The tin foil hat (misnomer for aluminum foil, which is the product actually sold in stores) is a pervasive metaphor for paranoia and conspiracy theorists, but there’s no record of any real life conspiracy theorist ever seriously fashioning some Reynold’s wrap into headwear. How, then, did this bit of absurd fashion come to be associated with paranoia and mind control prevention?
Peter Jackson’s 1994 film Heavenly Creatures takes its audience on a voyage through the twisted fantasy world woven by of a pair of adolescent girl murderers. The movie ends with a scene that stabs an icy stake through the heart of innocence: the gruesome slaying of one of the girls’ mothers. The movie’s dreamlike atmosphere feels like a dark, warped fairytale, but it was based on a crime committed by two real girls in 1950s New Zealand: Pauline Parker and Juliet Hulme. The motive? Juliet was leaving for America, and Pauline’s mother was against Pauline going with her.
TThe breakneck revenge-fueled turns in Park Chan-Wook The Handmaiden‘s astonishing plot are owed directly to their source material: Sarah Waters’ The Fingersmith. Although The Fingersmith is set in Victorian era England and The Handmaiden is set in Korea under Japanese rule in the early 20th century, they’re both tales of class and desire mixed up with twisty, double-sided plots.
If aliens could land on Earth, a staggering feat it itself, what other technologies could they possess?
“I don’t need to be scattered here. I’ve been already.” – Peter Dunning
Peter and the Farm is a gorgeous film, often grotesquely so as it pierces the raw heart of life and death. First, with the stark reality of butchering animals, and secondly, with the depths of Peter’s personal existential crisis.
Marjorie returned home smiling, thin, and tired. She gently told them that the journey had exhausted her. “I’ll need to sleep for weeks,” she joked. Elise thought her voice sounded different. The skin around her eyes crinkled now. Did it used to crinkle?
I Am the Pretty Thing That Lives in the House is a Netflix original ghost story that haunts more with its quiet beauty than with fear. It’s a love letter to the lyrically chilling Shirley Jackson and a study on the lonely emptiness of ghosts unable to move past the shock of death. We use ghosts to scare ourselves, to play on what we fear may be lurking in the shadows, to explain the memories of the dead that weave… Read more »
Clowns have never been wholly innocent. They were born of a a need for mischevious, boundary-pushing humor in the face of power. But now, seemingly more than ever, clowns are the face of utter horror and terror, literally embodying fear much like Pennywise in Stephen King’s It. Is there really an epidemic of predatory, “killer” clowns roving the United States?
Assia Wevill, one of Ted Hughes’ love interests, was also a creative person. While Ted Hughes scrambled to fund his turbulent life with a poet’s living, Assia held down steady jobs in advertising. Her most famous and successful campaign, a 1965 spot for Sea Witch, was a chilling 90-second myth to sell hair dye. Called “The Lost Island,” the humorous ad features a crew of seven men lured to an legendary island of sirens. There were seven of us. Thousands… Read more »
Aileen Wournos’ presence is captivating. Prostitutes are often scared for their lives, but Aileen was a sex seller who was terrifying in her own right. Her anger burned at a level that stripped her feeling for other people completely. Aileen Wournose was born on the fringes of society, abused and rejected. This was not a world built to favor Aileen Wournos, so she became a monster. But, was that an inevitability? Most people who grow up in devastating circumstances don’t become monsters.