, especially if the recipient has never had experience with tattoos before.
Francis then has a set of specially made dentures that are copies of his grandmother’s dentures. In the book, he simply used his grandmother’s old dentures, and they were ill fitting. This is definitely giving me some Psycho/Norman Bates vibes. According to the book, (and only shown in some of the episodes), his grandmother was emotionally and physically abusive, and one could argue, she was sexually abusive as well, as she regularly threatened his manhood, for urinating in bed. We learn this during a scene where Francis hallucinates in her voice, which is also a callback to the movie Psycho, with Norman’s mother berating him in a voiceover. All of this has to be put in the perspective of serial killing, as two of the markers for it is childhood abuse, and bedwetting.
After Will does his walkthrough of the crime scene, he feels he’s not in the correct mindset to be able to solve the crime. He thinks he needs Lecter to help him get there, and tells Crawford he’s going to see him at the Hospital. Crawford agrees.
At the end of the episode is Hannibal’s long hoped for reunion with the man Freddy Lounds referred to as his Murder-Husband. This too is a callback to the last episode of the first season, when Hannibal approached Will’s cell, after he was falsely arrested for the murder of Abigail Hobbs, as the same melancholy music plays in the background.
There are two different stories in horror: internal and external. In external horror films, the evil comes from the outside, the other tribe, this thing in the darkness that we don’t understand. Internal is the human heart.
When I was a child, the very first city related Horror movies I remember, were Godzilla, and The Beast From 20,000 Fathoms, two stories about larger than life monsters destroying the biggest things humans have ever built — cities. These movies made an indelible impression on a little girl who lived in the city, and loved dinosaurs. It explains my love of Kaiju stories, from Godzilla, to Cloverfield, to Pacific Rim, and how movies about the destruction of cities have often moved me the most.
I grew up watching these films during the Cold War, between Russia and America, under the constant threat of mutual nuclear annihilation. I remember having nightmares about that, and avoiding movies and shows where it was depicted.
The underlying tone of most of these films is apocalyptic, with many of them indirectly referencing atomic energy. The destruction of entire cities, by some ravaging creature that was caused by atomic bombs, was often a stand-in for nuclear holocaust, natural disasters, or mankind’s hubris. These movies were terrifying, but still invoked awe and wonder, for something greater, whether that was a giant ape, a massive venom spewing dinosaur, or a fifty foot tall woman. They also provided a sense of comfort, as order, and the status quo, were restored at the end.
The stories are all about scale. The monsters are larger than life, meant to distract our attention from the city, and have the side effect of making us realize the more important things in our lives, like our loved ones, or unaccomplished personal goals. The monsters are often huge and unknowable things, that are impossible for any one individual to overcome, much like the city itself.
The monster must rival the size of the city. In 1953, New York got destroyed by a rampaging beast, awakened in the Arctic, by an atomic bomb. It was one of the first atomic age horror movies, and it set the stage for the destruction of New York, by similar beasts, like King Kong, the Cloverfield monster, and Godzilla, for the next fifty years, albeit with different motives.
After Godzilla in 1998, New York was destroyed again in 2008’s Cloverfield, where the lead character, who has planned to move out of the city, realizes what’s most important to him is his ex-girlfriend, when the city is invaded by some giant creature, of unknowable origin. He sets out to rescue her, in an effort to let her know how much he values her. The live action scenes of the two of them trying to escape the destruction of the city, by the rampaging creature, are juxtaposed against the live action footage of their lives during happier times. Here, the horror comes from the contrast of their human connection, with the disruption of order represented by the monster.
In 1954, long before he reached New York, Godzilla (Gojira) trampled Tokyo for the first time, and that film is an example of true urban horror, tragic, and awful, channeling the real citizen’s pain and bewilderment, after the nuclear bombing of both Hiroshima and Nagasaki nearly ten years before. None of the many Godzilla films that followed captured that level of intensity. Godzilla even became an endearing and protective father figure, in a series of zany comedies, which featured other monsters. It was almost like the Japanese were healing themselves of their trauma, through film.
That is until the Fukushima disaster of 2011, a real life horror, in which a massive, earthquake-driven, tsunami, caused a meltdown of the nuclear facility in Fukushima on the same day. Nearly 16,000 people lost their lives, and the entire city of Fukushima had to be evacuated. Five years later, Shin Godzilla was released, and successfully captured all the horror and tragedy of those two events , becoming yet another example of Japan reliving its worst nightmares, through the medium of film.
As in suburban settings, there are three types of Horror stories about the city. someone or something invades the city, which brings about the city’s destruction (external), something insidious is growing within the city or its people, (internal), and destroys its citizens, or it’s the setting itself that is the horror. Movies like Dracula, Blade, Invasion of the Body Snatchers, and Train to Busan, are examples of these, although they have different goals. One is about the xenophobic fear of disease and contagion from outside the city, or growing within it, one is about the dehumanization of city life, and the loss of individual selfhood, and another is about human connections during its destruction.
Francis Ford Coppola’s version of the Dracula myth was released in 1992, and by that time, most of its original xenophobic themes had been papered over with themes of sexually transmitted disease, and romance, but there are still remnants left behind. Dracula is an outsider, from the Middle East, who brings the plague of vampirism to the busy streets of London, which, in the Victorian 1880s, was in the midst of an industrial revolution. In the real world, talk of outsiders bringing disease, has once again reared it’s ugly head, as the British government threatens to separate from the European Union, while its members speak out against illegal immigrants from places like Iran, Pakistan, and Iraq. So it’s quite a coincidence that there happens to be a yet another version of Dracula, this time set in modern day London, airing on Netflix right now.
Contagion is also one of the themes present in the movie Blade, and its sequel, Blade 2, as New York threatens to be overtaken by a plague of vampires growing within the city of New York, and is also the theme of several alien invasion films, where “sentient diseases” are passed on to unsuspecting human beings through non-consenting fluid exchange, in movies The Invasion, a remake of the 1978 remake of Invasion of the Bodysnatchers, a movie which is not as effective a story, without the sounds and images of the city of San Francisco as the backdrop. The setting is contrasted against the funny, quirky, Dr. Matthew Bennell, and his close friends. One of the other messages of the movie is how the city encourages social isolation, and dehumanizes the inhabitants, as much as the alien invasion.
