Tag Archives: horror

Fame Day: American Horror Story

americansdoghasdToday, I’d like to tip my hat to one of my favorite shows, a young series by the name of American Horror Story.

Now it’s no secret that the horror genre is universally despised, being seen by many as being lower on the totem pole than even toilet-humor comedies or the most saccharine romances out there. I could probably spend an entire post speculating on why exactly horror flicks are treated with such little respect (a lot of it is probably due to the genre’s inbred cousin, the “teen scream” flick), but that’s another topic for another time. I’m here to simply showcase the series and highlight a few of its key strengths and accomplishments that I think make it worthy of a Fame Day.

Each season of the show (the second has just concluded, and a third has been greenlit) is a separate story, made up of the horrific lives of the characters as they struggle with their pasts, their inner demons, and some ever-present terror always lurking just beyond the shadows. It essentially cashes in on the initial charm that LOST had before it jumped the polar bear.

Guilt and shame are themes that play heavily into the series as a whole (or at least, the past two “stories”), giving even the most heinous characters a degree of sympathy. Again, similar to LOST at its best, the constant shifting of the story from one perspective to the next prevents the series from ever being boring. Granted, the madcap pacing doesn’t always work (especially in the first story), but for the most part, the audience is always kept interested.

And that brings us to the first key accomplishment of the series:

Popularity

As I stated above, horror is simply not popular- at least, not in any mainstream way. Tim Burton’s lighter works are really the closest most people get to anything remotely macabre, and the fact that the series has continually drawn in high ratings (to say nothing of critical acclaim) is nothing short of amazing. And we’re not talking about a series that is eerie or has a handful of jump-scares, we’re talking about truly unsettling elements here. I’m certainly not alone in hoping that that AHS‘s continued success serves to begin building bridges between mainstream entertainment and horror subculture; heaven knows both could benefit from some fresh perspective.

And even in the subculture, AHS is playing a pretty major role. It’s…

Raising the Bar

As a result of the genre’s (comparative) isolation, quality in horror is typically pretty rare. When you can’t secure funding for special effects, good equipment, or even B-level actors, chances are your product isn’t going to be all that good. Of course, when you have a built in audience who would pay money to watch Dwayne Johnson protect an orphanage from chupacabras, why would you even bother trying?

I would actually probably watch that…

I’ve seen my fair share of (decent) horror movies, and I can count on one hand the films that had even passable cinematography. AHS, as a series that actually has some decent funding and actually puts effort into creating tense atmospheres and believable effects, is raising the bar for the entire industry. When AHS is the basis for most people’s experience with the genre, there’s going to be pressure on the rest of the industry to meet and excel the expectations the mainstream audience is going to have. Furthermore, AHS‘s star-studded cast (including Zachary Quinto, Ian McShane, James Cromwell, and, I kid you not, Adam Levine) is hopefully going to make the horror genre more inviting to high-caliber actors who can actually sell the audience on the direness of the situation and maintain interest without having to drag in a bunch of fornicating teenagers.

The series is actually one of the few I’ve ever seen that actually gives teens any credit or respect…

And perhaps most importantly, it comes down to this:

Depth

While the stories are good, as are the actors (Jessica Lange being easily more frightening than the goriest bits of the series), it’s some of the basic discussions held during the stories that really hit home. Oppression of women and the dark history of psychology are topics repeatedly brought up, and dealt with both in a historically accurate and totally visceral manner. Perhaps the most disturbing thing I’ve yet seen in the series hasn’t been any of the monsters or murders- it’s been a demonstration (scaled back for TV, even) of the psychological “treatment” given to people “suffering from homosexuality,” seen at the time as a mental disease. Those five minutes alone were more frightening than anything else in the story- and it was amazing. Amazing to see some serious and deep social commentary made, and to see the brutality and insanity some people had to undergo actually presented in a way that’s going to resonate with the audience. You will be a better human being for having watched that scene.

