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.
When we lose a loved one, we carry them with us. We retrace the shape of them again and again with our memories. We would do anything just to see them, to speak with them, one more time. We want whatever issues were between us to be resolved. We want to forgive and be forgiven. We want peace.
Edgar Allen Poe is said to have uttered “Croataon” in his last gasps.
Aviator Amelia Earhart is rumored to have scribbled the word in her journals before she disappeared.
The monster in Kubo and the Two Strings is a toxic family. It feels like a very personal story wrapped in a beautiful allegory, a tool to deal with some harsh realities many people struggle with as they make their way into the world.
“If a man could learn to fly, why could he not learn how to live forever?”
– Charles Lindbergh
The heart beats on rhythm rippling electric red through the body, a wet erosive machine. As if on cue the animal breaks down, eventually. It’s born strange and confused and grows into a sleek engine, skin taunt and muscles primed. The full grown animal seems beautiful and perfect to our eyes, and it’s a sorrowful notion that it must inevitably wither and degrade.
There must be a way to save it.
In the early hours of November 13, 1974, 23-year-old Ronald “Butch” DeFeo Jr. methodically shot six members of his family, including four of his younger siblings, while they were sleeping in their home on in the Amityville, NY. The family had moved into the sprawling Dutch colonial on 112 Ocean Avenue a few years ago, and though their home life was rife with abuse and drama, the house had been a symbol for a fresh start. The dad, Ron Sr., even named the house High Hopes, a chillingly ironic moniker for an estate that would be rife with such pain, horror, and a haunted legacy.
What does it mean to own land? That’s one of the questions at the heart of the gorgeous western Hell or High Water. In the film two brothers (Chris Pine and Ben Foster) scour the dry and lonesome West Texas landscape robbing multiple branches of the bank that’s threatening to foreclose on the family ranch after their mother died. On the surface, their cause seems righteous: familial morality in the face of heartless corporate greed, but as the story lingers on the moral lines smudge into the gray confines of the human condition. Complete moral dualism is an illusion, and every fight to secure something for your own family, your own tribe, can lead to unintended consequences for everyone.
Krystian Bala was the author of an obscure book just a few years ago but now his novel, Amok, is pretty widely known for aiding in his murder conviction.