It appears Frances McDormand ‘inclusion rode’ her way into another well-earned victory for Best Actress in Three Billboards Outside Ebbing, Missouri (2017). The peculiar little tale follows a mother scorn after the her daughter’s murder and the darkly comedic aftermath of her small town’s police department. Three Billboards sailed through awards season with high praise for its chaotic glance at the lives of the well-worn. Full of ne’er-do-wells, drunkards and corrupt cops, the fictional Ebbing, Missouri presented a darling depiction of audience’s collective understanding of hardened middle America.

Which is why it struck me, throughout the film, that Ebbing, Missouri didn’t much look like my memory of middle America at all. Instead the film’s winding roads, babbling brooks ands rolling landscape reminded me more of my region–much closer to Appalachia. And it turns out I was right, as filming locations for Three Billboards were accredited to Asheville, North Carolina and surrounding areas.

I took my good eye for geography in stride, but it also got me thinking. Are these entirely different places passable as one another? Of course filming locations have fudged believability since the beginning of film; crews of thousands have transformed California backlots into settings across the globe (and beyond). But Three Billboards’s setting is so integral to the story it nearly becomes a secondary character evolving with the community’s loss and frustration.

North Carolina and Missouri are, in my mind, separate entities. I grew up in rural Virginia and spent my life visiting family in the heartland. Transition between the South and the Midwest is a concept of which I am familiar and, frankly, enjoy exploring. In any state, geography wanes and waxes in each cardinal direction, aiding one territory to blend into another. In the case of Three Billboards, I can see the how Smoky Mountain range was borrowed for the resemblance of the Ozark’s. In broad view, Missouri and North Carolina have similar recent headlines shaping their likeness. The pivotal race riots of 2014 in Ferguson, Missouri bear discouraging association to recent conflicts like the beating of unarmed Jermaine Rush for jaywalking in Asheville.

Yet with such strong undercurrents of racial tension, Three Billboards would do well not to lump all Southern-ish states together under one widespread assumption. Why should the melancholy, country-fried aesthetic of one area lend itself to the reputation of an area arguably more desolate? After some light research, I learned that the inspiration for Three Billboards came from one family’s experience with investigative neglect in Vidor, Texas. So, a Texas true story takes life in Missouri with North Carolina visuals– for what purpose?

I can’t help but think this is how Hollywood sees us; the ones from Texas, Missouri, North Carolina and surrounding states– you know, because they are all the same in essence. Missouri acted as a mascot for Three Billboards, reappearing on the sleeves of cops and on all campaigns for the film itself. But the Missourian in Three Billboards only interjected ignorance or brazen working-class attitude sparingly. The Missouri motif feels more like a shtick than it does fond representation.

At it’s heart, is Three Billboards Outside Ebbing, Missouri a story for the small-town misunderstood or was its success the industry’s extended hand to those poor folks back East? I see Frances McDormand’s performance as Mildred a testament to the determination and resilience of the tough-as-nails, rough-around-the-edges women in my hometown. While I see her portrayal as brave, did the Academy just recognize bravery for agreeing to depict such miserable-Missouri circumstance?

Three Billboards Outside Ebbing, Missouri was the year’s best indefinite film. Neither comedy nor drama, Three Billboards was a nutty, irresolute vignette about small-town politics and, after some unravelling, the meaning of loss. Accurately sited or not, Three Billboards possesses qualities similar to McDormand’s other Academy Award winning performance in Fargo (1996), both films cultivating settings that become synonymous with their quietly epic stories.

Fargo was filmed, of course, in the greater Minneapolis-St. Paul area.

The first month of 2019 is coming to a close and with its end is an arrival of some pretty exciting film announcements, first looks and tidbits. Choice Movie News may not be the most pressing film industry buzz, rather it is a collection of favorite happenings in Hollywood and beyond.

Margot Robbie– and more Margot Robbie

This past week, we got our first look at Once Upon a Time… in Hollywood, the long-awaited new Tarantino venture premiering this summer. Prefacing the infamous murder of the pregnant Sharon Tate, Once Upon a Time is promised to harken back to the L.A. Western beloved by Tarantino fans, all while deep-diving into an era of Hollywood that was equal parts terrifying and spellbinding.