In fact, the nature of city life, makes it nearly impossible to tell who has been reborn as an alien, and who has not, and that is the point. The people of San Francisco are so separated from one another, that no one really knows any of the people around them, so it’s impossible to notice if anyone has changed, even after multiple people tell the lead characters that their friends, lovers, and spouses, are not who they say they are.
The individual stories of the invasion victims are tiny, compared to the size of the city, and only heightens the pointlessness of their struggle to tell the world that an alien invasion has occurred. City people are so good at not minding the business of others, that by the time Dr. Matthew Bennell has noticed that people are losing their humanity, it’s too late to do anything about it. The city and the invasion are too huge and implacable for one person to make a difference.
The theme of dehumanization is also captured in movies like Dawn of the Dead, 28 Days Later, and Train to Busan, where a select group of individuals run a gauntlet of ravenous, once human, creatures, while trying desperately to hold onto the last shreds of their own humanity, both literally and figuratively, as civilization collapses around them. The focus of these types of stories are on the humans attempting to survive a chaotic environment, rather than the inhumanity of the monsters. The audience is drawn into the story through the kinds of decisions they make, which determine what kind of people they are. The audience is meant to identify with them, and place themselves in their shoes, thereby illuminating their own character.
Zombie movies are a way to tell an intimate story in an oversized location. Many horror movies set in cities tend to focus on small dramas that happen during its destruction. In Train to Busan, the lead character, a callous business man, who cares more about his job than his family, learns to reconnect with his neglected young daughter, the people around him, and his own conscience, as he tries to protect her, during a zombie apocalypse. The zombie apocalypse is used as a backdrop to tell the story of a man regaining his humanity in the face of everyone losing theirs.
Sometimes, city dwellers themselves are monsters, and the the city is shown as a darkly cynical place, a cutthroat “urban jungle”, where people prey on one another, and no one can be trusted. City living is badmouthed in other movies. There are people who will rape or kill you at a moment’s notice, something which was not entirely an incorrect observation, especially during the 60’s and 70’s, when New York city was a much seedier, and more pornographic place, and Times Square in particular, before its gentrification and cleanup. Now, Times Square is clean and neat, but in the 70s, it was rife with strip clubs, open prostitution, porn theaters, and drug use. The frantic sights and sounds, river of traffic lights, buzzing of neon signs, sleek fashions, inclement weather, and constant chatter of people, are the hallmark tropes of city living. Cities are shown as cold, fast, sleek environments, often at night, using cool blues, and hot reds, which serve as visual shorthand for lusts, and desires, but also the emotional disconnect of the characters.
The movie Candyman was loosely based on a combination of African American urban legends, and the lives of the Black citizens of the Cabrini-Green housing projects of North Chicago. In the years since its creation in 1957, crime, gangs, and administrative neglect, created horrifying living conditions for its residents. Now add an immortal monster, that preys on their pain and sorrow, and what is depicted is an insidious horror, The Candyman, who was created out of Black anguish, and white racist hysteria.
Much of Cabrini Green was eventually torn down in the 90s, and the last few buildings were destroyed in 2011. In 2020 Jordan Peele will release the spiritual sequel to the 1992 original film, which will tackle themes of displacement, and gentrification by affluent white residents, who of course, are not immune to the horrors of the city, no matter how much they tell themselves that they are improving it with their return.
In 1995s Se7en, Gwyneth Paltrow and Brad Pitt, she a schoolteacher, and he a cop, move back to the nameless every-city featured in the film. Unused to the grit, and callousness, she tells Morgan Freeman’s William Somerset, “I hate this city…the conditions here, are horrible.” And she is right. In Se7en, it is always raining, everything is gray, and littered with garbage, and the only warmth to be found is in Gwyneth’s character, and the home she has made for her and her husband. Throughout the movie, Somerset gives several speeches about the apathy of the people who live there, and how easy it is for human beings to not care about each other. The two people who claim to care the most about the city’s plight, are on opposite sides of the law. One is a serial killer, whose only solution seems to be causing more misery, by killing its weakest inhabitants, and the latter is Somerset’s hotheaded partner, who is eventually broken by his interaction with the former.
Cities can be a visual shorthand that represents the dehumanizing future that comes with technological progress. Got a horror story involving robots (The Terminator), or virtual reality, (The Matrix), then the best way to tackle so many sub-themes at once, is to set it in a city. Movies that question humanity, (The Fly), and reality (The 13th Floor), through technology, are almost always set in cities.
Just the name of the movie, Dark City (1998), invokes images of tall buildings, trash strewn alleys, crime, and permanent darkness, all of the shorthand that’s been used in Film Noir to indicate the horror of city living. Film Noir comes out of the German Expressionist cinema of 1920’s Berlin, and the American movies released in the 40’s, are based on that concept, while also referencing the crime and pulp fiction novels of the 30’s. In Film Noir, a person’s fortunes can turn on a dime, and human beings are the monsters, and with their suspect motivations, and weaknesses of character, they often bring about their own demise.
Dark City contains several monsters, including the actual city itself, as it grows and transforms, at the whim of its alien masters. This is a literal parallel to real life cities, where, unlike the country with its bland stability, sites and markers come and go, the city grows and changes, and no where is there a fixed position.
In Dark City, a nameless man is pursued by strange men in black, for a series of murders he doesn’t remember committing. He spends most of the movie in pursuit of his memories, while discovering that the city itself is a lie. As the story progresses, we are introduced to alien possession, superpowers, and multiple themes about identity, alienation, and existential dread, which would be more difficult to impart, if the movie were set, for example, in the desert, which is representative of a different type of isolation.
It is said that there are a million stories in the naked city, and whether they are small and intimate (Rear Window, American Psycho, 1408), or huge and bombastic, (War of the Worlds, Attack of the Fifty Foot Woman), that’s a promise for many more lives and cities to be destroyed, and more themes to be explored, in the foreseeable future.
