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Posted on October 23, 2015

9 Questions Paranormal Activity: Ghost Dimension Must Answer

Dawn Keetley

The sixth and possibly final installment of the Paranormal Activity series (2007 – 2015), Ghost Dimension, is due out today (Friday October 23)—in limited release—and the word is it will answer all fans’ questions about the franchise.

So, what questions do we have? As it turns out, I, at least, have plenty.

-1. Most pressingly, what do the witches (and Toby) want?

Hints about what the witches and their demonic leader, Toby, want have been slowly doled out across all five films, but they are still not at all clear. They seem mostly to be after boys. In PA2, Kristi’s step-daughter Ali reads something online about how people have been known to make a demonic pact by which they get power or wealth in exchange for offering up the first-born male in their family. The suggestion is that Kristi and Katie’s grandmother (Lois), who is part of a coven of witches, made such a pact and so Toby now wants Kristi’s son, Hunter.

The coven clearly pre-dates Lois, though, since, in PA3, Dennis shows Kristi and Katie’s mother, Julie, a photograph of a witch coven from the 1930s and reads from a book about a ceremony by which the witches would take the sons of pregnant girls, brainwashing them (it’s not clear if they brainwash the boys or the girls) so they remember nothing.

Posted on October 8, 2015

The Walking Dead and The Sympathetic Zombie

Elizabeth Erwin

As a pop culture juggernaut that shows no signs of slowing down, AMC’s The Walking Dead is the unusual zombie narrative that has managed to capture the attention of both horror and non-horror fans alike. With its sly humor, grotesque kills and nuanced characters, the show both reflects and reimagines the ways in which zombies can be used to create a distinct sense of dread. But unlike their living dead predecessors, the zombies of The Walking Dead are not mere monsters. Instead, the show offers a zombie construct that is both identifiable and malleable. While it would have been easy to cast the zombies as simple monsters, the show often challenges its audience to sympathize with the zombies. The end result is a much more complicated and socially aware narrative.

The notion of a sympathetic zombie seems at first contrary to the genre. After all, zombies are traditionally designed to be decaying shells whose threat revolves around their complete lack of intent. Steve Bruhm notes that zombies serve as a “barometer of the anxieties plaguing a certain culture at a particular moment in history.” Season one of The Walking Dead reflects this thinking in its utilization of zombies as the main source of the narrative’s horror. Where The Walking Dead succeeds in remaking the horror of the zombie is in its gradual personalization of it. The zombies occupy, intentionally, both an impersonal and a personal position within the narrative.

Posted on October 5, 2015

Point Counterpoint: Are Zombies Good Horror Monsters? (Yes)

Elizabeth Erwin

Note: For the counterpoint to the argument that zombies are good horror monsters, check out Gwen’s piece on Wednesday!

For the past decade, zombies have been experiencing a pop culture resurgence. Because they are instantly identifiable horror monsters, it isn’t at all uncommon to hear the gripe that zombies aren’t really all that scary. This, my friends, is utter nonsense. Zombies have style, substance and a penchant for ripping victims wide open. What more could a horror fan want?

Death by Zombie is Brutal

Scenes of carnage in most American zombie narratives make it clear that death by zombie is utterly brutal. In Shaun of the Dead (2004), David is ripped open in horrifically gory detail as he screams in terror. It is a scene that is as bloody and visceral as any you’re likely to find in slasher horror. City of the Living Dead (1980) ups the gross factor when Rose is killed as she is forced to vomit uncontrollably. As both of these cases demonstrate, the assumption that zombies pose no real threat is a misplaced one. Sure, they often (but not always) are slow moving but their tendency to move in groups increases their threat value. And when they catch you, it is guaranteed not to be pretty.

Posted on September 30, 2015

Point CounterPoint: Is Scream Queens Horror? (No)

Elizabeth Erwin

Note: Be sure to read Gwen’s argument why Scream Queens is horror!

Routinely criticized for a camp aesthetic that would make Divine blush, Ryan Murphy’s foray into horror has been mixed at best. While American Horror Story has had its share of viral moments, its consistently uneven storytelling has prevented it from picking up the mantle from its most obvious predecessor, Twin Peaks. And so it was with more than a little apprehension that I sat down to take in Scream Queens.

Gwen’s review highlights the many reasons there are to love Murphy’s latest television outing. I’d be lying if I said that I didn’t thoroughly enjoy every moment, mainly because it isn’t often that a show makes me laugh out loud. And ultimately that is the main problem with Scream Queens. By elevating humor above dread, the show is squandering its horror potential.

Posted on September 20, 2015

AMC’S FEAR THE WALKING DEAD, “The Dog”: The Sad Fate of Animals in the Zombie Apocalypse

Dawn Keetley

AMC’s Fear the Walking Dead has aired three (of six) episodes so far and I’m happy to say it’s getting better. (See my less than positive review of the pilot episode.)

Basically, the show’s improved because the characters are coming to grips with the apocalypse and, as a result, are doing much less lounging around and whining about trivial things. We’re starting to see that fundamental divide opening up between those who can handle what’s happening and those who are living in denial—the divide, in other words, between the strong and the weak, between survivors and potential zombie food. Madison (Kim Dickens) is emerging as a leader, someone who can kill a walker when she has to. As is the enigmatic Daniel Salazar (Rubén Blades), a refugee from El Salvador who projects an uncanny sense of “Been there, done that.” He gets to deliver the last, inscrutable, line of the episode. Looking out the window at the soldiers putting an X on the house across from him, he declares, for reasons that aren’t entirely clear: “It’s already too late.” Madison’s partner Travis (Cliff Curtis), on the other hand, seems unable to kill the undead (claiming they’re only sick) and, in contrast to Salazar, his last words are: “Cavalry’s arrived. It’s gonna get better now.” We know which one of them is right.