In recent horror, eighties nostalgia has seemingly reached a fever pitch. The cinematic remake of the 90’s television miniseries based on the Steven King novel It (2017) noticeably shifts the timeframe of the original story from the 1960’s to the 1980’s. In fact, the film goes out of its way to remind viewers of 80’s sights and sounds, particularly the decade’s movies. In one scene, the camera passes over the lone movie theatre of the small town whose marquee promotes: Lethal Weapon 2, Batman, and A Nightmare on Elm Street 5: The Dream Child. However, the binge-worthy Netflix series, Stranger Things, takes its love of 80’s film even further. A poster for the decade’s remake of The Thing (1982) appears on a wall in a character’s home, and in the second season, the boys all dress up as characters from the Ghostbusters movies. But more than that, the series employs elements of 80’s movies so much so that they become crucial to the series’ plot. Is this just lazy script writing or is something else at work here?
Behind the Eclipse: Complicating Sexual Assault in Gerald’s Game
Guest PostMike Flanagan’s Gerald’s Game (2017) is, shot for shot, one of the most loyal Stephen King adaptations to hit the screen. The premise of the film and the novel (1992) is, for Stephen King, very simple. Jessie (Carla Gugino) and Gerald Burlingame (Bruce Greenwood) travel to their secluded lake house in an attempt to save their failing marriage. Gerald’s solution to their sexual stagnation is a pair of handcuffs. Jessie plays along with his game, witnesses her husband’s fatal heart attack, and finds herself alone. The terror of the story, like its protagonist, is confined. The book and the film are compelling, however, because the terror is not in the house or the ravenous dog feasting on Gerald’s decaying body. For Jessie, the fear is spawned by being bound and alone, with only the repressed terror of her past.
In Gerald’s Game, Stephen King crafts one of his most feminist novels. His original intention was to pair the story with Dolores Claiborne (1992) as they both take place at (the fictional) Dark Score Lake during a full solar eclipse. Unfortunately, the pairing never happened, but we did end up with two separate books that work well in establishing a purely feminine viewpoint within the Stephen King universe. In Gerald’s Game, Jessie Burlingame becomes our window into a world that has been darkened by broken trust and a darkened sun.
Critics are in the process of hammering Dean Devlin’s cli-fi action / horror film Geostorm (2017)—and one of the most damning charges has been how stupid it is. “The stupidest film I have ever seen,” claimed Mark Kermode, tweeting “I have seen Geostorm. My brain is now cowering in a dark corner of my head and refusing to speak to me.”
I did not, for the most part, experience Geostorm as stupid. As a long-time fan of disaster movies, part of me actually enjoyed it. More than that, though, I was disturbed by the relentlessly dangerous message of Geostorm—and I say that recognizing that director Dean Devlin had nothing but good intentions. In an interview, Devlin describes talking with his young daughter about climate change, trying to answer her anxious question: “Why aren’t we doing anything about it?” He goes on to say that Geostorm emerged from that conversation: it’s a “cautionary tale—a fable.” It’s about what could happen if we wait to deal with global warming.
Here is the interview with Devlin:
Twin Peaks: Why Laura May Not Be Female Corpse Exploitation
Elizabeth ErwinWhen Twin Peaks initially took television by storm in 1990, I was a fourteen-year-old classic horror nerd hell bent on consuming every bit of popular culture that seemed at odds with my conservative hometown. In other words, I was the ideal audience for David Lynch and Mark Frost’s surrealistic tale of murder and debauchery in a small town. And while I initially tuned into the series for Piper Laurie, I (and most of America) soon became obsessed with the tragic backstory of Laura Palmer, the Prom Queen whose sweet smile hid an array of dark and seedy secrets. Since I was myself on the cusp of entering high school in a small town, Laura’s story was instantly identifiable, even as it also possessed an air of otherness.
Over the years, I have periodically gone back and rewatched the series, and it holds up remarkably well. But on Sunday, a new chapter of Twin Peaks will be written when the lauded show returns for a 9 episode run on Showtime. But while I am excited about the prospect of revisiting old friends–and old fears–I’ve been somewhat take aback by a couple of merchandising decisions designed to accompany the show’s return.
If there has been one criticism that has plagued the Frost/Lynch saga, it is that Twin Peaks almost singlehandedly ushered in the dead-teen-girl-as-spectacle trope that now plagues network and premium television at an almost incomprehensible rate. But does the show truly deserve that criticism?
In terms of narrative, I’d argue no. But in terms of recent merchandising decisions? Maybe.
With pumpkins abounding and the bite of frost in the air, it’s time to take a look again at that classic horror series for kids from the 1990s, R. L. Stine’s Goosebumps. For generations of fans, Goosebumps was their first entry point into horror. With plots running the gamut from ghosts to monsters to possession, no horror trope was off the table, and the series remains an excellent example of how horror can be reconfigured for younger audiences in such a way that its bite stays firmly intact. Goosebumps is especially worth a watch for both its storytelling prowess and creepy atmosphere. So if you want to curl up at home with these oldies but goodies, here’s where to start. And you can find them all on Netflix.
Here’s my ranking for the top ten episodes of Goosebumps!













