Perfectly imperfect and wonderfully cheesy, Ticked-Off Trannies With Knives actively pushes back on the rarely questioned trope of trans women as murderers in a wildly entertaining way. The campy classic highlights the issues with the treatment of trans women on and off the silver screen while making trans women the vigilante heroes of the story in a fight against transphobic attackers.
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Liberation. Movement. Abolition. Accountability. These are just a few words circulating the atmosphere today. These words bring out a feeling, a feeling that breeds reflection and conversation in so many, including myself. They’ve been circulating the inner workings of my mind. Constantly. They were prevalent in my mind when I sat down to watch the 1973 film Sisters on HBOMAX, and I found those words plastered over every scene, warping every line spoken, and leaving me with that feeling for some reflective conversation.
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In the nearly thirty years since the term was coined, Final Girls have appeared in many iterations, some pushing boundaries and some in line with the traditional trope. David Robert Mitchell’s film It Follows (2014) directly confronts the problems with the Final Girl while maintaining some elements of the trope, playing a role in crafting a new, modern version of the Final Girl.
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LGBTQ+ characters don’t often fare well in horror films. Typically, they are horrific monsters or killers, such as in the films Psycho (1960), Dressed to Kill (1980), and Silence of the Lambs (1991). Sometimes, though, lesbian, bisexual and/or queer women get to take the lead in horror, subverting negative stereotypes. The films below are a great start in watching horror films with queer characters that differ from the norm, paving the way for continued representation of queer women in horror.
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Black women continue to play a wider (though not much wider) range of roles, from villains to heroines, in outstanding, unforgettable films. This list is just a small taste of the talent Black women have brought to the genre. It’s their headway that will hopefully bring in another new age where Hollywood can break the stereotypes of them in film completely, and this list can grow even larger as more Black women are offered the titular and main roles in the horror genre.
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Watching Lars von Trier’s latest film The House That Jack Built is like seeing a true crime podcast come to life.
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Einstein once stated that the definition of insanity – or unsanity for the sake of the film’s title – was the act of doing the same thing over and over again and expecting a different result.
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Horror films have always taken tangible fears and placed them in despicable situations. A true feat of horror films is when they take a deep dive into a subconscious fear and bring it to light, making audiences more uncomfortable than any spider or vampire ever could. One of their most successful and re-used avenues is the fear of a toxic mother. Oh sure, there are scary movies about evil stepfathers and nasty nurses, but the fear of a “bad mom” has brought some of the best, most iconic horror films into fruition.
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Horror and the LGBTQ+ community have a tumultuous relationship. Often, queer-coded characters are presented as villains whose queerness is part of the reason they’re frightening or they’re the first to die, acting as an example for the rest of the characters.
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As the mother of the famous Jason Voorhees, Ms. Voorhees birthed this franchise, literally and figuratively. 40 years ago, in the franchise’s first film, Pamela Voorhees watched her son drown as a result of the negligence of the counselors at Camp Crystal Lake. In a fit of vengeance, she kills the counselors and remains at the camp for years after – murdering anyone who dared to reopen it. After a night of blood and guts, she prepares to take her final victim – Alice Hardy (Adrienne King) – in the film’s climax. Before she had a chance, Alice decapitates Ms. Voorhees, and the film ends with an ominous jump-scare of a young Jason rising from the calm waters of Crystal Lake.
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