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Posted on November 9, 2023

Saw: Liberalism’s Favourite Franchise

Guest Post

I recently came across a web-comic that satirised the premise of Breaking Bad. The gist of it is that Breaking Bad would never work in a country with free healthcare, since Walter White’s impetus for selling drugs is to cover the exorbitant cost of his cancer treatment.

Christopher Keelty, https://christopherkeelty.com/2013/09/breaking-bad-outside-us/

Now this is arguably an oversimplification, but it is funny nonetheless and does illustrate how neoliberalism is often a driving force behind films and series. This is especially so if the media in question is a US-based production where the liberal ideology of individual choice, meritocracy, and pulling oneself up by their bootstraps is firmly entrenched in the larger social consciousness. In the US, you are the master of your own fate, and you don’t need a handout. Now while it might not, at first glance, appear to be the case with the Saw franchise, the series has a deeply entrenched philosophy of aggressive individualism that covertly celebrates liberalism and glosses over systemic and societal factors underpinning many social ills.

Posted on October 28, 2023

Horror Literature: Special Issue #8

Special Issue #8

This special issue on horror literature ranges from the exploration of queer sexuality in a late nineteenth-century horror novella to explorations of creativity, ecological crisis, sexual taboo, trauma and grief in twenty-first-century horror fiction. The incredible span and diversity of the fiction taken up by the essays here – and the importance and complexity of the questions asked by that fiction – make it clear that horror literature may well be one of the most important of literary genres. And we may well be living through another boom, another golden era, of horror production.

We have essays by: Elizabeth Erwin, Dawn Keetley, Gavin F. Hurley, Steffen Hantke, Kat Albrecht, David Edwards, Marco Malvestio, Irene Pagano, Alissa Burger, Emma Hallock, Amira Shokr, Carina Stopenski, Jacob Babb, and Isaiah Frost Rivera.

Cover art by Andrew Foley

Enjoy as a flipbook or download the full issue

A teenager in a yellow robe holds a petrified hand.

Posted on October 26, 2023

A Hand to Hold: Talking Talk to Me (2023)

Elizabeth Erwin/ Podcast

In today’s episode, Australian horror takes center stage courtesy of Danny Philippou and Michael Philippou’s Talk to Me (2023). In the film, Mia, who is grappling with the imminent second anniversary of her mother’s death, attends a party with Jade, her best friend, and Riley, Jade’s brother. There, they are given the opportunity to commune with the spirit world via an embalmed hand. Predictably, things do not go according to plan. With unrelenting hype and a domestic box office gross outpacing other A24 releases, the film is a potent hybrid of gore and dread but is it the best horror film of the year so far? We’re breaking it all down today with spoilers so stay tuned!

Posted on October 24, 2023

The Best of R. L. Stine’s The Haunting Hour

Dawn Keetley

R. L Stine’s The Haunting Hour is an excellent – and distinctly underrated youth horror series. It ran for four seasons from late in 2010 until 2014 on Discovery Family and should definitely be talked about more than it is.

In this essay, I’m going to highlight some of the best episodes of the series – adding to the list over time. I’d love to hear from readers – and viewers of the series – what your favorite episodes are.

Posted on September 28, 2023

“There Are Better Ways to Die”: Final Girls and Ecohorror

Guest Post

Named for their natural settings, The Handmaid’s Tale season four finale, “The Wilderness” (2021) and Land (2021) are both, importantly, women-directed stories that expand ecohorror elements and the feminist horror genre, flipping the Final Girl horror trope. Protagonists June (Elisabeth Moss) and Edee (Robin Wright) are not simply the stereotypical Final Girls walking out of the woods after violence – a too-common horror trope in which girls and women are victims of violence, at the hands of men, in natural spaces where only men “survive.” June and Edee’s stories start after their traumas – horror already experienced – as they walk into the woods for their own types of healing and then walk out as complicated protagonists rather than flat female-victims-as-porn.

Carol Clover (2015) writes that while the Final Girl is a survivor, her role is mostly based in being demeaned and abused, a ‘“victim-hero,” with an emphasis on “victim”’ (p. x). And that victimhood has historically been rape/ trauma porn made for a certain type of male viewer (there are too many examples to list here). But June and Edee’s survival and renewal, rather than trauma, is the focus in these texts as they find redemption in the classic horror natural spaces for a very different audience. In a reversal of typical Final Girl horror tropes, ‘The Wilderness’ and Land empower women in natural spaces rather than using such spaces as instruments of trauma. These texts utilize ecohorror elements but showcase such natural spaces as redemptive for women, extending the Final Girl horror trope past the immediate violence and past its emphasis on women as victims.