In an earlier post, I talked about setting horror movies in suburban towns, and how the foundation of the horror stems from the setting being invaded from outside, or possessed of horror from within. I used Halloween as an example of the horror coming from outside the town of Haddonfield, in the form of Michael Myers, (actually this is a little more complicated, because Michael was born in Haddonfield, and is essentially haunting, and hunting, his birthplace), but Jaws is also a good example of this. Jaws also makes the interesting point, that the town of Amity, in which the film is set, is so inert, that its salvation can’t come from any of its own inhabitants, but must also, like the threat, come from Outside.
The very first thing we learn when watching the movie is that the waters surrounding the island of Amity are are invaded by an external force, the shark, who takes its first victim, a young woman named Chrissie. The shark is not evil, but it doesn’t have to be, to be the focus of the horror. In fact, that the shark is indifferent to humanity is what gives the horror so much depth. The shark only has to upset the status quo, and the status quo, is that nothing happens in Amity that is worthy of note. The mayor of the town makes this point several times, and the new Sheriff has a short monologue in which he makes this point as well. Nothing exciting happens in Amity.
The next thing we learn is that there’s a new Sheriff in town, Sheriff Martin Brody. We learn, in the first real dialogue of the film, that he and his wife just moved to Amity a few months ago, Brody is often reminded ,by the citizens, or the mayor, that he is new at the job, that he is an outsider, or that he doesn’t belong, and Spielberg often shoots scenes with Brody separate from, or in isolation, against the other characters on screen.
Both Brody and the shark are framed as dangerous to the inhabitants of the island. The shark is a physical danger, but Brody represents a more direct danger to the livelihoods of the islanders, as he attempts do his job of protecting them from the shark. He wants to close the beaches, something which the citizens don’t want, as that would directly impact their ability to make a living off the Summer tourists. The citizens of Amity have to choose between two external threats, but the shark is a danger the islanders do not wish to acknowledge, and Brody is something they can control.
Throughout the movie, Brody is constantly reminded, by the town’s mayor, that he is an outsider who doesn’t understand the needs of the people of Amity. Later, Brody calls in another outsider, Matt Hooper of the Oceanographic Institute, and the two of them team up with a resident of Amity named Quinn, but it is on Brody to save the town. Only another outside force for good can restore the order to which Amity had become accustomed.
Quint is a fisherman who lives in Amity, but he cannot save the town, as he is one of those anti-social town residents that doesn’t like his neighbors, and who probably don’t much like him. Quint is first introduced by one of the most annoying sounds in the world, as he drags his fingernails along a blackboard during the town meeting to discuss the shark attacks. That one moment, that sound, is all you need to know about Quint’s character, and how the people of the town view him. Like the town itself, (as represented by the Mayor), he is too beset by his weaknesses of character. He has inner demons of his own, that motivate his hunt for the shark, many of them stemming from his short stint on the U.S.S. Indianapolis, which is actually a true story.
“There were a lot of sharks,” he says, his voice nearly a whisper. “So many. I’d see them swimming below me.”
Quint’s reason for wanting to hunt the shark are mercenary. He wants to get paid, and wants the glory of being seen as the town’s hero, so all his motivations are entirely self-serving. Although its his home, Quint feels no real responsibility to the town of Amity, and is willing to exploit his neighbors fear of the shark, or monetary disaster by closing the beaches, for his own ends.
Mayor Larry Vaughn is ineligible, because he is a deeply fearful man, who is too scared of the townsfolk’s anger, and his fears of re-election, to go against their desires. Several times he reminds Brody that he is not from Amity, and that he doesn’t know what the town needs, citing himself as the only person who knows what’s best for the town. He constantly undermines Brody’s authority, refuses to take the shark attacks seriously, and even encourages beachgoers to get in the water, despite the danger of shark attack. He saddles Brody with the impossible task of protecting the town, within the parameters that he sets, where Brody is not allowed to make the townspeople angry, but cannot protect them by closing the beaches. The only time he makes a correct decision is when he orders the beaches closed, after yet another shark attack, and only because his children were on the beach, too. He only makes the correct decision out of fear, after it hits too close to him.
Hooper is also ineligible for destroying the shark, as he has no interest in Amity, at all. He doesn’t live there, and can also be seen as sympathetic to the shark. He is interested in the shark for science. He is not interested in killing it, but he comes along on the hunt, because he empathizes with Martin Brody, with whom he has formed a close attachment. Hooper is also the polar opposite of Quint, who both hates and fears the shark, and whose agenda is to kill it to assuage his inner demons.
Of the three shark hunters, Brody is the only one who doesn’t approach the hunt from a selfish perspective. What Brody wants is to do his job and protect the town, with tremendous guilt as a secondary motivating factor. His failure to save the lives of several inhabitants of the town, including a young boy, who died because he was not firm enough in putting his foot down about closing the beaches, weighs heavily on him. Earlier in the film, while talking with Hooper, he mentions why he left New York, saying that he felt helpless there, and that in Amity he could make a difference and save lives. Except, he didn’t, and he accepts the full blame for the deaths that occurred under his watch.
In the end, it makes perfect sense that Brody would be the one to kill the shark, and to do so alone. From the beginning of the film, Brody and the shark are set up as parallels, and adversaries. We are reminded, so often, that Brody is not from Amity, that it takes on a level of importance.The opening scene is the arrival of the shark to Amity’s waters, and its subsequent attack on a female swimmer. The scene just after the shark’s attack on her, is between Brody and his wife, about moving to Amity from New York, and the second conversation that Brody has, about not being an islander, is on the beach with the young man who reported the shark’s first victim as missing. In most of his conversations with Mayor Vaughn, Brody is reminded that he is new in town, and doesn’t know how things work there.
Jaws is an example of the Man vs. Nature conflict narrative, in which some of the tension is provided by the main protagonist having to overcome challenges to achieve his goals. The primary conflict is between Brody and the shark, and Brody’s goal is to destroy the shark, thereby saving the town. Three of the challenges he must overcome, before he can accomplish this goal, are external, the Mayor who undermines his authority ,and ability to do his job, and the townsfolk who look to him to save them from the shark, without it affecting their livelihoods, and one internal challenge, his fear of water.