Vanity Fair premiered exclusive preview stills of the film, featuring Brad Pitt and Leonardo DiCaprio looking fit for a Los Angeles Summer of Love shoot-out. The true star of the preview images, though, was Margot Robbie stylized as the delicate Sharon Tate. Tate’s murder has long been a face of sorts for the era, making Robbie’s responsibility in the role to enliven, not caricaturize.

The pair of stills we got of Robbie assure me that she is presenting an element of grace to the role; she stuns as a more modest impression of the star.

January isn’t quite through with it’s previews of Robbie, as the Suicide Squad spin-off Birds of Prey premiered its first teaser trailer three days after the Once Upon a Time shots hit the internet.

The teaser trailer plays out like an electric music video concept, with flash-intros of upcoming DC characters. Again, the Margot Robbie shines as a more high-concept Harley Quinn than before. Birds of Prey set photos also surfaced, confirming that Robbie’s Harley Quinn is taking a fashionable– and possibly more individualized– turn. The film is reportedly highly female-driven, both on-screen and behind the camera. Birds of Prey is set to release in February 2020.

Photo provided by: wegotthiscovered.com

Photo provided by: wegotthiscovered.com

And, just for good measure: Margot Robbie topped off her stellar press week with an appearance at the SAG awards, honoring her nomination for Mary Queen of Scots. Heart eyes.

We’re Getting a Zombieland 2!

A #10YearChallenge we can all appreciate. In a cheeky tweet, Sony confirmed the cult favorite Zombieland would be getting the sequel treatment with Zombieland: Double Tap.

Certainly much has changed since then, but I think the punk kid in all of us could use another Zombieland to add to the collection. According to Deadline, Rosario Dawson will be joining the original cast and writing team to face zombies that have “evolved” from the original flick.

Britney Spears will cameo in upcoming Corporate Animals… sort of

Here’s all you need to know: Britney Sears + upcoming horror comedy. My debit card is already in my hands.

At the Sundance Film Festival, Corporate Animals director Patrick Brice admitted to the Los Angeles Times that production scored a very fortunate cameo by Spears, or the “ghost of Britney Spears”, as Brice phrases it. A character in the film is a mega-fan and has an inner monologue with Britney (same, honestly). It turns out Corporate Animals snagged a few minutes of her time and got the real Britney to do the voice-over.

Corporate Animals follows a business retreat turned slasher fest and stars Demi Moore as  the type-A boss and Karan Soni and Jessica Williams as her overworked subordinates. The film made its world-premiere at Sundance on the 29th.

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The following article contains American Horror Story: Cult spoilers.

I think Ryan Murphy misses Scream Queens.

Because what I saw Tuesday night– demonic, horny clowns terrorizing Sarah Paulson, a deranged and racist Evan Peters peeing into a condom, Chaz Bono wearing a MAGA red cap– was hilarious.

The season seven premiere of American Horror Story: Cult was met with plenty of anticipation after a relatively quiet marketing campaign. The news that Cult would follow– to paraphrase– a Michigan lesbian who loses it after the 2016 election lit up the eyes of many in the fandom. Thrills, possible gore and inevitable Trump bashing? Naturally, excitement ensued in the AHS target demographic. Many looked forward to the arguable first creative stand against recent political events.

After seeing the first episode of the Cult, “Election Night”, I have reason to believe that much of the audience probably felt a little mislead about the direction of the season. The first episode of Cult did not allege Trump as a ring leader of some underground society or expose satanic secrets of American politicians. After some prodding, Ryan Murphy explained previously that Cult would merely be prefaced by the election; that the Trump 2016 victory would be a guiding narrative of the season rather than the key storyline.

So, much to my surprise, “Election Night” poked just as much fun at the left as it did the right. This first episode set a tone for the season that was equally quippy and darkly humorous as Murphy’s Scream Queens. In this respect, nothing was off-limits to that brand of ironic humor. For a season that was meant to be a horror genre political discourse, we got some pretty hysterical quotes:

I won’t believe anything until I hear Rachel Maddow say it, she’s the only one I trust.

What is wrong with CNN for not giving us a trigger warning before announcing the results!?

You want to know how I’m dealing? I cut out social media. […] I put all my energy into working out!

The proudest moment of my life was when Lena Dunham retweeted me.

These were clear, satirical jabs at liberal culture. And they landed! Murphy presents these two extremes in Cult: the maniacal, lewd alt-right and the snowflakery of the privileged left. We as viewers are able to see how the election results catalyze Ally and Kai’s respective descents into madness. But it may be significant to understand that they were both crazy to begin with.

