In this episode, we are heading back to 1987 with Joseph Ruben’s The Stepfather. Inspired by the horrific murders committed by John List, this movie doesn’t just deconstruct the myth of the nuclear family, it detonates it…and sets it to a slamming 80s soundtrack. We’re talking conservative values run amuck on this episode, so stay tuned!
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Consider this your Thanksgiving PSA! If your family is anything like ours, you probably spend hours cooking up a scrumptious meal for the family only to watch it be consumed in less than twenty minutes. So should you be looking for an excuse not to cook, I thought I would share 8 food moments in horror that are guaranteed to stop hunger in its tracks. Granted, you may vomit, but that’s a risk you run in viewing these disturbing and unforgettable scenes.
My selection criterion was highly scientific. If it made me gag, it made the list. Did I miss any? Shoot us a comment and let us know which food moment in horror still traumatizes you!
How much do we love Adam Cesare’s CLOWN IN A CORNFIELD (2020)? So much that we braved Zoom just to bring you this mini-episode! From its in-the-moment politics to its creative deployment of slasher tropes, Dawn and I are explaining why this novel deserves its buzz on this episode so stay tuned! SPOILERS ABOUND IN THIS EPISODE SO TAKE HEED.
Check out Hayley Dietrich’s review of Clown in a Cornfield.
With its minimalistic storytelling and melancholy dissection of loneliness, Stranger by the Lake is a quiet film that sneaks up on you and wheedles its way into your psyche. I first watched Alain Guiraudie’s 2014 masterpiece at the beginning of quarantine and months later, it has yet to fully leave my subconscious. The story itself is a deceptively simple one. Franck (Pierre Deladonchamps), while frequenting a lake known to be a gay cruising site, befriends loner Henri (Patrick d’Assumçao) and falls in love with the murderous Michel (Christophe Paou). But this isn’t a film about plot. It’s a film about the horrific choices that can emerge from our extreme human need for connection.
Stranger by the Lake is marketed as an erotic film but that framing fails to celebrate how horror conventions, especially in relation to dread building, fuel the film’s atmosphere. Its deployment of Adam Lowenstein’s theory of “subtractive spectatorship,” in particular, is a fascinating reflection of how landscape can inform our readings of queer desire within the film. According to Lowenstein, “subtractive spectatorship” names “a desire to subtract or erase human beings from the landscape, to leave it empty,” and he adds that topographical camera shots of nature spur a desire in the audience to see the landscape depopulated. Lowenstein explored this paradigm in part through Mario Bava’s brilliant giallo Ecologia del delitto/A Bay of Blood (1971), and so the particular process of depopulation he described was the result of a killer systematically offing the human interlopers in clever and often aesthetically interesting ways. But that’s not the case in Stranger in the Lake. Read more
On the 45th anniversary of the release of the film that made people afraid to go in the ocean, we consider Steven Spielberg’s Jaws (1975) in relation to Peter Benchley’s 1974 novel. Which is better? Or, perhaps a more useful question, what do the novel and film uniquely do? Check out answers by Elizabeth Erwin and Dawn Keetley.
taking horror seriously so you don't have to