Several times, Brody’s fear of the water is referenced by the other characters in the film. One of the beachgoers mentions that everyone in town has noticed his fear of the water, and his wife discusses it with Hooper, when they’re having dinner.
The thing that makes Jaws an immensely satisfying movie, is that most of Brody’s challenges get resolved by the end. He has stood up to Mayor Vaughn, forcing him to take his side in closing the beaches, and defying the will of the townspeople. He has destroyed the shark, protecting the citizens of Amity, and done so by overcoming his fear of water.
It is made clear to the audience, several times in the movie, that Brody is an Outsider, which is the one challenge left unresolved. In an earlier beach scene, Brody’s wife is told that she and her husband will never be considered islanders, because they weren’t born on Amity. They will never belong, no matter what they do, or how long they live there, and that will not change by the end of the movie. This is also one of the primary themes, and the shark’s arrival is narratively equated with Brody’s earlier move to the island.
After Hooper is believed to have been killed by the shark, and Quint is eaten, it is down to Brody, alone, using equipment brought aboard the boat by Hooper, to dispatch this external menace.
Killing the shark, and protecting the town, doesn’t make Brody an islander, but by eliminating the threat to the town, Brody, who was treated as an Outside threat by the town, as much as the shark, will be seen as less of one. By killing the shark, he proves he can be trusted with Amity’s welfare, and eliminates, in one action, both of the town’s perceived external threats
There aren’t a lot of movies set in snowy climates, and even fewer set in the Arctic, so I had to loosen my definition, to include films that take place in any locations that existed above the snow line, or movies that were set during Winter.
An interesting aspect of these movies, isn’t just the setting’s effect on the plot, but the time period in which the movies occur. In wintry settings, most scenes are set at night, as in Let The Right One In, or specific times of the year, such as 30 Days of Night, when the sun doesn’t rise for a prolonged period of time. Night time scenes are always more effective in horror movies, because having the story take place in the dark, does at least half the work of inducing fear in the audience, and icy, snowy settings already produce a feeling of existential dread, and isolation.
Three of the most basic types of plots for most horror movies, is something I briefly discussed in one of my other posts about landscapes and settings. There is the horror that comes from Inside, from within, (i.e. possession movies, which also include alien possession, body snatching, body horror. This includes psychological, emotional, drug and hallucinatory horror), the horror that comes from Outside the self, (monster movies, slasher films, alien invasions, disease pandemics, and the apocalypse), and the horror of Place, which is the environment, the landscape, itself.
The majority of movies set in snowy, cold, and/or wintry, climates are monster movies, the kind of horror that springs from an Outside source. Most of these movies involve at least two of the elements of horror; that of Place, and from Outside. The horror from Outside involves monsters, or creatures, sometimes native to the environment, sometimes not, but often asleep, or in hiding, deep in the snow and ice. They are accidentally awakened by the presence, or activity, of human beings. This includes movies like The Thaw from 2009, in which ancient bugs are awakened by archaeological activity, and Blood Glacier, a horror comedy from 2013, in which a strange red liquid is released from a melting glacier in the Alps, and begins mutating the local wildlife.
Much of the horror of such films, comes from the harsh, and unforgiving, nature of the setting itself. Survival in such an environment is more precarious than in almost any other environment. The cold, the scarcity of sustenance and water, and even the wildlife, can all work against human life, and sometimes characters not only have to withstand the environment, they may have to fight any Outside forces that have either dropped into the environment with them, was hidden within it, or came along with them, like their companions, or their own weaknesses of character.
Two movies that are about the horror of Place, is the 2010 horror movie, Frozen, and 2012’s, The Grey, which stars Liam Neeson. In Frozen, a group of skiing friends get trapped on a ski lift, during a holiday weekend, and need to fight, not just against the terror of their isolation, and the freezing temperatures, but against a pack of hungry dogs circling beneath the ski lift, as they get picked off one by one. In both movies, the characters have to survive multiple dangers, none of which are paranormal or supernatural. The Horror comes entirely from being trapped in an environment from which it is almost impossible to escape alive.
In The Grey, a team of oil drillers get stranded in Alaska after a plane crash. Liam Neeson’s character, Ottway, has made a living killing the wolves that threaten the drillers, and is contemplating suicide, before surviving the crash, with several companions, and who now realize, they are in the territory of a large wolfpack, and being hunted. Ottway and his companions must try to survive frozen rivers, hypothermia, hunger, and the wolves, in their attempt to reach civilization. In a final irony, only the previously suicidal Ottway is left alive to battle the pack for his survival, the outcome of which is not certain.
Icy, snowy, landscapes are often used as a stand in to provoke questions about humanity and civilization, that don’t normally get asked in more temperate landscapes. Since everything is about survival, the characters find out what kind of people they are, when all bets are off. What kind of people are we, who do we become, what will we do, and how far will we go, when we have to fight every second to stay alive? Will we remain cooperative with the other human beings around us, or will we turn on them, to ensure our own survival? This makes wintry, snowy, settings perfect for tales about cannibalism, as in the movies Ravenous (1999), and The Donner Party, (a 2009 film based on a true story) where people turn on one another as a means to survive.
This betrayal of civilization is also what happens in the classic film, The Thing, from 1982, when a group of researchers accidentally thaw the frozen body of an alien, that begins killing and mimicking them, so that it can survive. Unlike the first films listed here, whose plots involve the horror of Place, combined with the horror from Inside, The Thing is a movie that combines all three types of horror. Everything in this environment is working against the characters, as they’re trapped in an extreme landscape, with a hostile Other, that was hidden within it, which has taken up residence in at least one of them, causing them to all turn on each other to survive. Both the men, and the alien, are fighting to survive the environment, and each other.