When Ally, portrayed by Sarah Paulson, meets with her therapist, she explains that her numerous phobias seemingly melted away when Barrack Obama was elected. This character background suggests that Ryan Murphy may have had a different political discussion in mind for American Horror Story: Cult.

Presently, the divide in political parties is more rigid than ever. Every social issue is highly politicized to volatile outcomes. Kai and Ally of Cult show me– quite theatrically, of course– what can happen to an individual when politics overwhelm and inevitably possess the human mind. For Ally, staunch liberalism supplied her with flowery cushion for her psychosis. For Kai, a controversial world leader inspired him to create what viewers to assume to be the beginnings of a supremiscist-ish clown murder ring. Again, considering that the 2016 election will steer the story, not spotlight it, we may learn that our politics shield us from something bigger– something horrific.

Granted, this piece only considers the premiere episode of the season. I can only speculate its direction and Ryan Murphy’s intentions but so much. I discussed Cult with a few friends and we agree that the election theme will be hard to sustain for an entire season (a problem Murphy has with many of his AHS themes). But if executed correctly, I see the seventh season of American Horror Story being a successful chapter in the franchise. Cult is already more tongue-in-cheek than previous seasons, with the same glimpses of classic AHS boundary pushing. I don’t love it yet, but I could.

It sort of depends on if Sarah Paulson will still be wailing “OH MY GOD, OH MY GOD” seven more episodes in.

What did you think of the first episode of American Horror Story: Cult?

Did you watch Soul on Disney+ this past holiday season? Did you then immediately see colors brighter, breathe air deeper and feel sheer joy for simply being alive? 

The 23rd feature film from Pixar arrived on Disney’s streaming service Christmas day with an optimistic message for audiences. Soul follows musician-turned-teacher Joe, voiced by Jamie Foxx, who unexpectedly dies on his way to what he believes could be his big break in music. 

His soul then embarks on an adventure to return to his body and along the way he discovers life isn’t about accomplishments or success; it’s the journey of living that gives us all purpose.

Combined with a first-ever Black male lead Pixar character, some elevated dialogue about metaphysics and soul composition, Soul is a refreshing, contemporary take on life’s big questions. Don’t want the uplifting feels to end just yet? Here’s seven flicks to help you continue looking at the big picture after watching Soul:

It’s a Wonderful Life (1946)

This Jimmy Stewart-led classic may be the start of the meaning-of-life genre. Main character George Bailey believes he has lived an unremarkable life until a Christmas angel intercedes, showing Bailey what the world would be like if he’d never been born. Reflecting on the value of family and community, It’s a Wonderful Life shows audiences the beauty of the average person’s existence. Per the advice of Clarence the angel, no man is a failure who has friends.

Click (2006)

The Sandman stars in this Wonderful Life comedic reimagining as overworked architect Michael. Mysteriously gifted with a ‘universal’ remote at Bed, Bath and Beyond one night, Michael gains the ability to fast-forward through life as he chooses. The magic remote quickly turns into a curse, as Michael unintentionally zooms through precious time with his family. Click maintains ridiculous humor central to the Sandlerverse while touching on the idea that all time with family is irreplaceable.

The Pursuit of Happyness (2006)

This biographical drama follows the real-life story of Chris Garnder, played by Will Smith, through a year of poverty and eventual homelessness, brought on by a nosedive in his career in sales. The Pursuit of Happyness is as much about struggle as it is about life’s victories by way of perseverance. 

The Bucket List (2007)

Morgan Freeman and Jack Nicholson portray two terminally ill gentlemen from completely different backgrounds who cross paths while receiving cancer treatment. The Bucket List follows the unlikely pair through the adventures and tasks they decide to complete before they “kick the bucket.” The message here is fairly simple; live before you die– and most importantly, make connections before you go.

Wild (2014)

Director Jean-Marc Vallee brings the 2012 memoir by Cheryl Strayed to life in this drama starring Reese Witherspoon. Following her divorce, Witherspoon’s Strayed takes off on a hiking journey up the Pacific Crest Trail in search of something greater, as she feels her life has been less-than. Her backpacking trip leads her to self-reflect and look back on the traumas of her past. The challenges Cheryl faces on the PCT ultimately teach her to be vulnerable and brave on her journey of healing.