Though in the spirit of honesty, your view of nuns will probably diminish a bit…

When’s the last time you could say that about a rom-com?

American Horror Story, keep up the good work.

A final note. I would’ve included more gifs, but (1) I didn’t want to spoil anything and (2) easily 90% of all AHS images are of Evan Peters, who is apparently just the bee’s knee’, if the series’ female fans are to be believed.

Evan and Gordon Talk: New Lit. Genre

GORDON: Ladies, gentlemen, voices I hear in my head during the dark, long hours of the night, we’re going to deviate from our past record of discussing television to talk about creating a new literary genre.

EVAN: Which is a daunting task, to say the least. I mean, genres have gotten ridiculously specific as of late. There’s a “gay horror” genre now. It’s not something to spook homophobes, it’s literally horror fiction for homosexuals.

GORDON: There are so many terrible, ignorant jokes I wanna make right now, but I’m not going to. But I agree- we can’t just slap two genres together. Poe is credited with inventing the deective novel- is there a particular profession that hasn’t really been explored much?

EVAN: Hm . . . Everything dramatic and even slightly connected to death is out. That includes forensic scientists, doctors or any sort, lawyers, etc. And the thing is, a genre that revolves around a profession requires an exciting one.

GORDON: Would it count if we revived the explorer/exploration novel?

EVAN: Not if the title of this post is “Evan and Gordon Talk: New Lit. Genre.”

GORDON: Touché. Here’s an idea: a “Nietzschean” novel.

EVAN: Go on-

GORDON: Well, to brutally simplify the philosophy, the only “bad guys” are the people who aren’t doing anything. Otherwise it’s more like an epic tale of colliding forces all of whom technically could be the protagonists and antagonists.

EVAN: That’s an interesting direction, but I suppose my issue is how alternatingly broad and specific it is- So in these novels you’re proposing, the only villains are the idle?

GORDON: the idle, the apathetic, those trapped by their antiquated sense of morality, and those enslaved to their brute instincts and empty rationality.

EVAN: I suppose it works, but have difficulty seeing it as the header to a shelf in a bookstore. Which is sort of what I was envisioning we would do in creating our new genre.

GORDON: Huh. What’s your idea?

EVAN: Well, this isn’t my idea, but I recently came across this brilliant new novel put together by Ryan North, creator of the webcomic Quantz.

GORDON: Go on.

EVAN: He Kickstarted it and it made like, twenty times what they asked for, but basically it’s Hamlet, but a Choose Your Own Adventure story. And it’s for various characters, too- like, you can read as Hamlet’s father, who eventually must die to become a ghost, et cetera.

GORDON: Huh. If we’re going down that track, how about a novel written in such a way where you can rip out certain sections, rearrange ’em, and wind up with a completely different story?

EVAN: It would work, but sounds exceedingly difficult to pull off. I’m trying to think of how exactly one would go about writing one . . .

I think, keeping in discussing literature, we could devise a new medium of sorts- it would be a marriage of the graphic novel and the traditional novel. Heavy on both text and imagery, a seamless integration that showcases both the artist and the author.

GORDON: That’s sounds like your average Alan Moore book.

EVAN: The Watchmen comes close to it, but it’s ultimately still a graphic novel which prioritizes that sort of storytelling over the bits of prose sandwiched in between the panels.

How about we look at steampunk, and see if we can branch out from it? That seems to be the newest sort of genre out there nowadays.

GORDON: Fair enough. I’m just struggling to figure out an era of technology to “punk.” After all, steam power was really the first major leap in technology.

EVAN: And “cyberpunk” is already a thing as well.

Thanks, tumblr, for once again providing the perfect gif.

GORDON: This is true. But what else is there? Modern tech? “Modpunk”?

EVAN: Well, we don’t necessarily need to “punk” something. We just need to look at what makes/made steampunk so popular and work off of that-

GORDON: It’s the art, the world, the fancy suits. But yeah, it’s the rich world that’s created; it appeals to us.