The fear, dread, and paranoia, of the characters is echoed in the bleakness of the landscape, which is as cold and dark as the outer reaches of space, from which the alien intruder fell. Over time, any fellow feeling they shared is lost, as the team spirals down into a paroxysm of violence, vandalism, threats, and murder, while they try to find out who is possessed by the alien, and who isn’t. The Thing is complex, in its plot and themes, but that wasn’t always the case.
In earlier horror films, the horror of Place was mostly paired with some horror from Outside, in the form of a monster, as in the original 1954 film, The Thing From Another World, starring James Arness, which was based on John. W. Campbell’s science fiction story, Who Goes There? Or the 1953 movie, The Beast From 20,000 Fathoms, where scientists, in the Arctic, accidentally dig up a dinosaur, which proceeds to rampage its way back to its ancient spawning grounds, conveniently located in New York city. In both movies, the monsters are an external force, awakened by hubris, or carelessness. The interior lives of the characters is given minimal attention, and have little effect on the plot Often their characters can be defined by how they respond to the monster.
Movies set during Winter seem especially appropriate for hauntings and ghost stories, as such bleak landscapes are used as a metaphor for death. In the 1981 movie, Ghost Story, starring Fred Astaire, based on the novel by Peter Straub, a group of elderly men gather in a New England town, one Winter’s night, to discuss the murder of a young woman they were involved with, several decades ago, and the idea that her ghost may be haunting one of them. It is their weakness of character that sets the entire plot in motion, and determines the outcome. Ghost Story is an example of the horror of Place, used as a backdrop for the conflict between the horror of the Self (Inside), and the horror of a malignant external force (Outside). Its the kind of story that could be told in any setting, but here, adds to the atmosphere of mourning, and despair. These are men at the twilight of their lives, haunted, literally, by the ghosts of their past misdeeds.
The most famous movie, that tackles the themes of both external and internal forces of horror, is The Shining. Released in 1980, and starring Jack Nicholson, Shelly Duvall, and directed by Stanley Kubrick, it is based on the original Stephen King novel, about a haunted hotel, set in the middle of a wintry Colorado. Jack Torrance is hired by the manager of the Overlook, to maintain the premises, but Jack, a former alcoholic, domestic abuser, (and latent psychic), is easily goaded by its murderous ghosts, into killing his fragile-seeming wife, Wendy, and his powerfully psychic son, Danny.
The horror comes from the combination of environmental isolation, the malignancy of the paranormal entities, and Jack’s emotional weaknesses. Occasionally, a wintry landscape is an obvious stand in for a character’s emotions, indicating coldness, or a lack of love or warmth. Jack’s personal insecurities are turned against his family, by the ghosts in the hotel. He becomes as emotionally barren as the landscape which isolates them. In the end, it is the environment which kills Jack, after he chases his wife and son into the hotel’s snow covered hedge maze.
The colors most associated with this type of landscape are cool dark blues, neutral whites, grays, and blacks, which emphasize the use of primary colors, red, and yellow, in the forms of blood and fire, which is especially appropriate imagery in movies like, 30 Days of Night (2007), based on the graphic novel by Steve Niles, in which a pack of vampires take over the town of Barrow Alaska, in the middle of a thirty day cycle, where the sun never rises, and Let The Right One In, a 2008 movie about a little boy who befriends a child vampire. The movie takes place in Sweden, a place known for its especially long and frigid winters, and is an especially appropriate residence for an avatar of death.
Dark snowy, landscapes make for some of the most classic and/or notable films in the horror genre. The setting lends itself well to stories involving ghosts, death, human depravity, survival, and of course, monsters, as the setting doesn’t just play an integral part in the plot, but often becomes the plot, for stories that can be told in no other place.
Okay, I was initially just going to post only those shows I was invested in watching, but decided to add at least a couple of shows that, while I might not be especially enthused about them, I’m sure someone reading this, is.
So, here’s a thoroughly incomplete list of new Fall shows that someone, who is not necessarily me, might be interested in watching in October.
Walking Dead: World Beyond
This is one of the shows I’m not terribly enthused about, because I’m not really in much of a mood for apocalyptic fiction, right now, it’s based off The Walking Dead series, which is now in its 1,000th season, and I refuse to get attached to any of the characters I see here, just in case they die horribly in the first two episodes.
Pretty much the only thing I got out of The Walking Dead, was not to care about any of the characters, because they’re all just gonna be horribly killed at some point, and since characters are how I get invested in a show, well…
On the other hand, it does look intriguing, because it answers some questions about those helicopter people who approached Rick that one time, and what happened to Rick after his supposed death.
One theme in zombie fiction, that I am seriously tired of, is the travelogue narrative ,where, as soon as the world goes into lockdown mode, someone decides to take a road trip to find some lost loved ones, sometimes with neighbors, or a dog in tow, and they have harrowing adventures, and this seems like more of that. *Sigh*
I want to like this but I’m just not feeling it. I will look at the pilot though, and maybe I will want to see more of it. yeah, I have no idea what it’s actually about ,and I don’t even care, which is how I know I probably won’t be jumping on this.
I have mixed feelings about this show. On the one hand it is directed by a Black woman, and I’m just now coming off The Old Guard, which was also directed by a Black woman, and I’m feeling confident. Its also produced by Jordan Peele, and the original story was written by Matt Ruff, and I read and liked the book okay. It also has monsters in it, and I like to think the racistly racist Lovecraft is rolling over in his grave at having his universe adapted to serve Black characters. Its about a Black family that take a road trip and encounter a mystery and some Lovecraft style monsters.
But…I’m not at all in the mood to watch any more oppression narratives that are rooted in Black pain and trauma. I don’t want to watch any more shows, or movies, set in the Slave era, or Jim Crow South, where we get to watch the characters suffer, and I’m strongly inclined to pretend this doesn’t exist, and will not exist any time in the future.
Unlike a lot of other whiners on Youtube (and other media), I’m not yet tired of the superhero genre, especially if they keep putting interesting versions of it onscreen, but then, I’m a person who much more carefully chooses these movies and shows, rather than rushing to watch every single thing with a superhero in it, and I also tend to like non-superhero, superhero movies like Unbreakable, The Old Guard, and this vehicle here.