Eat Pray Love (2010)

Eat Pray Love celebrates the three things in life we often hold back on. The film adapts Elizabeth Gilbert’s memoir of the same name and follows Gilbert after a life-altering divorce. Gilbert, portrayed by Julia Roberts, embarks on an international expedition of self-discovery. In three different countries, she learns what it means to truly eat deliciously, practice prayer, and unexpectedly fall in love. This romance film makes you want to book a flight and never look back.

Onward (2020)

Before Soul came Pixar’s Onward, the story of two brothers who go on a magical quest for a chance to spend a day with their late father. Equal parts fantasy and adventure, Onward is a journey with many lighthearted moments. Like Soul, Onward ends with an unexpected lesson: don’t look beyond those you have in search of those you are missing.

Okay, crucify me: I have no interest in seeing Lady Bird anytime soon.

Same goes for The Post and del Toro’s latest where the lady hooks up with a fish.

Awards season has officially arrived, its legion of critically-acclaimed films bombarding theaters. As a lover of film, this time of year of has always been exciting for me because the art form is increasingly celebrated in media and, as it has always seemed, the best of the best is released November–January.

The experience is familiar; Meryl Streep delivers another knock-out performance, a big-name director sweeps another Oscar and another movie I’ve never heard of is the must-see flick of the year.

Blame it on another semester of liberal arts screen studies– or perhaps it is the crumbling Hollywood façade exposed in 2017– but this year I can decidedly say that I’m over it. More and more I realize the persons responsible for pushing certain films to the spotlight are a small, elitist group of individuals. Acclaim is consistently determined by the same ring of people whose vision of merit is narrow. That narrow vision is not necessarily reflective of the average moviegoer, or even a movie-lover outside of the industry.

Take again, for example, Lady Bird. Critics across the board are creaming their jeans over Greta Gerwig’s coming-of-age piece, earning it a nearly perfect Meteoritic score and a ripe Tomato on the infamous Tomatometer.

Now, my misgivings about Lady Bird may lack validity– after all, I haven’t seen the film. My feelings could inevitably change in the future. Even without viewing Lady Bird, I am happy that a film with prominent female narrative is taking the reins of Oscar season.

However, I believe modern audiences should not be won on favorable politics; Lady Bird  does not automatically take home the Globe for being a relatable dramedy about women. Because, frankly, there are other films that fit the bill of poignant, bittersweet tale of adolescence– films that are as good as Lady Bird without all the hype.

A complicated mother-daughter relationship? Try Drew Barrymore’s roller derby drama Whip It (2008) or Mermaids (1990) starring the legendary Cher. An endearing female-centric coming of age tale? Watch Marielle Heller’s The Diary of a Teenage Girl or a little movie called Pretty in Pink (1986). Hell, watch Crossroads (2002) if you’re in the mood for a little music.

My point being, the laurels and star-ratings attached to some films come tacked on more often than they are earned. Lady Bird, crafted as Greta Gerwig’s humble, semi-autobiographical passion project, has the production credit of Scott Rudin– a producer of    an Academy Award nominated film every year since 2006. This sort of head-start is no secret; the who of the film industry is blatantly more influential than the work itself.

Take The Disaster Artist as another example. A Seth Rogen produced, Franco brothers vision of the worst movie ever made… I repeat: the same acting troop responsible for This Is the End (2013) reimagined the making of the film community’s favorite joke, The Room (2003). Nuts.

Because the National Board of Review deemed The Disaster Artist as a top film of the year, suddenly the dudes from Pineapple Express (2008) are 2017’s Hollywood heroes. The Disaster Artist may be a meta, ironic delight– but take it for just that. Being blindly led to a film by the hand of industry big-names seriously distorts the moviegoing experience. A solid, truly good body of work gassed up as a monumentally great body of work stacks the deck against other films of its caliber.

I follow my mother’s proverb closely; just because everyone else is jumping off a bridge, it doesn’t mean I should jump too. Critical acclaim operates like a rip current in that respect– dragging us all along with sparkling New York Times reviews and approval from the faceless big guys.

While nominated films may be on trend, the true impact is made in theater seats. Our culture’s most important movies of 2017 are significantly different than media gatekeeper’s picks. When waves upon waves of audiences leave theaters inspired by films like Get Out and Wonder Woman without the payoff of industry accolades, it’s discouraging. I personally feel like this cycle cheapens films released outside of awards season, shoving excellent films into boxes they don’t belong in.

