Category Archives: Uncategorized

Episode 70. Man Eater: Ravenous (1999)

Andrea and Alex head West to explore the notions of Manifest Destiny and the Frontier Myth in Antonia Bird’s Ravenous. Combining historical context through a modern gaze, Ravenous proves you are who you eat.


Ravenous. Dir. Antonia Bird, 1999.


Manifest Destiny – An overview of the philosophical American mandate to head West.

Cannibal (2006) – a German film based on the true story of Armin Meiwes, who ate a man he met online.

“You Are Who You Eat” – Bitch Flicks’ essay on Ravenous, with a discussion on how it handles “manpain.”

Frontier Violence – NYT 1974 article on Richard Slotkin’s recontextualization of the American Frontier Myth.

Survival: A Thematic Guide to Canadian Literature, by Margaret Atwood.

A Tribe Called Red – Canadian Indigenous rap group.

Tanya Tagaq – Canadian Inuk throat singer.


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Episode 68. House Proud: Mother! (2017)

Andrea and Alex break down the foundational elements of Darren Aronofsky’s divisive mother! From authorship to ecofeminism to sink instillation, few stones are left unturned or unexamined.


mother! Dir. Darren Aronofsky, 2017.


What is Ecofeminism? An overview of the term that rose to prominence in the 1970s.


The Death of the Author by Roland Barthes. Barthes’ influential piece on the declining importance of God-like authorship.


The Directors Cut Podcast, episode 90. Aronofsky interviewed by William Friedkin about mother!


IndieWire Filmmaker Toolkit podcast, episode 47. Aronofsky on the process and ideology behind mother! 


“The Yellow Wall-Paper.” Charlotte Perkins Stetson’s scandalous novella from 1892.


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Episode 67. Where is my mind: The Stepford Wives (1975) and Get Out (2017)

This month, Andrea and Alex tackle two films whose hearts lie in the darkest, most secret parts of suburban utopia. In Bryan Forbes’ The Stepford Wives and Jordan Peele’s Get Out, we follow protagonists who are socialized to make room for the privileged and examine what happens when they strike back.


The Stepford Wives. Dir Bryan Forbes, 1975.
Get Out. Dir Jordan Peele, 2017.


The Feminine Mystique by Betty Friedan. The second-wave feminism manifesto that examines “the problem that has no name.”

The 21st century cult of domesticity. As relevant today as ever.

The Cyborg Mystique. Anna Krugovoy Silver’s examination of the opposing and overlapping views in The Feminine Mystique and The Stepford Wives.

How to Dress Like a Stepford Wife. Great fashion advice without a trace of irony.

On Photography by Susan Sontag. Sontag’s influential treatise on photography and its power.

Capitol Couture via In which Andrea gets her Hunger Games in a twist.

HORROR BLACKADEMICS: THE GET OUT (2017) SYLLABUS. Graveyard Shift Sister’s compilation of essays about Get Out.

The Horror, The Horror: “Get Out” And The Place of Race in Scary Movies. NPR’s Code Switch’s episode on Get Out and race in horror.

Jordan Peele on Why Get Out Is an Important Movie. Oprah’s interview with Jordan Peele.

‘Horror Noire’ Author Robin R. Means Coleman: The Horror News Network WiHM Interview. An interview with Means Coleman about horror, her book and Get Out.

Surveilling the City: Whiteness, the Black Man and Democratic Totalitarianism. John Fiske’s examination of the normalization of Whiteness through surveillance.

Whitopia: My Trip Through the Whitest Towns in America. Rich Benjamin’s TED talk about his experience living in the fast-growing white communities in America.

Why Hollywood’s White Savior Obsession Is an Extension of Colonialism. An examination of the problematic trope embedded in numerous popular films.

The White-Savior Industrial Complex. How the White Savior trope is embedded in day-to-day life.


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Episode 66. Personal Hell: The House of the Devil (2009)

Join Andrea and Alex live at Salem Horror Fest! In this episode they tackle Ti West’s The House of the Devil and it’s reliance on the 1980s Satanic Panic movement. From modern technology to notions of the real and unreal, how much of the devil is in the details?


The House of the Devil. Dir. Ti West, 2009.


The history of Satanic Panic in the US — and why it’s not over yet Vox’s piece on the enduring impact of the Satanic Panic in the US.

