So many great horror films have been delayed by COVID but we are excited to learn that “Realm of Shadows” is in production and slated for release in 2021. One of our favorite formats is horror films based on real events and urban legends. Each of these short films has real-life horror stories behind them. With a great cast and a dark setting, this one is sure to thrill. Between this and Candyman 2020 coming up this year, there are finally some new horror movies coming out for us fans of the darker side of film.
From the press release we know: Horror anthology Realm Of Shadows starring horror icons Tony Todd (Candyman franchise), Mel Novak (Bruce Lee’s Game Of Death), Michael Berryman (Wes Craven’s The Hills Have Eyes), Tamara Glynn (Halloween 5), & rising stars Jimmy Drain (The Initiation opposite Vern Wells), Lauren C.Mayhew ( Dexter) & Vida Ghaffari (Eternal Code opposite Scout Taylor- Compton) gets a new poster.
This much anticipated film is a world of mystery, possession, and shadows in an anthology of short horror themed tales woven into a full length feature presentation. Even the most shocking stories are based on true events.
Todd plays Fr. Dudley, a long time Catholic priest, dedicated to his profession. Fr. Dudley must watch out for his close friend Robby Duray, played by Drain, during a testing time in Robby’s life. He also takes on the volatile task of taming Robby’s diabolic alter ego, and steering him away from the snares of Satan. Cassandra, played by Ghaffari is the alluring and mysterious muse of Master Makin…the mysterious owner of the haunted vault near Strain City’s infamous cemetery and narrator of the shadows for our feature presentation.
Production is underway by ThunderKnight Entertainment LTD in Denver, Colorado.
Drain and Robert Beiber wrote the screenplay. Drain and Brian McCulley are the film’s directors.
Tritone’s love of horror and mystery began at a young age. Growing up in the 80’s he got to see some of the greatest horror movies play out in the best of venues, the drive-in theater. That’s when his obsession with the genre really began—but it wasn’t just the movies, it was the games, the books, the comics, and the lore behind it all that really ignited his obsession. Tritone is a published author and continues to write and write about horror whenever possible.
While new and fresh ideas are popping up all the time in the world of horror films, particularly amongst indie circles, some of the older nightmares can be just as potent. This is why films and franchises from as far back as the 1920s are to this day being graced with sequels, reboots and complete remakes. Of course it can be argued that to remake an old horror property is simply an attempt at draining the pockets of the nostalgia-susceptible, but a lot of creators go into such a process with a deep love of that original, be it Nightmare on Elm Street, The Evil Dead, or The Invisible Man. Sometimes people simply want to capture the essence of what made one of their favourite films great and share that with a modern audience, though a few recent entries have had trickier, cleverer ideas up their sleeves. As we are about to see, the line between ‘terrifyingly worthy tribute’ and ‘embarrassment to its predecessor’ can be a fine one, and not all make the cut.
Texas Chainsaw Massacre (2022)
Tobe Hooper’s 1974 horror classic The Texas Chainsaw Massacre was scary bordering on masochistic, and since then has been tarnished with a horde of shoddy sequels and rebooted more times than an 80s Macintosh. Filmmakers seem content simply chopping different bits off the original’s title each time they reset; first we had The Texas Chainsaw Massacre (2003), and then Texas Chainsaw (2013), and now Texas Chainsaw Massacre (2022) horror remake. Many try to tack on enough lore just to fill and warrant their runtime, though our skin-masked maniac’s latest outing seems far more heavily focused on gore. Of course, gore isn’t what made Hooper’s masterpiece what it is, but it certainly helped. Sadly David Blue Garcia’s take utilises mainly CGI gore that can tend to look animated when it ramps up, and Leatherface himself never felt immediate enough to be actually scary. Olwen Fouere plays a returning Sally Hardesty (played originally by Marilyn Burns) in what seems like an attempt at the ‘returning leads in horror’ trend currently headed by Jamie Lee Curtis and most of the Scream (1996) cast, though Sally’s comeback was in no way as effective or as thought-out as the aforementioned. While it is worth a watch for gore completionists, Texas Chainsaw Massacre ultimately proves itself to be merely another in a lengthening line.
Tyler Gillett and Matt Bettinelli-Olpin got a lot of things right with Scream (2022); it was rife with the meta-awareness of its predecessors and aware of the change in their relatability as the years had gone on, perfectly willing to integrate itself into the new modern age and do so effectively. It brought back cast favourites from the very beginning of the franchise and even got so meta as to question what kind of addition to the franchise it really was, coining the term ‘requel’: not quite a horror remake, not quite a sequel.