I’ve had it with Hollywood elitism because it disenfranchises the opinion of the every day movie consumer and, honestly, is getting too boring to for me to continue pretending I’m interested.

Summer is officially coming to a close. Though that news once brought me sadness, moving back to school for a new semester is nothing but good news. To celebrate the kick-off of my junior year and all the analytical essays I will no doubt have to suffer through, I figured I could shake up my blog a bit with something less serious. College can be so stressful, so to lighten the load a little, here are 31 college majors as Britney Spears songs– which one are you?

1. Crime and Deviance Studies – “Criminal”

You love preserving social control as much as Britney loves her hot, criminal boyfriend.

2. Chemistry – “Toxic”

Beware of chemicals in the lab and addictive relationships.

3. Psychology – “Inside Out”

No, not the 2015 Pixar film. Britney offers a psychological discourse comparative to Freud in “Inside Out”.

4. Biology – “Touch of My Hand”

Britney can teach bio majors a thing or two about anatomy in this… explorative ballad.

5. Astronomy – “Alien”

Thanks to this year’s solar eclipse, your major shines a little brighter this semester.

6. Computer Science – “E-Mail My Heart”

Just like you, Britney has always been technologically advanced.

7. Physics – “Up N’ Down”

After there was Sir Isaac Newton, there was Britney. Then you. What’s the velocity of my hips swaying to this bop?

8. Communications – “Break the Ice”

From small group com to public speaking, you definitely know how to break the ice.

9. International Relations – “Piece of Me”

IR students aspire to one day slip away to the Philippines and solve global crises.

10. Theater Arts – “Dramatic”

The theater kid gets the only ~unreleased~ Britney track for their major. You’re a drama queen and you’re proud.

11. Gender Studies – “I’m Not a Girl, Not Yet a Woman” and “Boys”

This one is a twofer because you firmly believe in gender equality.

12. Health and Human Performance – “Stronger”

You can often be spotted on campus working on your fitness.

13. Creative Writing – “Dear Diary”

You and Britney are storytellers, composing last-minute small writings moments before submission time.

14. Political Science – “Toy Soldier”

You’re a political queen, ready to wage war during in-class debates.

15. History – “…Baby One More Time”

You love history. Name something more historic than “…Baby One More Time”.

16. Education – “If U Seek Amy”

This sweet nursery rhyme shows how much Britney loves kids– something you have in common. Education majors are also freaky on the DL.

17. Spanish – “Change Your Mind (No Seas Cortes)

You’re a bilingual queen who kills it at international school functions.

Britney Spears – Change Your Mind (No Seas Cortes) from Britsy on Vimeo.

18. French – “Coupure Électrique”

You’re a TRIlingual legend just like Britney. Très chic.

Coupure Electrique from Thomas Aaron Blocker on Vimeo.

19. Mathematics – “3”

Congrats! You and Britney can both count!

20. Business Administration – “Work Bitch”

You’re all about work ethic. You plan to reach Britney-level entrepreneurship one day.

21. Religious Studies – “Heaven On Earth”

You’re a holy queen who can be found at coffee shop Bible studies.

22. Sociology – “Radar”

You’re the most woke in your social circle. Everyone is on your radar.

23. Pre-Law – “Liar”

If you’re an aspiring lawyer, Britney is singing about your future talents.

Britney Spears Liar from little ok on Vimeo.

24. Music – “I Love Rock ‘N’ Roll”

Music is 100% your thing. Your friends may not understand late-night rehearsals, but they make you excited enough to lick up gasoline (?)

25. Statistics – “Lucky”

If you study stats, you live on luck. Lucky is your middle name.

26. Peace and Justice Studies – “Invitation”

Ever been fully at peace? Listen to the Glory album opener.

Britney Spears – Invitation (Animated Video) from Aleksa Vasić on Vimeo.

27. Marketing – “Phonography”

You’re all about media marketing and you love a good campus Snapchat story.

28. English & Literary Studies – “Cinderella”

Both you and Brit are classic lit fans. The Odyssey, Romeo and Juliet, this version of Cinderella.

29. Economics – “Gimme More”

It’s econ, bitch. Whether you’re enrolled in micro or macro, you’re all about the $ $ $.

30. Dance – “Me Against the Music”

Grueling studio hours make your major feel like a battle. But Britney herself is a dancing queen, and you never disappoint.