Satanic Panic: Pop-Cultural Paranoia in the 1980s Spectacular Optical’s deep dive into the cultural influence of Satanic Panic.

The Work of Art in the Age of Mechanical Reproduction Walter Benjamin’s 1936 article delving into the notions of authenticity and aura in works of art.


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Episode 65. Smells Like Teen Spirit: The Faculty (1998)

When it’s up to the misfits of Harrington High to stop the parasite-infected faculty from taking over the world, mayhem ensues. Alex and Andrea cut through the muck with a discussion on The Faculty‘s position in the ’90s teen horror cycle, the sociology of high school, and what happens when marketing partnership go awry.


The Faculty. Dir. Robert Rodriguez, 1998.


Class of 2018 t-shirts. Limited edition Faculty of Horror t-shirts are only available for a short time! Order yours today.

Salem Horror Fest. We’ll be back October 12-14! Get your tickets now.

Pajama Horror Gala. The Faculty of Horror’s weekly Chat Group has a podcast of its own! Site is still under construction but check it out and be sure to subscribe!

Tommy Jeans ’90s TV spot. The ad that did the opposite of what it was supposed to.

Freaks, Geeks, and Cool Kids by Murray Milner; an in-depth and accessible look at the life of the American teen.

The 1990s Teen Horror Cycle, Alex’s book which features a discussion of The Faculty among many other films from that era.


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All Quiet on the Western Front: The Wind (2018) Review

The horror-western sub-genre has generally been a male dominated one with films like Bone Tomahawk (2015), Ravenous (1999), and From Dusk Till Dawn (1996). Emma Tammi’s new film The Wind reorients the narratives of the unknown American frontier in the 1800s and focuses on Lizzie (Caitlin Gerard) and her husband Isaac (Ashley Zukerman) as their very small, isolated world is interrupted by a new couple, Emma (Julia Goldani Tells) and Gideon (Dylan McTee) who move into the cabin a mile away from them and the strange occurrences which escalate as their relationship develops.

In her intro to its TIFF screening Tammi referenced how she and her team were inspired by tales of women in the American frontier who were driven made by the endless, burrowing sound of the wind across the prairies. This phenomenon also known as Prairie Madness or Prairie Fever occurred when families moved from bustling urban centres to the deafening quiet of the relatively uninhabited prairies. In The Wind, the film supposes that this madness is brought about by something real, or real in the minds of those affected. An interesting companion piece to Robert Eggers The Witch (2016), The Wind circles the notion of female isolation and expectations as only the women are affected while the men go about their business. The husbands are side characters who appear to cause concern or instability for Lizzie and Emma. As the women form a rather competitive relationship, their isolation becomes clearer and their harsh reality more tactile.

The film flips back and forth between timelines establishing and subverting expectations on the narrative sometimes to great effectiveness, sometimes to an odd amount of obviousness. Gerard is tasked with carrying the film and she, like the film, succeeds in carrying a vast amount of plot and emotion while at other times giving a forced, staid performance. The frustrating thing about The Wind is that all the elements present for a great film are there – a creepy mythology, some truly beautiful cinematography and solid (if uneven) performances but it can’t seem to stick a landing. It knows it wants to say something but can’t detach itself from rudimentary plot points to say something truly exciting, unexpected or new.

The film offers stepping stones into a fascinating view into the Western genre by focusing on the women left behind while the men go off to hunt, tend to the land, or gather supplies giving the female characters the full weight of the story. The Wind apes on elements from Charlotte Perkins Gilman’s short story The Yellow Wallpaper more than anything else as Lizzie’s (and the audience’s) view of events is further cast into suspicion but The Wind never wants to dig deeper than introducing curious elements and then focusing on the plot. The sound design and mix which one would imagine to be at the forefront of the horror and psychological horror of a film called The Wind is barely noticeable and sounds like the white noise app I have on my phone. The Wind struggles to find its footing and decide on whether it wants to tell a rather straight-forward story or descend into the untold emotional trauma of women who endured this harsh and unforgiving way of life.

Where The Wind succeeds is in some truly great scares and world building with a minimal budget. Unfortunately, at the end of it all, The Wind has some sound and fury but ultimately it signifies nothing.