Scream (2022) is a clever whodunit horror, though somewhere along the way it forgot to be scary. Aside from a couple of tension-building moments, most of the runtime is spent winking to the audience rather than actually being a horror film. Still, it is a funny, self-aware and welcome addition to the franchise, one that fans of any of the previous sequels will likely enjoy.
Friday 13th (2009)
Friday 13th (2009) is an example of a reboot that simply didn’t do enough to distinguish itself from its predecessors. While technically-sound and boasting plenty of gore, director Marcus Nispel’s (director of 2003’s The Texas Chainsaw Massacre reboot) vision sadly followed too many of the same beats as practically every other film in the long-running franchise, proving that a sleek, modern look isn’t all that’s required to resurrect someone like the immortal Jason Voorhees.
The story does take some interesting turns, though all we are eventually left with are a handful of 00’s horror cliches and hollow half-scares. With a ‘reimagining’ like this, some expectations arguably have to be subverted, otherwise what is the production but an attempt to milk some more cash from the franchise? Unfortunately everything here that is expected to happen, happens, and the experience as a whole is forgettable, even in terms of late-stage Friday 13th titles.
Resident Evil: Welcome to Raccoon City (2022)
Welcome To Raccoon City is an indisputable homage to the golden era of the Resident Evil game series, though it also throws into question whether or not this is a good thing for a film. Paul W.S. Anderson’s take on the series was heavily flawed and received mostly negative feedback, especially as it went on, and one of the factors for this was always thought to be its departure from the plot and themes of the games in favour of the story of Alice, played by Anderson’s wife Milla Jovovich. Now that we have a perfectly functioning cinematic version of the games themselves, complete with likeable cast, plenty of action and great callbacks to the originals, it becomes apparent that the problem may not have been wholly with Alice. Following the beats that the Resident Evil games did actually makes for quite a hollow cinematic experience, even when done with all the heart and care a fan can muster.
Wrong Turn (2021)
Here was a hell of a curveball in terms of horror reboots. While not by any means perfect, Wrong Turn (2021) completely reinvented the meaning of backwoods brutality by swapping out its predecessors’ cackling mutant hillbillies for The Foundation, a group who rejected modern society to live in the woodland, and who protect their way of life using savage measures.
Wrong Turn does lay it on thick in terms of political ideology, and it is odd to see a film in the series take itself so seriously. That being said, the film’s balance between being that of strong ideas and that of a strong body-count is what keeps it afloat for the majority of its runtime. Some truly haunting imagery and wince-inducing kills make up for the shaky pacing and ridiculous choices of its lead characters (it is a slasher after all). Anyone interested in seeing the effects of some gruesome woodland booby traps will find more than enough here to enjoy.
Evil Dead (2013)
My personal favourite horror reboot. Evil Dead (2013) manages to capture perfectly the ferocious insanity of the original while also creating a uniquely dark spin on its story. Five friends spend a night in a cabin in the woods to cure one of their heroin addictions. When addict Mia (Jane Levy) begins facing demonic and invasive threats, she must convince her friends that far more than withdrawal is plaguing her before it is too late. Fede Alvarez manages to keep some key items as love letters to Raimi’s legendary films, such as that tree for example, and amps up the gore and violence to vomit-worthy levels. Faces are stabbed, hands are split, heads are chainsawed and all is done with a gleeful knowingness of what makes Evil Dead special. Let’s not forget the iconic Necronomicon, which makes an appearance as well. And with Evil Dead: Rise just around the corner, it’s nice to know there’s a future for such an uncompromising horror entity.
Blumhouse’s Halloween reboot is one of their better horror films. What makes Michael Myers scary is the apparent randomness to his killings, and Halloween (2018) knew exactly where to go with it. After a shaky intro (what is even happening there? Does Michael have the ability to send the mentally ill into a frenzy?) we are then given a very solid setup involving a returning Jamie Lee Curtis as Laurie Strode, her family, Michael’s foreboding transfer from psychiatric hospital to maximum security prison (what could go wrong?) and even a little self-awareness with the ‘by today’s standards’ quip. Instead of Laurie returning in the same brief way Sally Hardesty did, she and her family are key players in Michael’s latest bloodbath, showing Laurie’s preparation and the deadly results it yielded.