31. Art – “(You Drive Me) Crazy”

Art students are pretty much losing it 24/7. You never see them. They are art-ing at all hours of the night.

Yesterday I decided to snack on some cookies during break at my internship with a fellow intern. My mom sent me back to school with Pumpkin Spice Milanos from fall break, and I stashed them in my car for a snack emergency such as this. I casually offered my colleague a cookie and she shook her head.

“Are those pumpkin?”

I laughed, “Of course! What do you take me for?”

She grinned, but dismissively responded: “I don’t know, not that basic.”

Call me sensitive, but that remark has been stuck in my craw ever since. Not that I have any sort of personal connection to pumpkin flavored cookies, but her words instantly made me take a hard, shrunken look at myself.

Inch-long acrylic gel manicure. Freshly bleached highlights. Kylie Cosmetics encrusted lips. Basic. I sank.

Beyond the physical, I’ve always struggled with confidence in my own intellect. If you were to peek over my shoulder at any given time, you would find me checking Britney Spears fan sites, watching beauty tutorials, browsing cat photos or reading Hollywood gossip forums. Basic girl, basic interests. How foolish I felt sitting in bright pink sneakers with nothing more on my mind than Instagram and pumpkin cookies.

I recognize the narrative of my situation– there is a certain privilege in claiming I’m bullied as a basic white girl. The currency of Ugg boots, salon appointments and specialty coffee are white and expensive. Victimizing myself with these devices would be ignorant and misguided.

Rather, I recognize that femininity is cross-culturally categorized as subordinate. Extending beyond luxuries of the white American girl, women of all backgrounds constantly work to prove themselves despite femininity. Masculine interests or traits are employed to somehow redeem women of their identities.

Growing up in small-town Virginia, there was a dichotomous expectation and shame in my expression of femininity. Girls are supposed to play with dolls, dress-up and go to dance class, but comments from family members like “she’s so smart!” or “what a confident young lady!” came with condition. I’ve always felt like I’ve had to sacrifice parts of my pink and glittery Barbie imagination for my presentation to others in the academic and creative fields. How could I ever prove myself as a professional with a bedroom the color of Pepto-Bismol and false eyelashes that reach my eyebrows?

Anti-feminine feminism was my first brush with the feminist movement. Based on my skewed understanding of femininity’s worth, I believed that I had to deny some of myself to be a truly strong, independent female. If I wasn’t “like the other girls”, I would then surpass all the other females in my life by some intangible male standard of worthiness.

Though it is certifiably a bop, the song “Stupid Girls” by P!nk perfectly encapsulates my insecurity. When this song popped up on my Spotify queue recently, I realized anti-feminine feminism denies validity to girls of a certain status. The song, and its borderline offensive music video, demean women for their characteristically feminine interests. I understand that P!nk encourages girls with “ambition”– but her message comes at the price of other females.

It has become increasingly clear in my lifetime how much our society hates femininity. Even though we are expected to be sexual, flirty and glamorous, we are still mocked for it. Femininity will always lack validity compared to the masculine. That’s why simple things like Starbucks, Beyoncé karaoke and cosmetics– things all people should enjoy– are used as tools to put us as the lesser.

If I am, in fact, subscribing to patriarchal oppression by taking selfies or organizing my Hello Kitty collection, to what effect will my self-awareness give men power? I’ve always looked up to media figures like the fictional Cher Horowitz or Elle Woods for their glamour in tandem with their strength. Ambition and overall intelligence as female should, in no way, be limited by one’s femininity. I feel most empowered when I express myself as my authentic blend of girly, gorgeous, confident and savvy.

I admit there are times when I wish with my whole being the sorority members across the cafeteria would just shut up, or suck in my cheeks when I hear a gaggle of girls squealing about the new Taylor Swift single. But I try to remember the pumpkin cookies.

My high school English teacher calling the romance novel in my backpack trashy.

The burning embarrassment I’ve always felt in debuting a new fashion trend.

The glaze in people’s eyes when I explain what I write about on MyJawbreakers.

What, in that instance, makes me any better than the misogyny that breeds my insecurity? Exploring femininity is liberating, dynamic and so, so fun. Trading in the traits that have helped me flourish for something more acceptable to men sounds a lot like surrendering.

And the kind of girl I am will never give up.

Not The Babysitters Club. 

Not Adventures in Babysitting. 

Not My Babysitter’s a Vampire.

Not even Jonah Hill’s The Sitter.

