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Looking Back on Another Year of Horror Pride Month

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Horror Pride Month

It seems like Horror Pride Month only just began and now it’s time to bring it to a close once again.

It’s always an interesting time for me to look back over the month and the many things that have happened. The comments, the interactions, the new fans, and the same old tired arguments against it.

Before I go any further, however, I’d like to apologize to those loyal fans of the series. I was unable to produce as much content this year. With everything going on in the world and here in the U.S., my attentions were divided trying to lend support where I could to all those communities in need right now.

Still, it was, as always, a privilege to post articles highlighting and spotlighting some of my favorite LGBTQ filmmakers and creatives and talk about their amazing accomplishments and their lives as members of the queer community who love the genre.

Two moments in particular stand out to me from this year’s Pride celebration, and I want to talk about them in more detail.

When I posted the article announcing the third year of Horror Pride Month, I braced myself–as I always do–for the backlash and the naysayers. It’s just a part of doing this. Anyone who has spent any amount of time online knows that a comments section can become toxic cesspool in no time at all. We had a couple of straight-up homophobic comments complete with name-calling which were booted from our Facebook page immediately.

Then there was this one guy. He took umbrage with my choice of featured image. I had taken a still from The Bride of Frankenstein and superimposed the Pride colors over it. I thought it was clever and just a little classy. This guy did not. To paraphrase, he asked, “What the hell does Bride of Frankenstein have to do with being gay?”

I can hear a few of you snickering out there now. I was going to ignore it, but I thought, “No, here’s a chance to teach the guy something.” So, I replied and told him that among other things the director, James Whale, was gay. He replied, “Okay so use a picture of him. Just because he’s gay doesn’t mean the film is. It’s not hard to do something right.”

Now…anyone who knows me knows just how hard it was not to pull my lectern up at that point. I’ve written entire articles about this subject and researched it in detail as an adult. I was ready to put this dude on blast.

I could tell him that the veil of queer-coding over Pretorius was so thin, it was almost non-existent. I could tell him that Whale often injected his own queerness into his films. I could tell him that if he really thought it through, the entire film was about two men creating life together. I could remind him to watch the sheer jealousy Pretorius displayed every single time Henry spoke to a woman or indeed when a woman shared the screen with them in any way.

I could have done all those things but I decided to let it go. Not because it wasn’t worth it, but because I have spent years now educating other people on this subject. I have written articles, spoken on panels, and expressed what some of those creators themselves had to say about their work. I have highlighted the works of historians and scholars who have written exhaustively on these subjects.

But I digress.

The second Horror Pride Month moment that stands out most to me from this year involved an interview I did with filmmaker Tiffany Warren. During the interview, she had this to say:

“When I watched movies growing up, I didn’t see anyone who was anything like me. So, I would put myself in the story with them when I was little and watching these movies. Like Nancy was my best friend and I was worried about what was going to happen to everyone else in our group. And I didn’t think about how I would be impacted because somehow I was just in this world watching everything happen and being unaffected because you couldn’t see me.”

The impact of that statement carries a hell of a lot of weight. To be invisible in a genre that you love is detrimental, especially for marginalized groups.

LGBTQ history is not taught in most schools leaving many of us adrift without a mooring. In the absence of that foundation, we naturally turn to film, television, books, and other artforms to search for answers to who we are and what it means to be LGBTQ.

When those examples do not exist or when they are based on toxic stereotypes that perpetuate negative ideas, then we are left with a shaky foundation at best, and no small amount of internalized homophobia is the result.

Honestly, I write this series for both the unnamed commentator and for the young people who find themselves in the same place Tiffany did as a child. It’s why I have spent hours researching and studying the history that seemingly exists only in shadows, and why I will continue to write these articles during Pride Month and throughout the year.

The truth is the LGBTQ community has not only been a part of horror since its inception, we are encoded into its very DNA, and we aren’t going anywhere anytime soon.

Below, you’ll find a list of all the interviews and articles published this month in case you missed any of them or would like to go back and revisit them. Happy Pride from all of us at iHorror!

Interviews:

Other Articles

 

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‘Happy Death Day 3’ Only Needs Greenlight From Studio

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Jessica Rothe who is currently starring in the ultra-violent Boy Kills World talked to ScreenGeek at WonderCon and gave them an exclusive update about her franchise Happy Death Day.

The horror time-looper is a popular series that did pretty well at the box office especially the first one which introduced us to the bratty Tree Gelbman (Rothe) who is being stalked by a masked killer. Christopher Landon directed the original and its sequel Happy Death Day 2U.