EVAN: It’s also a union of history junkies and the sci-fi/fantasy crowd, I think that’s a pretty large aspect of it.

Are there two sort of interest groups that we can intertwine? I mean, it’s already been done with horror and romance, long before Stephenie Meyers ever came along.

GORDON: Huh. I’ll admit, I’m having trouble trying to think of one that hasn’t already been covered. As of yet, I think my Nietzschean idea was the strongest lead we yet have.

What if went down that route? Trying to twist philosophies into narratives- the allegory of the cave would make a good story.

EVAN: I think the main issue is how broad it could get- though I suppose it could just be “Philosophical Fiction.” That I could see in a bookstore.

GORDON: That’d be cool. I mean, it all appeals to the questions and struggles we already have. Yet barring Rand (may raccoons urinate on her grave) and LeGuin, I can’t think of any explicitly “philosophical” novels.

EVAN: That may speak for their effectiveness/popularity.

I was thinking about taking a genre that’s immensely popular to this day, and smashing it together with another one. Self-help books.

GORDON: Heh.

EVAN: People eat ’em up.

GORDON: I’m just imagining a really sarcastic self-help book.

EVAN: Comedy and self-help has probably been done . . . hm . . . I would love to see a whole line of books that masqueraded as self-help books that you could gift to the naive.

GORDON: Heh, that’d be cool.

EVAN: They’d be excessively over the top, but just believable enough for people to [literally] buy them.

GORDON: That’d be funny, but it’s really not a genre.

EVAN: I think if self-help books are a genre then fake self-help books would be as well.

GORDON: It’s really more of a gag.

EVAN: Yeah, I suppose you really couldn’t have that many of them.

How about an exaggeration of the choose your own adventure book?

GORDON: Like forcing you to branch out into multiple novels?

EVAN: Ooh, that’s an idea! So your choices would determine what novels you get next; that’s brilliant.

GORDON: Ain’t it? You’re welcome, America.

EVAN: And Canada. And the world. Let’s open up our borders here.

GORDON: Except Luxembourg. **** you guys.

EVAN: You don’t even know anyone from Luxembourg.

GORDON: Exactly- what makes ’em think they’re so good they don’t talk to me?

EVAN: We are going to lose the viewership of an entire country because of you.

GORDON: Boo hoo.

EVAN: All . . . possibly one of them.

GORDON: Hey, Luxembourg! Andorra called, they want their quaint charm and history back!

EVAN: And with the slamming of an entire nation done, and with a few very decent ideas about exciting places literature could go, we should look forward to what we talk about next-

GORDON: New film style?

EVAN: Seems like we’d be following very closely the same sort of conversation. Not to mention really most of what can be done has been done.

GORDON: This is true.

EVAN: Hm . . . How about . . . nerd culture, just in general- The Big Bang Theory, the current conversation about “nerd girls,” the whole shebang.

GORDON: Sure thing.

EVAN: Okay, that fully wraps up our time. Say good-bye to the nice people, Gordon.

GORDON: AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAH!

I’m lousy at saying good-bye.

EVAN: I don’t know what I expected.

You can vote below as usual, if you’d like.

The Horror, The Horror

Today, I’m going to talk about horror.

Not “frightening stuff,” mind you- horror. There’s a distinction, you see.

Fright is the simple biological jolt you get when something startles or surprises you- a door being slammed, a discordant note blaring out of nowhere, and so on. Tragically, the title of “horror” gets slapped on things (typically movies) that merely have “jump-scares.” Horror on the other hand, is anticipation and dread at the perception of something threatening on a fundamental level.

So why talk about this? Because despite the outcry of some, horror- especially horror movies- holds a special place in our culture. Indeed, horror holds a special place in all cultures, and has since the first Cro-Magnons huddled around some arctic fire and whispered about strange and terrible things lurking just outside the circle of light. What we’re afraid of tells just as much about us as what we admire; a perfect example being Evan’s post on the remake Red Dawn. Evan cites that one of the reasons the new version doesn’t work is because the concept of the US being invaded is today laughable (especially by North Korea, whose entire population could fit into LA county with room to spare), whereas in the 1980s, the fear was far more realistic, or at least, believable.