The Netflix original The Babysitter is brand new, campy, absurd and perfect.

I must admit, when I heard Netflix was putting out a babysitting comedy, my gut reaction was they can do better. The babysitter trope has been stretched in so many directions the narrative has become stale by 2017. Netflix isn’t one to miss the mark, so I wondered how they would deliver with such a dated premise.

Much to my surprise– disbelief, honestly– The Babysitter was sick, ridiculous, irreverent fun. With a Friday the 13th release date, the odds were stacked in favor of Happy Death Day in major theaters; even the Friday the 13th franchise had more promotion on streaming services than this Netflix underdog. After watching, though, the Friday the 13th (of October, no less) premier of The Babysitter fit like a glove. McG’s electric slasher comedy emulated all the Halloween slumber party feelings I never knew I missed.

It’s Completely F*cked

I say this fondly: The Babysitter makes no sense at all. The McG production is a slapstick bloodbath, eager to celebrate immaturity and gore. The screenplay, written by Brian Duffield, could have easily been directed to a more satirical, dry wit comedic effort. But the satanic twist on the classic girl-next-door tale called for a much more epic, nonsensical endeavor. Everything from virgin sacrifice spin-the-bottle to egg yolk asphyxiation; The Babysitter is irrational and flaunts it. Think the animated humor of 21 Jump Street and the Wayans brothers with arterial spurts the likes of Jennifer’s Body and Zombieland.

Bella Thorne

I stand by my sentiment that Bella Thorne is this generation’s Lindsay Lohan. Cast as the airhead cheerleader of the cult, Thorne is likely the biggest star cast in The Babysitter. Director McG also produced the 2015 teen film The Duff, which similarly cast Bella Thorne as an archetypal bubblegum chick. The film’s horror conventions are met with equal parts teen comedy, chiding football jock intellect and popular girl bitchiness. Always on the lookout for a good old fashioned high school movie, I felt that channeling teen sensibility made The Babysitter more re-watchable among youth audiences. I am forever rooting for a pretty villain and Bella Thorne is the exact one I love to hate.

The 80’s References

If you want your work to be successful in 2017, take a hint from Stranger Things and the newest IT movie and refer to beloved films from the 80’s. The Babysitter wasn’t marketed as a throwback in any capacity, but undoubtedly borrows from 80’s classics both inside and outside of the horror genre.

Babysitter Bee, portrayed by Samara Weaving, is precisely the blonde bombshell every boy has been dreaming of for decades. Seriously, she’s a knockout. It’s exactly those blonde curls and All-American looks that harken back to Christie Brinkley-era beauty. The male gaze of 1980’s film can be spotted throughout.

The Fast Times at Ridgemont High nod, for example:

The film incorporates a recreation of the Risky Business POV scene; young Cole’s parents are leaving for the weekend and we famously see camera work that nods and follows his parents out of the house. Simple, and if you’re not too deep into pop culture you could miss it, but it served its purpose. Mimicking the spirit of coveted 80’s films is a nostalgic way to put a smile on any viewer’s face.

The Babysitter Has Heart

To reiterate: I had low expectations for this film. Mainstream comedies with predominantly white casts go as far as a few crude jokes and leave us unsatisfied. Even after I learned more about the film’s scary twist on classic babysitting stories, I doubted that I could relate to The Babysitter beyond mere curiosity as a horror fan.

Despite the routine character elements and outrageous slasher sequences, The Babysitter is surprisingly sweet. As I said before, Samara Weaving plays the perfect babe suited for a young boy’s fantasy. But Bee and Cole’s relationship went beyond a gushing one-ended crush; their friendship was well-developed and she seemed to give Cole confidence, which warranted his romantic feelings beyond Bee’s bodacious appearance.

The Babysitter is essentially a hero’s journey with an anti-bullying theme. Cole, timid and intelligent, survives multiple attacks from devilish idiots throughout the night. As we root for him, the underdog of his character slowly dissipates and results in a full-fledged bad ass. In babysitter stories of the past, the boy gets the dream girl. In 2017’s The Babysitter, the boy also rushes the dream girl with an airborne sports car.

This film hardly touches the iconography of Scream or Halloween, but was an uncovered gem in my Recommended queue the night of Friday the 13th. Especially if you least expect it, watch this film for an underrated merry bloodbath. The Babysitter may surprise you.

What did you think of The Babysitter? Leave a comment!