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The Evolution of the Scream Queen: From Janet Leigh to Katherine Isabelle

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Ever since there have been horror movies there have been the women who rule them.  These women are known as Scream Queens, and perhaps the most notable woman to claim this title on the silver screen is Jamie Lee Curtis.  However, the leading ladies of this sub genre have not always followed the same path as Curtis’ characters.  In fact, there seem to be three major movements for this trope during the past century: the helpless victim, the newly empowered hero, and the justified/vengeance seeker.

Beginning in the silent era of film, the original role of this female stereotype was quite literally a weak female character who screamed and fainted in the face of horror in a time when you couldn’t hear their screams. In the 1920s damsels in distress did not face their adversaries head on.  Instead, leading ladies in movies such as 1920’s The Cabinet of Dr. Caligari and 1922’s Nosferatu surrendered to their villains, cowering before them.

For decades movies kept this idea of a weak leading lady.  Perhaps most notable is Janet Leigh in Alfred Hitchcock’s film Psycho. The actress captured the silver screen as beautiful and vulnerable Marion Crane.  The slender beauty became easy prey for the movie’s monster, Norman Bates, in the most vulnerable of states: nude in the shower.   Unable to fight back, Leigh’s character meets her early demise, and it was this movie that sealed the first definition of the Scream Queen.  However, unbeknownst to the actress at the time, she had given birth to the next generation of Scream Queens, literally.

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In the late 1970’s the definition of the Scream Queen began to evolve.  From the helpless female victim surrendering to a male perpetrator emerged a new kind of female character; a woman who begins her journey timid and weak but finds strength and empowerment after being subjected to torture by the movie’s perpetrator.  It is only after she has survived the trials and tribulations put forth by the assailant that she can find the strength within herself to defeat him.

The new era of the Scream Queen came with the release of John Carpenter’s Halloween featuring newcomer Jamie Lee Curtis, daughter of Janet Leigh.  In the 1978 classic, Laurie Strode transforms from sheepish bookworm to empowered survivor as she is relentlessly stalked by boogeyman Michael Myers.  It was here Carpenter displayed the characteristics that made for an easy victim in horror movies for years to come; participation in premarital sex as well as alcohol and drug use.  Each of Laurie’s friends are picked off by the movie’s boogeyman, forcing the level headed and reliable babysitter to step up and prevail.  It was this movie that changed the face of the Scream Queen from the vulnerable victim to the tortured and empowered survivor.

Embracing her newly found career, Jamie Lee dominated the genre her mother helped create.  Following successful roles in Prom Night, Terror Train, and The Fog Jamie Lee Curtis had been crowned as the undisputed Scream Queen of the silver screen by horror fans.

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In the subsequent years horror films have followed this model for their leading ladies.  In classic 80’s and 90’s slashers such as A Nightmare on Elm Street, Friday the 13th, and Scream all of the female stars began as unsuspecting victims only to rise and prevail as survivors, stronger and wiser in the end than they were in the beginning.

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However, in the last decade we have seen a sudden departure from the subgenre dubbed as the “slasher” where these Final Girls have outsmarted their assailants.  Once again the women of the genre are changing, and instead of being unsuspecting victims taking a hero’s journey to their final transformation at the end of the movie, the new Scream Queen is evolving into something quite different.

While there are still modern day slashers that follow the tested and true model of a female victim’s rise to hero such as 2016’s Hush starring Kate Siegel, as well as Jane Levy in the unexpected hit Don’t Breathe, the last ten years the new leading ladies have evolved into vengeance fueled bad asses.  Instead of being transformed into the heroine after 90 minutes of hell bestowed upon them by the movie’s boogeyman, these ladies often face their adversaries early on in the story only to become the image of strength and vengeance we see throughout the remainder of the film.

An example of this new generation of Scream Queen is Danielle Harris.  Beginning her career as a child actress in Halloween 4 & 5, Harris became an instant success in the genre.  With a long resume of horror movies some of her most recent roles have shaped the way we newly define the archetype.  In the latter two Hatchet  films by director Adam Green, Harris’ character Marybeth Dunston quickly escalates from victim to revenge fueled hero as the franchise’s killer disposes of her entirely family and leaves her as the sole survivor.

Another leading lady assisting the creation of a new mold for the Scream Queen is Katherine Isabelle.  Isabelle first caught the eye of fans with her role in the Canadian trilogy Ginger Snaps.  While not your typical hero, Isabelle’s character Ginger Fitzgerald became an instant icon of empowerment for female fans of the genre.  Keeping her name relevant in the field she returned to Scream Queen fame with her role of Mary Mason in 2012’s American Mary.  After being taken advantage of by those she trusted most, Isabelle’s character utilizes her skills as a gifted medical student to not only seek vengeance on those who wronged her.

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The new Scream Queen is a female we cheer and support as they regain control of their lives and take justice into their own hands, no matter how bloody that path may be.  As an audience we no longer want to see female characters become just another notch on a killer’s bedpost, but instead become a strong woman with purpose and empowerment.

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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