Joe first knew he wanted to write in year six after plaguing his teacher’s dreams with a harrowing story of World War prisoners and an insidious ‘book of the dead’. Clearly infatuated with horror, and wearing his influences on his sleeve, he dabbled in some smaller pieces before starting work on his condensed sci-fi epic, System Reset in 2013.Once this was published he began work on many smaller horror stories and poems in bid to harness and connect with his own fears and passions and build on his craft. Joe is obsessed with atmosphere and aesthetic, big concepts and even bigger senses of scale, feeding on cosmic horror of the deep sea and vastness of space and the emotions these can invoke. His main fixes within the dark arts include horror films, extreme metal music and the bleakest of poetry and science fiction literature. He holds a deep respect for plot, creative flow and the context of art, and hopes to forge deeper connections between them around filmmakers dabbling in the dark and macabre.
Of all the terrifying creatures in the world of horror, there are few as famous as Jason Voorhees. His hockey goalie mask and machete has graced the bedroom walls of horror enthusiasts for decades, and you can’t go a single Halloween night without seeing at least 10 Jasons. But his real legacy lies with the Friday the 13th franchise – a series of 12 slasher films, comic books, video games and more based on Jason’s killing sprees. These follow Jason’s journey from a kid who “drowned” in Crystal Camp Lake to one of the greatest horror villains of all time.
There’s no denying the legacy of the Friday the 13th franchise, and Jason Voorhees, in popular culture… but did you know that most of the films received negative reviews from critics? If it’s not a Rotten Tomatoes score that makes a film memorable, then what is? Many say that it’s Jason’s terrifying appearance that has spawned merchandise, Halloween costumes, and killer tattoos for nearly 40 years. Others say it’s the sex and violence that make for a scary good (even if not sophisticated) time. Or perhaps you’d like to decide for yourself? Watch these top five films from the Friday the 13th lineup to determine why the franchise is so iconic.
The film that started it all – and funny enough, doesn’t even include Jason in his trademark hockey mask. What it does have, however, is young Kevin Bacon, lots of blood, and a sweet tale of vengeance. Friday the 13th follows a tale of teenagers who are trying to refurbish an abandoned summer camp, which has been vacant since a young boy drowned at Camp Crystal Lake many years prior. But things take a violent turn when they start getting murdered one-by-one, and you’ll never guess who’s doing it. This is the first movie in a decades-long tale of torment and fear, and who doesn’t love a good 1980’s slasher flick? Stream on Amazon here.
Friday the 13th Part III (1982)
This is the film where Jason gets his iconic hockey mask and finds his identity as a killer, and it’s a lot of fun along the way. It was released in 3D, which was a huge deal back in 1982, and therefore gave you a lot of grotesque images of body parts coming at you through the screen. But that’s just horror, right? This is one of the best films that lays the foundation for the rest of the franchise, and you’ll really connect with Jason! Stream on Amazon here.
Friday the 13th: The Final Chapter (1984)
For the record, this film is definitely not the final chapter in the franchise. Not even close. However, it’s still one of the best Friday the 13th movies that introduces you to Tommy Jarvis, the brave kid with an affinity for masks who comes face-to-face with Jason. Portrayed by a young Corey Feldman, this film marks Tommy’s first appearance in the franchise… but definitely not his last. You’ll see him hack away at Jason with a machete and kill him, and the terrifying results will unfold over the next few films! Stream on Amazon here.
Freddy vs. Jason (2003)
If you asked somebody on the street which Friday the 13th film was their favorite, it would likely be Freddy vs. Jason. It’s one of the best and most popular features, likely due to the face-off between two of the biggest villains in horror. There’s just as much blood as you would expect, as Freddy raises Jason from the dead (once again) to get back into the killing spirit. While the clawed villain from your nightmares was expecting the hockey-masked murderer to help him, things get a little twisted as they start battling each other and fighting over who gets to kill whom! Stream on Amazon here.
Friday the 13th Part VI: Jason Lives (1986)
Sure, the title is kind of a spoiler… but if you’ve watched any of the movies, you already know that Jason lives. Again, and again, and again. While Tommy Jarvis murdered Jason years ago, things take a dramatic turn after the former is released from the mental hospital and returns to Crystal Lake to confront his fears. A bolt of lightning and some seriously bad luck ressurects Jason from the dead, and the killings start once again as Tommy tries to stop the hockey masked murderer once and for all. This movie is less scary, and more funny… and one of the best parts of what makes Friday the 13th so iconic? It doesn’t take itself too seriously! Stream on Amazon here.
I am a lifelong pop culture junkie with immense passion for all forms of art and entertainment. On a typical weekend, I can be found at a concert or musical, chasing ghosts on the Haunted Mansion at Disneyland, or watching way too many makeup tutorials on YouTube.