I really like Joseph Gordon-Levitt, and Jamie Foxx ,and I’ve never seen the two of them in a movie together, and it looks like fun, I guess. I think I read a book that had something of the same premise waaay back in the 90s, and I think there’s been a least a couple of comic book stories, where gaining superpowers through drugs, was an idea.
I really like Edgar Wright and Simon Pegg. Ive seen most of their movies together, and I loathe the paranormal investigation reality show genre, so I’m actually looking forward to this parody.
The Good Lord Bird
That thing I said about Slave era narratives is still true, but I find myself greatly intrigued by this movie, because its a comedy that stars Orlando Jones, an actor I love, and Ethan Hawke, who, as John Brown, looks unrecognizable in this movie, and who was great in The Magnificent Seven remake, and Daveed Diggs, who plays Frederick Douglas. I also like it because it is a comedy where the plot isn’t rooted in the consumption of Black trauma.
It actually looks really, really, funny ,and the young girl we see in the trailer is actually a young boy who has disguised himself as a young girl because he found his life easier that way, and he sort of accidentally falls under Brown’s care.
You guys have got to read the book on which this movie is based, because Brown is a real hoot. Brown himself is a trigger happy abolitionist, who guns down any slave owners, and slave patrols he happens to encounter, making no effort to protect himself from harm, because he believes he is doing God’s will and that he is already protected.
Star Trek: Lower Decks
I’m not sure this is the best use of the money we gave these people for those last couple of Star Trek movies, so I’m just gonna leave this here.
I mean, I’m not opposed to an animated version of Star Trek, but I am opposed to an animated version of Star Trek. Heck, I didn’t even watch the original animated Trek, from the 70s. But you know what, I’m not gonna act like one of those fanboy purists who refuse to watch something just because its radically different from whatever came before, and I loved that Spiderverse movie. Not that this is, in any way, Spiderverse level entertainment, but I might be surprised.
An American Pickle
At first glance, this doesn’t seem much like something I’d watch, but I Seth Rogan okay, I like time travel movies, it looks funny, and I like the initial setting of Victorian New York.
So, I know all of you are now watching my favorite show, since its airing on Netflix. Yay!!! I don’t know if any of you guys have reached season three of the show (there’s no rush, take your time), but when you finally make it, I’m ready for ya’ with some of my more interesting thoughts on those episodes.
Digestivo is, hands down, one of my favorite episodes of season three, as it finishes out the arc just before the Red Dragon book, when Hannibal is in prison, but I’m not entirely certain why, I like it so much, so lets examine this. I think its because, although I’ve definitely seen Will being dark before, this is really the first time I’ve seen him actually working in tandem with Hannibal, of his own volition, and the two of them are every bit as terrifying a team as I suspected they would be.
In a lot of ways, Will is more terrifying than Hannibal. Hannibal has engaged in years of disciplined hiding of who and what he is, while Will’s dark side has simply been suppressed, with few outlets, given the type of life he’s lived. Will’s violence doesn’t have any controls, and is completely unpredictable. Hannibal revels in Will’s violent tendencies, but even he doesn’t know when it might be unleashed, or against whom, even himself. Will is chaotic.
In the last episode, Lecter was interrupted by the police, as he was just about to chow down on Will’s brain, with Jack Crawford as a witness. The police grab Will and Lecter, to take them to Mason Verger’s Muskrat Farm, in Maryland. I was under the impression, when I first watched this, that these were men in Verger’s employ, but it turns out that these are actually the Florentine police, capturing Lecter for the Mason’s bounty, which is actually illegal. The police are not allowed to capture suspects for reward. At least that’s how it works in the US.
The police are about to kill Crawford for witnessing the abduction, but are taken out by Chiyoh, who seems to have gotten over her issues about killing, now that she’s gotten a taste for it, I guess. Remember, she refused to kill Lecter’s prisoner in the dungeon, from the episode Contorno. So either she’s suddenly become more bloodthirsty, or she simply insists on killing on her own terms, and not Lecter’s. After all, she did comment to Will, that sooner or later, they all become what Lecter wants them to be, whether they like it or not, and this seems to be a truism throughout the series. Fuller himself has stated that Lecter is analogous to Lucifer, a being that wants to usurp God, (which he does), and corrupts human souls to his side (which Lecter often does).
While this is going on, Mason Verger and his henchman/cook/nurse’s aide, Cordell, make plans for cooking Lecter, and transplanting Will Graham’s face onto Mason’s. There’s a truly gruesome (but also deeply funny) image of a cooked Lecter, as the two discuss frying him like a Peking Duck.
Yes, the plot has pretty much gone completely batshit, at this point, and the creators seem to know this, as there is a, not quite faint, tongue-in-cheek vibe, to the entire season, as if the people involved can barely keep a straight face. The show has completely jettisoned even the idea of the police procedural as it segues into the Red Dragon plotline. It’s probably better to look on this season as somewhere slightly to the left or right of Camp. The only thing that saves it from that, are the horror elements and acting, which are portrayed seriously by the cast.
Chiyoh frees Crawford, in exchange for the location of Muskrat Farm, while Crawford wonders how he’s going to get out of Florence without the police noticing. Chiyoh, at least, manages to get out of town, as she eventually shows up at the Farm, after having a truly hilarious conversation with Bedelia, who is high as a kite during her scene, but still manages to get in a dig at Chiyoh about serving Lecter’s needs, which is really rich, coming from someone who spent the first half of the season enabling him.
Alana and Margot discuss making a child using Mason’s sperm, with Alana as the surrogate, after Mason shows Margot the surrogate mother of the child she would have had with Will, if Mason hadn’t had her uterus extracted. (See, that is the kind of thing that I could only be typing about a show like this.)
