Horror Homeroom

Posted on June 15, 2018

Support Horror Homeroom on Patreon!

Dear Readers:

Consider this post our version of a PBS pledge drive-we can’t do it without your support! And so we’ve started a Patreon!

Horror Homeroom started as a labor of love in which we wanted to merge our love for the horror genre with our academic skills of analysis to create points of discussion for fans. We like to say we take horror seriously so that you don’t have to and in the past four years we have published over 400 articles exploring themes as diverse as the state of eco-horror to explorations of identity construction in zombie films and everything in between.

Our commitment to keeping these articles open access means that we are a completely self-financed operation. And as our readership has grown to the point of requiring frequent server updates, the expense has become prohibitive. It is important to us that our content remains free and so we are asking for your help.

We have a lot of plans to expand Horror Homeroom (detailed below) but we can’t do it without your support. Patreon enables you to make a monthly contribution to support our work (starting at just $1!) and the best part is that you can increase or decrease that contribution as your budget changes. We hope that you will be part of our journey toward creating free, academically rigorous content that celebrates the horror genre.

We are incredibly grateful for your continued support! And a HUGE thank you to those who’ve already pledged their support!

Posted on June 11, 2018

Hereditary: Grief and Motherhood

Guest Post

In Danse Macabre (1981), Stephen King’s nonfiction book about the horror genre, he says that if a horror movie is going to work and be memorable, there has to be something beyond spatter, a story that functions on a symbolic level to help us understand our deepest fears. In Hereditary (2018), written and directed by Ari Aster, grief, mental illness, and the challenges of motherhood are the subconscious fears that erupt after the family suffers one loss after another.

The plot and strained family dynamics of Hereditary unfold after the death of the Graham family’s matriarch. The film opens with the obituary of the 78-year old grandmother, who is described by her daughter, Annie (Toni Collette), during the funeral as having been a “very secretive” and “very private woman.” The first 30 minutes of the film focus on how the rest of the family deals with her death. The father, Steve (Gabriel Byrne), initially tries to comfort his wife and family, while the son, Peter (Alex Wolff), spends much of his time getting stoned and going to parties. The daughter, Charlie (Milly Shapiro), who had the closest relationship with the grandmother, asks her mother, “Who’s going to take care of me?” Annie deals with her mother’s death by throwing herself into her work, creating miniature houses for a scheduled art show opening. As the film progresses, the miniatures mirror the events of the film, and the deadline to finish the work only creates added pressure on an already stressed mother.

Posted on June 8, 2018

Us and Them and the Rise of Political Horror

Dawn Keetley

Us and Them, a British film that saw general release in the US in March, 2018, is the feature-film directorial debut of Joe Martin, who also wrote the screenplay. It follows three working-class men, Danny (Jack Roth), Tommy (Andrew Tiernan), and Sean (Daniel Kendrick), who decide to invade the home of a wealthy family—patriarch Conrad (Tim Bentinck), wife Margaret (Carolyn Backhouse), and daughter Phillipa (Sophie Colquhoun)—for, as it turns out, very different reasons. The trio is lured into crime both by a political rage that is tied to a contemporary moment of widening class inequality and by money, a motive for crime as old as money itself.

Danny is the voice of political resentment and rage. He argues that the time has come for the working classes to take “direct political action” by targeting the top 1% who, he tells us more than once, own as much as the bottom 50% in the UK. “Things have to change,” he says, trying to urge his friends, in a long speech he gives them in the local pub, to see Conrad, a financier, as a “political target.” Danny’s plan, not exactly meticulously thought-out, is to terrorize the wealthy family, forcing Conrad to choose which of his wife or daughter will play Danny’s seemingly deadly game of roulette. His intent is to videotape the “game” and then broadcast it along with his political statement. Needless to say, things don’t go exactly as Danny intended. Neither his victims nor his partners in crime acquiesce in his agenda.

Posted on June 5, 2018

Cargo and the Rise of the Fungal Zombie

Guest Post

The new zombie film just released on Netflix, Ben Howling and Yolanda Ramke’s Cargo (2017) showcases a new kind of zombie–the fungal zombie–and ushers in a whole new kind of horror.

I have to start by saying that I was never really afraid of zombies as a kid. Even today, when I re-watch movies featuring a bunch of shambling corpses, or when I break out the first Resident Evil games to get away from work, it is never the hordes of infected or the walking dead that scare me. For me, they have always been collateral monsters, byproducts of a deep-seated flaw in the living subjects that flee them. In fact, the humans in these films are what terrified me—they are brutal, cold, and animalistic. Which, I guess, is the point.

However, within the past five years, I’ve seen an evolution in zombie film and videogames. No longer are the zombies signifying elements of our humanity let wild, but rather are showcasing a whole new type of non-human sentience: a collective intelligence that can plan, navigate, and communicate much like we do, but without the need of complex technology. I mean, of course, fungi.[i]

Posted on May 31, 2018

The Twilight Zone Episode That Anticipates Get Out

Dawn Keetley

Jordan Peele is on board as one of the executive producers of a reboot of The Twilight Zone, apparently coming to CBS All Access. Even without this clear evidence, Peele’s interest in Rod Serling’s classic series, which ran on CBS from 1959-64, is manifest in his 2017 horror film, Get Out. Indeed, The Verge has called Get Out a “Twilight Zone-esque horror thriller.” Any fan of The Twilight Zone will, I’m sure, be able to point to many episodes whose influence seeped into Peele’s film. I want to point out one dramatic predecessor, however, in the season 3 episodes, “The Trade-Ins,” which originally aired on April 13, 1962 and which was written by Serling himself and directed by Elliot Silverstein.