Roman Polanski’s 1968 disturbing film, Rosemary’s Baby can technically be counted within the supernatural horror sub-genre. In truth, the horrific nature of this film lays within the details. The deeply disturbing psychological trauma, sexual assault, and domestic imprisonment that our pitiably petite Rosemary endures is what is horrifying. After all, what is psychological horror if not a gut-wrenchingly elongated and personally traumatizing?
We summarized Rosemary’s Baby last January when it was featured on Netflix, but we never explored this psychological horror show. There are many different topics to focus on as they exist within the walls of Rosemary’s bourgeois prison. Women face danger as the direct result of the history of inequities between men and women. Therefore, I decided to analyze the grotesque nature of these inequities as they existed as little as sixty years ago.
As a woman who has experienced domestic violence, I feel uniquely qualified to dissect this movie; one in three women will experience domestic violence at one point or another in their lifetime. The horrors that Rosemary faces in her own domestic prison hit so close to home for women everywhere. My own experience with an abusive husband taught me the code of red flags. When it comes to identifying them as they present themselves, I could spot them at sea with a spyglass. Rosemary has one up on me; I’ve never given birth to the antichrist and I only joke with my daughter that she’s demon spawn.
The Psychological Horror Show and the Slow Burn
From the offset, we see what is effectively being masked as a happy and healthy marriage. The relationship between meek and dreamy Rosemary and her D-List actor husband is pruned for the public. She nearly swoons every time someone asks what he does for a living; recalling every role he’s played as if to impress upon others how successful he is. I recognize this as a coping mechanism they use to convince themselves that, “he’s actually a great guy!” Guy, Rosemary’s husband, is definitely charming when there is company around—abusers usually are. Domestic strain isn’t visible from the outside looking in, instead we see it in the details—after all, that’s where the devil usually lies.
Satanic Cults and the Antichrist
We’ve talked about Satanism and the religions that are associated with the image of Lucifer and Baphomet; we’ve discovered how they aren’t actually evil, or dark as might be suggested by modern media or popular culture. You can find more about them in our article here.
I decided to start the discussion here because it’s arguably the least horrifying thing that Rosemary actually experiences. In fact, this movie is about as supernatural as a park bench; any supernatural elements that are present within the movie are seemingly confined to drug-induced dream states—until the end…
Rosemary: Mother of the Antichrist
Early on in the film, Rosemary befriends a woman around her age by the name of Terry. They two share an innocent interaction where Terry, still under the spell of the Castevet’s elderly charm, sings their praise. Before they are able to speak again, Terry’s skull is cracked open on the sidewalk; in a disturbing mystery of how she fell from the apartment she shared with the elderly couple. It’s never fully explained in the movie and I haven’t read Ira Levin’s novel; so, I’m unsure of the reason behind her death according to canon. There are, however, several different theories to go along with her death. All of which are quickly swept under the rug as characters continue on, relatively unmoved after Terry’s apparent suicide.
Paranoia, Superstition, and the Unlikely truths
Whether Terry killed herself instead of submitting herself to the Devil for the benefit of the cult, or she was killed because of her unwillingness to comply, it’s clear that she was previously designated to be the host for Satan’s child. The Castavets had kept their distance from Rosemary and Guy prior to Terry’s death, having only made an appearance through their voices carrying through the shared walls. Luckily for the Castavets, they have a new host who consistently puts the interests of others before her own, Rosemary made the perfect candidate for their cult to impregnate.
Domestic Abuse and Rape Culture Explored
There is the age-old argument that marriage makes any intimacy automatically consensual—this certainly would have been the attitude of the time in which this film was created—or the years directly preceding its creation, since the time it was based in was the mid-1960s, versus the late 1960s. Fortunately for women, this attitude has changed dramatically and consent is what establishes whether or not rape has been committed.
There is an incredibly disturbing moment within the film, however, where anyone who has been taken advantage of sexually might feel their skin crawl. It’s the morning after Guy and Rosemary have a romantic dinner at home, complete with desert courtesy of their neighbor Minnie Castevet. This is not discounting of course the scenes that stretch the span between the desert and the next morning—where Rosemary notices that her chocolate treat “has a chalky undertaste,” and Guy coerces her into eating it by guilting her into believing she’s an awful person if she doesn’t. He leaves the room long enough for Rosemary to dump most of her cup into her cloth napkin, which she later dumps into the trash, and then she pretends she’s eaten the rest by the time he comes back into the room.