Hannibal, Will, and Mason, have dinner together, while Mason tortures the two men with the knowledge of what he plans to do with them. I will not mention in detail how Mason thinks Will has a pretty face, or why he would want Will’s face in the first place. (Will’s attractiveness has lowkey been an underlying theme since season one, but will be openly mentioned, by several characters, in season three.) In the commentary for this episode, Fuller says that Mason intends to rape Lecter, while wearing Will’s face (this is in reference to Mason’s comment about Lecter being in his shorties by then), if so, this is the first time that Fuller is introducing sexual motivations for violence, into the series, as he says he has tried to avoid such motivations before.
During the dinner, Cordell gets a little too close to Will, who bites a chunk out of his cheek, and spits it on the table. We’ve seen Will be violent before, usually in dream sequences, and this shows his evolution from the first season, when Will was having trouble simply discharging his weapon at a criminal, and Alana mentions biting behavior in serial killing, in a lecture she is giving in one of Will’s classes. This is also an echo from the movie Hannibal Rising, when Hannibal bites the cheek of one of the men who killed Mischa.
Contrast that with Will’s behavior in previous seasons. He has nothing but contempt for Cordell, and afterwards, he looks, with some slight embarrassment, in Lecter’s direction, as if to shrug that he’s sorry he’s being a such bad boy. Hannibal is, of course, very proud that Will is becoming what he always wanted Will to be, and smiles like an indulgent father. Murder husbands indeed.
Alana and Margot scheme to save the life of Margot’s child, but are too late, by the time they find the surrogate, a massive hog. They discover that Will and Lecter are on the premises, and that Crawford is still alive, and may bring the FBI into the equation, although Mason says he has handled it. Alana is rightfully concerned that Mason has not killed Hannibal yet, fearing that Hannibal will escape before revenge can be exacted.
While Cordell gets ready for the surgery to remove Will’s face, Alana and Margot visit Hannibal. This is interesting for Alana because this is the first time she has seen Hannibal since they tried to kill each other. She has a profound grievance at his betrayal of her, and as it turns out, he also fed her human flesh in the form of the “special beer” he made. Everything she has done this season has lead up to this moment, but Alana is desperate to save Will, because he was never part of her issues. In exchange for saving Will from Mason, the two of them set Hannibal free. He counsels Margot to kill Mason after they impregnate Alana. The two of them speak to Mason explaining what they did. Mason, incensed, tries to shoot them, but a fight ensues, and the two end up drowning him in his own aquarium.
Hannibal kills Mason’s henchmen, rescues Will, and kills Cordell, placing Cordell’s face on Mason, instead. He manages to get Will to his home in Wolf Trap Virginia, with the help of Chiyoh, who shoots the last of Mason’s henchmen.
Hannibal takes will back to his home, where Will delivers his final goodbye to him, a promise he manages to keep for three years. After Will regains consciousness, he makes it clear he will have no more to do with Hannibal, not because he doesn’t love him, but because he simply does not have the stamina to live the kind of life that Hannibal wants. I also suspect that he is simply appalled at his behavior with Cordell, and has fully reached the conclusion that Hannibal is not only not good for him, but that he and Hannibal together, are not good for everyone else. When he is with him, is when Hannibal is happiest, because Will is at his worst. He tells Hannibal that he doesn’t want to know where he is or what he’s doing, and to stay away from him.
Hannibal is heartbroken again, but his reaction this time is the opposite of what happened at the end of season two, when he tried to kill Will to show that Will hadn’t emotionally affected him. He makes no pretense about being emotionally unaffected by his association with Will, now. Jack Crawford shows up, and asks after Hannibal, who gives himself up to the FBI, claiming that this way, Will will always know where he is, and be thinking about him.
Will, opening up, confides: “I miss my dogs. I’m not gonna miss you. I’m not going to find you, I’m not gonna look for you. I don’t wanna know where you are, or what you do; I don’t want to think about you anymore. Good-bye, Hannibal.”
After seeing Lecter taken away by the FBI, Chiyoh leaves. There’s nothing more for her to do here.
Throughout the series we have been inundated with images, and discussion, about the breaking teacup, and time. This is a reference to the instability of Lecter’s relationships with others, and him trying to undo the destruction of lives that often follows in his wake. These discussions and images often occur to Hannibal during moments of regret with Will. He cannot reverse time, and undo what was done, and cannot seem to fix what was broken. His relationship with Will is broken, and while he understands why, he doesn’t know how to fix it.
I also think the teacup is a reference to himself. The act of eating his little sister after her death, (something he confesses to Chiyoh), sets in motion the entire chain of events that leads to this moment with Will, and another relationship that ends up destroyed. Hannibal, in his lowest, and most honest moments, believes he is broken, so naturally his relationship with the people he admits to loving, (Will, Chiyoh, Abigail), can only ever end in destruction. He cannot turn back time and change who he is. What is broken, can only remain broken, and he cannot be repaired. Will cutting him loose is the closest he will ever get to such an outcome. He turns himself in, not because he thinks the teacup will be repaired, but because that conscious act will keep it from breaking. He cannot turn back time, but perhaps he can freeze it, and keep the teacup from being destroyed. As long as Will knows where he is, and is thinking about him, their relationship can remain unbroken, and in suspension, which is exactly what happens over the next several years of their separation.
Lets talk about the show’s handling of mental health issues, which I think has been, if not favorable, then at least sympathetic, and that includes Will Graham. This is a show about a murderous psychiatrist, so in the first and second seasons, the audience is often presented with characters with various mental illnesses, and the show takes pains not to just show such patients as violent, but to show them as also victims within a system.
The first time Jack Crawford meets Will Graham, he is somewhat insensitive, blatantly asking him about his mental disorder, and pulling off his glasses, which is representative of the general attitude that other characters show towards the mentally ill. The show itself always treats such characters with a certain degree of sensitivity, even when some of the characters do not.
Starting with Will Graham, these characters are almost never shown as murderous, or even dangerous, for its own sake, and when they are shown as dangerous, it is usually because of extenuating circumstances, and not necessarily their mental illness. When they are violent its not out of malignancy, or because mental illness makes a person violent, but because they are being driven by their illness to alleviate their pain.