Happy Death Day 2U

According to Rothe, a third is being proposed, but two major studios need to sign off on the project. Here is what Rothe had to say:

“Well, I can say Chris Landon has the whole thing figured out. We just need to wait for Blumhouse and Universal to get their ducks in a row. But my fingers are so crossed. I think Tree [Gelbman] deserves her third and final chapter to bring that incredible character and franchise to a close or a new beginning.”

The movies delve into sci-fi territory with their repeated wormhole mechanics. The second leans heavily into this by utilizing an experimental quantum reactor as a plot device. Whether this apparatus will play into the third film isn’t clear. We will have to wait for the studio’s thumbs up or thumbs down to find out.

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Will ‘Scream VII’ Focus on The Prescott Family, Kids?

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Since the beginning of the Scream franchise, it seems there have been NDAs handed out to the cast to not reveal any plot details or casting choices. But clever internet sleuths can pretty much find anything these days thanks to the World Wide Web and report what they find as conjecture instead of fact. It’s not the best journalistic practice, but it gets buzz going and if Scream has done anything well over the past 20-plus years it’s creating buzz.

In the latest speculation of what Scream VII will be about, horror movie blogger and deduction king Critical Overlord posted in early April that casting agents for the horror movie are looking to hire actors for children’s roles. This has led to some believing Ghostface will target Sidney’s family bringing the franchise back to its roots where our final girl is once again vulnerable and afraid.

It is common knowledge now that Neve Campbell is returning to the Scream franchise after being low-balled by Spyglass for her part in Scream VI which led to her resignation. It’s also well-known that Melissa Barrera and Jenna Ortega won’t be back any time soon to play their respective roles as sisters Sam and Tara Carpenter. Execs scrambling to find their bearings got broadsided when director Cristopher Landon said he would also not be going forward with Scream VII as originally planned.

Enter Scream creator Kevin Williamson who is now directing the latest installment. But the Carpenter’s arc has been seemingly scrapped so which direction will he take his beloved films? Critical Overlord seems to think it will be a familial thriller.

This also piggy-backs news that Patrick Dempsey might return to the series as Sidney’s husband which was hinted at in Scream V. Additionally, Courteney Cox is also considering reprising her role as the badass journalist-turned-author Gale Weathers.

As the film starts filming in Canada sometime this year, it will be interesting to see how well they can keep the plot under wraps. Hopefully, those who don’t want any spoilers can avoid them through production. As for us, we liked an idea that would bring the franchise into the mega-meta universe.

This will be the third Scream sequel not directed by Wes Craven.

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‘Late Night With the Devil’ Brings The Fire to Streaming

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With as successful as a niche independent horror film can be at the box office, Late Night With the Devil is doing even better on streaming. 

The halfway-to-Halloween drop of Late Night With the Devil in March wasn’t out for even a month before it headed to streaming on April 19 where it remains as hot as Hades itself. It has the best opening ever for a movie on Shudder.

In its theatrical run, it is reported that the film took in $666K at the end of its opening weekend. That makes it the highest-grossing opener ever for a theatrical IFC film

Late Night With the Devil

“Coming off a record-breaking theatrical run, we’re thrilled to give Late Night its streaming debut on Shudder, as we continue to bring our passionate subscribers the very best in horror, with projects that represent the depth and breadth of this genre,” Courtney Thomasma, the EVP of streaming programming at AMC Networks told CBR. “Working alongside our sister company IFC Films to bring this fantastic film to an even broader audience is another example of the great synergy of these two brands and how the horror genre continues to resonate and be embraced by fans.”

Sam Zimmerman, Shudder’s VP of Programming loves that Late Night With the Devil fans are giving the film a second life on streaming. 

Late Night’s success across streaming and theatrical is a win for the kind of inventive, original genre that Shudder and IFC Films aim for,” he said. “A huge congratulations to the Cairnes and the fantastic filmmaking team.”

Since the pandemic theatrical releases have had a shorter shelf life in multiplexes thanks to the saturation of studio-owned streaming services; what took several months to hit streaming a decade ago now only takes several weeks and if you happen to be a niche subscription service like Shudder they can skip the PVOD market altogether and add a film directly to their library. 

Late Night With the Devil is also an exception because it received high praise from critics and therefore word of mouth fueled its popularity. Shudder subscribers can watch Late Night With the Devil right now on the platform.

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