Drugging Rosemary for the Purpose of Rape
As Rosemary is getting rid of the evidence in her napkin, she nearly falls over—she’s clearly drugged—and Guy comes to her rescue. What a gentleman. When she finally collapses as he’s helping her down the hall, he scoops her up and hurries to the bedroom with her. What follows is, the half-drugged waking dream sequence where Rosemary has lost all control of the situation—a horror for any woman—and she as well as the audience is unsure of whether or not what she’s seeing is real. It is and it isn’t—at this point we’re not sure, but one thing we are certain of is that her neighbor drugged her desert so that her husband could get her into a vulnerable position.
Why would this be necessary if they were already trying to conceive a child you might ask? Well, as her dream sequence reveals, it’s so that her husband Guy can be assured that his wife won’t wake up as he and the residents of the apartment building perform a satanic ritual in which she becomes pregnant with the antichrist. It makes you wonder, if she had eaten all of the pudding (chocolate mousse) would the following paranoia and suffering have occurred at all?
There are some moments of clarity for Rosemary as it’s all happening where she realizes, even in her drugged state, that what is happening to her is not right and that she has not consented to what is being done to her. When she wakes up the next morning, she assumes that she’s just had a bad dream until she notices the scratches that run down the length of her side—the ones that the Devil gave to her in her waking nightmare. Guy, already aware that they’re there, immediately tells her not to be upset that he scratched her, that it was an accident because he was in too much of a rush to take advantage of her.
Rosemary: What time did I go to sleep? Guy: You didn’t go to sleep. You passed out. From now on you get cocktails or wine, not cocktails and wine, hm? Rosemary: The dreams I had. [Rosemary notices the scratches] Guy: Don’t yell. I already filed them down. I didn’t want to miss baby night. A couple of nails were ragged. Rosemary: While I was out? Guy: It was fun, in a necrophile sort of way. Rosemary: I dreamed someone was raping me, I think it was someone inhuman. Guy: Thanks a lot. Whatsa matter? Rosemary: Nothing. Guy: I didn’t want to miss the night. Rosemary: We could have done it this morning or tonight. Last night wasn’t the only split-second. Guy: I was a little bit loaded myself, you know.
Rosemary is outwardly upset about the fact that he openly admitted to having sex with her while she was passed out, but even more disturbed when Guy jokes that “it was fun, in a necrophile sort of way.” She is obviously bothered by the whole thing but doesn’t press the issue further—evidence of the abusive silence and gas-lighting that must regularly occur in their relationship already.
Paranoia, Superstition and the Unlikely Truths
The tumultuous whirlwind of paranoia, superstition, and wild theories that follows her rape and impregnation by the Devil is more than a little difficult on Rosemary—physically, emotionally, and psychologically it’s almost like she’s carrying the child of Satan. I kid, of course, because obviously she’s carrying the child of Satan. She doesn’t know that though, she chalked the dream up to be nothing more than an alcohol-addled nightmare and upon finding out she was actually pregnant was as happy as she could possibly be. The weeks and months that followed her impregnation were spent being taken under the wing of her controlling and abrasive neighbors Minnie and Roman Castevet. They get her to go to a doctor of their choosing, by saying they’re doing her a favor—he’s the best doctor, after all, plus he’s a life-long friend and won’t charge her as much as he usually does.
More Gas-lighting and the Final Reveal
Her obstetrician, doctor Saperstein dictates that her neighbor Minnie will be providing her all the prenatal vitamins she needs through herbal remedies in drink and cake form—he demands that she doesn’t read any books or talk to any of her friends about her pregnancy because “every pregnancy is different,” at first he seems to be a little domineering, but well-meaning. Eventually it becomes clear to Rosemary that something is wrong, after finally speaking to her friends—they tell her she looks awful and when she indicates she’s been in pain for a length of time, they suggest that she get a second doctor’s opinion. This doesn’t go over well with Guy. Luckily for Guy, the Castevets, and Dr. Saperstein, just as Rosemary is about to get a second opinion the pain suddenly vanishes and the rest of her pregnancy is generally problem free. That is, until she receives a book from her friend Hutch, which explains how they are all witches that have formed a plot to take her baby. Rosemary misunderstands though, they’re witches of course, they definitely want to take her baby, but not to use as a sacrifice—that’s their dark lord and savior growing in her womb.