In season one’s Coquilles, the murderer is driven by a brain tumor. He suffers from delusions that make him believe that certain people are angels meant to watch over him, while he sleeps. His victim’s deaths are a side effect of what he does, not his primary motivations, and that distinction matters. This also the case with Georgia Madchen in Buffet Froid, who kills as a side effect of her delusions, not because that was her primary goal.
But the ultimate depiction of sympathy towards mental illness takes place in season three, in Su Zakana, where we encounter Peter, a man suffering from a form of brain damage that doesn’t allow him to look at things, while touching them at the same time. At every opportunity, Will shows care, sensitivity, and compassion towards Peter, and believes him when he says he’s not a killer.
In fact, Peter isn’t a killer, but he is being manipulated to take the fall for the actual killer, not unlike how current political systems take advantage of, abuse, and misuse the mentally ill. Will shows care and sensitivity to Georgia Madchen as well. It is one of Will’s signature traits that his empathy draws him to such people, and the writers are always careful to make these characters sympathetic to some degree.
None of the mentally ill on the show are evil just to be evil. They are not trying to kill people. Many of them don’t actually believe they’re causing harm, and the harm they do cause is a side affect of their attempt to relieve their pain. Fuller is walking a very thin line here, but I believe it deserves merit. The show isn’t a perfect depiction of mental illness, but it does take care not too easily fall into tropes about it. The show still makes the mistake of associating monstrous behavior with mental illness, and horror, however.
I don’t know when I’ll ever feel safe sitting in any enclosed space ever again. If I do, I definitely will not be inviting my mother with me as she is severely immuno-compromised. Technically, so am I, but beyond that, I wouldn’t want to bring anything back home to her. In all likelihood, Dune and Tenet may be movies I’ll have to admire from afar. I hope not because I’m really excited to see them in a theater. If there’s a way t do so safely, while observing social distancing rules…
This is the only movie that would possibly get my ass into a theater seat (which is never gonna happen, btw.) Nevertheless, I am very excited for this. I’m a huge fan of Christopher Nolan’s work anyway, so that was gonna happen. This is the second trailer for the movie, which is aiming for a Fall release. This trailer strongly implies that its about superpowers and time travel.
The Old Guard
I always enjoy watching Charlize Theron kicking ass, and I like the idea of this young black female apprentice, to a kind of immortal being. I’m always for black female characters being shown as beloved, and delicate, flowers in need of being saved, we first need to get our feet in the door, and one way to do that is playing to our strengths in action films.
So far, the Hollywood idea of a strong black woman is measuring how much pain and anguish we can endure, how much abuse we can take and still keep ticking. We need to begin showcasing other versions of black women’s strength. Fortunately we are getting movies and shows like this.
I am told this is based on a comic book, and though I like the authors of the book, I don’t think I’ve ever heard of it before, so I’m going to be looking out for it. The Old Guard airs on Netflix in mid-June.
Da Five Bloods
I always say I’m not into certain types of movies. What I actually mean is I’m not normally attracted to such films, not that I don’t watch them, or have never seen, or liked them. Like War movies. I do have a couple of favorites, (Apocalypse Now, Full Metal Jacket), but most of them I dislike for their reliance on spectacle with no message beyond glorifying life in the military.
I will watch this one because I like the director, the actors, (Delroy Lindo, who I’ve been in love with since Romeo Must Die), and because it’s basic premise, of a close group of Black men returning to Vietnam, so they can find the body of their commanding officer, just sounds appealing to me. I like remembrance stories, or more accurately, anti-nostalgia stories, and there aren’t a whole bunch of war movies which prominently feature men of color, telling what it was like for them.
This is also airing on Netflix in mid-June.
Here’s a superhero story, I’m moderately excited about, set in Southeast Asia, which I’m going to check out soon. I saw the trailer for this months ago, but only recently got the opportunity to see it. This very much reminds me of the Black Lightning TV series, because it’s basic premise, a man of color, with electricity powers , who trains himself to protect his little piece of the world from corrupt government forces, is appealing to me.
This is another one of those gritty superhero stories that sort of chronicle what life would be like if superpowers existed. I kind of like these downbeat superhero movies like Unbreakable, Chronicle, and yes, I include the Carrie movies. I am, however, not always in the mood for such downbeat material, so whether or not I see this ,depends entirely on how I feel that day. I may decide to watch another John Mulaney stand up instead.
This one is based on a short film, I saw last year, with the same name. I didn’t care for the Short that much, but the actual movie looks a little better.
I’ve been a Dune fan since I was a teenager, and used to the read the first book in the series about every couple of years. It’s one of my few favorite SciFi stories. Yes, I did see the 1984 movie starring Sting. It’s okay, and I really liked it, but it’s not my favorite, and I’m going to pretend the TV version doesn’t exist.
Next year we’re supposed to be getting a remake of this movie by one of my favorite SciFi directors, Denis Villaneuve. I’ve enjoyed quite a few of his movies, including the Bladerunner sequel, so I’m really looking forward to seeing this, as this too is one of the few films that would actually get me into a theater.
The director has been sending out pictures of the cast and crew, and whooo yeah, I’m definitely excited for this version, which looks a lot more like I imagined it from the book. I hope it does well, but I still think y’all should be prepared for a lot of hate because there are PoC working in this movie, and y’all know how white fandom behaves when they think an entertainment product is the exclusive province of white people. There’s also the fact that it is a very loved book. I do plan to stay away from any Youtube videos talking about this movie because already there are a wave of people who are ready to ream it a new asshole before the movie has even been released.
That said, there have been some changes that some people will lose their shit over, and one of the bigger changes is that Liet Kynes is being portrayed by a Black actress. If you remember from the book, Liet is the father of Chani, but is not actually one of the Fremen, and Villaneuve says he changed the role because he wanted to portray a mother /daughter relationship, and the movie was getting very male-centric. Now, if you’ve read the book, you know what role Liet plays in the story and what happens to him ,but I’m still very excited to see what this actress is going to do, and how she will interact with the other characters. In the original film, Liet Kynes was played by Max von Sydow. Jason Momoa is playing Duncan Idaho, who is not one of my favorite characters from the book, but I’m looking forward to seeing what he does with this role.