Now I’m not here to analyze the past decade’s better horror movies and tell you what it is that we seem to be afraid of (not right now, anyways). In this post I’ll just be breaking down the three basic kinds of horror we seem to be responding to.

Fear For Self

First, we have the fear that attacks our egos- not “egos” as in pride, but “egos” as in the psychological term for you. This fits into the greater psychological element of “external anxiety,” meaning the stress we feel as a result of outside factors, such as school, our jobs, hunger, pain, and so on. When we’re afraid for our safety, or empathizing with characters in a movie or TV series who are fearing for their physical safety, we’re looking at this “fear for self” kind of horror. A good example would be any serial killer or monster movie- Psycho or Jaws being the best examples. Now usually we tend to botch this kind of horror, because the protagonists in movies or stories do things we would never do (blonde female college camper running through the woods at night, I’m talking about you). However, when it’s pulled off well, it leaves a noticeable mark on us. It has been said that Jaws created a significant drop in beach-goers after it was released, and you are a dirty liar if you say you’ve never once looked behind the curtain when you go into the bathroom.

Fear Of Self

Just as we have anxieties that stem from external factors, we have stresses and fears that come from within us: “Internal anxiety.” It was theorized by early psychologists, Freud in particular, that our mental issues were a result of us denying or repressing elements within us, most notably the “id”- that part of our mind with all the bloody, vicious, sexual animalistic drives that typically didn’t mesh well with Victorian (or any) society. As with the ego, horror works on this pathway as well- our fear of ourselves. All that madness and evil that we, for the most part, pretend isn’t there. The most obvious examples of this would be werewolf movies and vampire movies (obligatory “**** you, Twilight“) and most any film depicting a change or evolution the protagonist- see Dr. Jekyll and Mr. Hyde, The Wolfman, Dorian Grey, etc.

Fear Of No Self

Lastly we have stress and anxiety attacking (or coming from, depending on how you look at it) the “superego”- that element of our mind consisting of our real or imagined nobility, propriety, decency, etc. Here we encounter “existential horror,” more often called “cosmic horror.” This particular form of horror can be found in movies where the protagonists are fighting a losing battle against some massive, all powerful being- typically otherworldly in nature. Alien invasions and zombie uprisings are both good examples. Here we’re confronted with the fear that we are, in spite of all of our strength, morality, charity; in spite of our humanity, we are actually inconceivably small and insignificant. Ants who have just become aware that there are beings in the universe of incomprehensible magnitude whose simple existence negates everything about them. That unique feeling of powerlessness is separated from “ego fear” in that this form has a distinct hopelessness, rather than helplessness, attached to it.

Of course, every horror story has all three of these elements in it, but what kind of horror story it winds up being depends entirely on what is emphasized. Take AMC’s The Walking Dead– you’ve got your physical fear of the zombies, your id-based fear at what this new world is bringing out in you, and the general horrific despair at the absolute hopelessness of your situation, both in the face of zombies and the truth of human nature. What you wind up being afraid of depends on which element really gets pushed (survival, rationality, hope) and of course, what you individually, and we as a society, find most terrifying.

So what do we fear as a society right now?

Well, with the rampant popularity of zombie stories, and “disaster” films such as Cloverfield, Skyline, and even the whole “Slenderman” craze; it seems to me that we’re torn between physical and existential horror. And perhaps in an economic depression, that’s understandable- after all, we’re confronted with the physical job of keeping afloat in a rough time, and as the crisis drags on and on, the general feeling of hopelessness with regards to our general situation. We respond to characters whose immediate needs are threatened and characters who are struggling to maintain themselves in the face of cosmic nothingness.

At least, that’s my take on it. Feel free to debate me in the comments, and stop by tomorrow for another Shame Day installment.