This is where she once again is gaslit by all of the people in her life—the only people in her life—the ones who control every second of every day and have become a living prison for Rosemary. Rosemary’s paranoia has amped up, at this point, to such a degree that she tries to escape the clutches of those around her—eventually getting to the office of her one-time obstetrician Dr. Hill and explaining how there is a plot against her. Dr. Hill pretends he is on her side, puts her in one of his birthing rooms and has her take a nap. When she awakes, Dr. Saperstein and Guy are there to take her home. We learn through all of Rosemary’s paranoia and investigation that her husband became complicit in this plot as a means to achieve fame and fortune—a price he has to pay now that the role he lost to another man was suddenly given to him after the other man suddenly and mysteriously went blind.
When Rosemary finally has the baby, they continue to sedate her and when she finally starts hiding the pills and is coherent enough to question what happened to her baby, she’s told that her child died shortly after birth. Cool story bro, except why is there suddenly a baby crying in the Castevet’s apartment? Rosemary tells them all that they can miss her with that bullshit when she forces her way into the room with the crying baby and discovers her child as well as “his eyes.”
Rosemary’s baby is the son of Satan and when the film ends, we see her warming up to the idea of actually mothering the antichrist.
Feminism and Women’s Rights in the 1960s
It’s frightening to think that less than sixty years ago, women in the United States still didn’t have the basic freedoms that we take for granted today. Unmarried women couldn’t have credit cards,—what’s more is that 1960s scientists and psychiatrists often believed that a man beating or raping his wife while under the influence could actually be considered a good thing. They considered it, “violent, temporary therapy,” that remedied a man’s insecurities over letting his wife run the house and remedied a woman’s guilt over emasculating her husband. This of course is complete and utter bullshit.
Unfortunately for Rosemary, having grown up in an era of repression, she does what she’s told (for the most part, without question). It’s only when she’s encouraged by her less repressed group of friends that she begins to think for herself. Even after being clued into what is really going on by her girlfriends and her former landlord, Hutch, she still doesn’t leave until the last possible moment. When she does eventually try to escape, it’s not for her own well-being, but for that of her child. Just as we fear, the one person she believes she can trust, her former obstetrician Dr. Hill chalks her fears up to paranoia and hysteria from pre-partum stressors. In the end, he betrays her trust and hands her back to her abusers.
Rosemary’s Baby Explained: Realism and Control
There are more disturbing elements in this movie than could ever possibly be discussed in one article. However, since I’m an overachiever, I dug at all of the issues that I found pertinent to the conversation. If you think I’ve missed something and you’d like to discuss it further, feel free to leave a comment! If you disagree with anything I have said here, I encourage you to share your opinion! I would love to discuss this movie further with fans of the genre.
All of that being said, there are a couple of things that I wanted to address about this particular movie. These things don’t necessarily have to do with the content of the movie itself, but they’re worth mentioning.
There are very few people who are not aware of the criminal background of Polanski, but Rosemary’s Baby was actually filmed before the scandal ever came to the forefront of public knowledge—so viewing this film with the knowledge of Polanski being a predator might not be the best lens through which to focus.
The Backstory—Our Disclaimer
At the time of the film’s release, Polanski had only been married to Sharon Tate for about five months and it’s alleged that Polanski wanted to cast Tate for the part of Rosemary, but Maurice Evans—the man who played Hutch—insisted upon Mia Farrow for the role. A little over a year after the film’s release, in August 1969, Tate and her friends were stabbed to death by the followers of Charles Manson. Tate, at the time, was over eight months pregnant with Polanski’s child.
Less than a decade after all of this, Polanski was charged and convicted of drugging and raping a thirteen-year-old girl. Polanski fled the country before he was able to be incarcerated. To this day, Polanski is still alive and well, with dual citizenship in France and Poland. Since his conviction and subsequent identification as a pedophile and child rapist, Polanski has continued to be a celebrated name. Disturbingly, he’s been nominated for over fifty awards and won quite a few of them since his conviction. Some of the nominations and awards were received as recently as 2020. Needless to say, this gross corruption of the entertainment industry is far from an isolated event; the last thing Polanski should be remembered for is his creative “genius,” when “child rapist” is a more suitable title.
Georgia-based author and artist, Mary has been a horror aficionado since the mid-2000s. Originally a hobby artist and writer, she found her niche in the horror industry in late 2019 and hasn’t looked back since. Mary’s evolution into a horror expert allowed her to express herself truly for the first time in her life. Now, she prides herself on indulging in the stuff of nightmares.
Mary also moonlights as a content creator across multiple social media platforms—breaking down horror tropes on YouTube, as well as playing horror games and broadcasting live digital art sessions on Twitch.
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