The first month of the year is often met with optimism– we are certain of all the good things coming our way in the next 52 weeks. Prosperity, new beginnings and– of course– new media.

I hate to put an end to that optimism, but there is a glaring issue in the upcoming year I need to address.

2018 doesn’t look like a great year for the horror fans.

To be fair, we are coming off a record year. 2017 brought us not only the ingenious, critically acclaimed Get Out, but we were also graced with the top-grossing sensation that was Andres Muschietti’s IT. Asking for much else would be selfish, yet we still received bonus gems like Annabelle: Creation, Happy Death Day and Netflix’s Gerald’s Game.

Every boom, I’m afraid, must cycle back to a bust at some point. That point seems to be this year, with a mismatched collection of horror films set to release in the coming months of 2018. Rather than a steady stream of solid horror releases, it appears the horror community decided to take a few gambles this year. What’s to come certainly seems more acceptable than exciting. I am skeptical.

Slender Man

The upcoming Slender Man, inspired by a once a highly popular urban legend of this millennium, seems about four years too late. Again, because of the mythical Slender Man’s pop culture presence, this film has every right to smash. Telling by the trailer, though, I’m seeing visuals heavily inspired by The Ring with not a lot of pay off.

Truth or Dare

Jason Blum is responsible for some of the most paramount horror films of my generation. Truth or Dare, most likely a passion project of sorts, I predict, will not be added to that list.

The Strangers: Prey at Night

The first The Strangers installment was the perfect blend of slow-burn and slasher– earning it cult classic status in fan circles. These elements pushed the original film to success, yet The Strangers: Prey at Night seems to push the gas pedal with a played out, The Purge-esque marketing campaign.

Even giving these trailers the benefit of the doubt, 2018 horror I’ve actually seen began the horror-calendar on a sour note. This week I went to the theatre for a late-night screening of Insidious: The Last Key. While the first two chapters of the Insidious franchise delivered with some truly iconic execution, The Last Key transcended the third chapter’s sloppiness. I was ready to explore the epic “Further” hand-crafted originally by James Wan, but the fourth installment of Insidious proved stale, trite and frankly a film I wish I hadn’t paid for.

This experience got me thinking that the best of 2018 horror may have already arrived– in the last days of 2017.

I’m talking about the latest season of Black Mirror.

The world had not yet put away their Christmas decorations before we were all blessed with six new twisted episodes to join the Black Mirror anthology. Each episode diving into a world more sick and tech savvy than the next, viewers gobble up each new season for its stark cultural commentary– but most of all, each story in Black Mirror is heaping, dark fun.

I think we all knew Black Mirror was a perverse and shocking adventure, infusing elements of science fiction into The Twilight Zone‘s spooky storytelling ability. But it took up until the last episode of the new season for Black Mirror to finally take the “Nosedive” from drama into horror. And it. was. excellent.

“Black Museum” follows traveler Nish into a daunting, seemingly abandoned museum of crime. Curator Rolo takes her on a tour of the crime-scene artifacts, all chronicling the evils of human advancements in the Black Mirror age. This episode presents three narratives of different technological crimes, all tying nicely together in a bow with a surprise ending.

The episode is so good, in fact, I will not spoil the major plot twist. But I still maintain that this episode is more horror than ever before, pushing its original boundaries of violence and human suffering.

One subplot Rolo introduces is the harrowing tale of Dr. Peter Dawson and his peculiar fixation on pain and pleasure. This narrative is adapted from the short story “The Pain Addict” which is the most specific manifestation of horror in the episode. In summary, Dr. Peter Dawson is given the opportunity to have the afflictions of his patients mimicked in his own being; a technological stigmata, if you will. Originally designed to increase medical precision, Dr. Dawson discovers the practice can be used for his personal recreation.

The rest of the story plays out with sadism (and eventually masochism) comparable to Saw. Once again Black Mirror dares us to question our humanity as Dr. Dawson falls into an obsession with inflicting pain on others for his own physical reaction. Quite literally tweaking in some sequences, Dr. Dawson reaches orgasmic delight in butchering his patients… and eventually himself.

I watched in utter repulsion as the themes of sadism and pain prevailed throughout the episode. Again, no spoilers, but “Black Museum” plays heavily with the idea of computer simulated– yet totally tangible– torture. When I finished the episode, I found my gut reactions to be on par with film series like Hostel and Saw– its mood completely menacing and dreadful. Unlike all other episodes, that essentially present viewers with an alternate reality to ponder, “Black Museum” presents audiences with a question; whether or not they can keep looking at the screen.

That, to me, is a quintessential component of horror– and Black Mirror nailed it.

I continue to remain hopeful about horror in the months to come. Namely, I’m looking forward to seeing husband-and-wife duo John Krasinski and Emily Blunt team together in A Quiet Place this spring. I am also really banking on James Wan’s The Nun as continuation of The Conjuring universe; a franchise that seems to do no wrong in the eyes of Blockbuster-goers. And if all else fails, we will all have to saunter over to the Halloween reboot in October 2018.

Season four of Black Mirror is as entirely masterful and inventive as previous seasons. I highly recommend continuing onto all episodes of season four if you haven’t already (my favorites are “USS Callister” and “Hang the DJ”). If you’re in the minority and have yet to binge the infectiously bizarre anthology, by all means, prepare yourself for shocking parallels and their devastating repercussions. Keep in mind, too, that some episodes achieve more than others; empathy, the grotesque– and even a little horror.

What horror films are you excited for this year? What was your favorite Black Mirror episode? Leave a comment!

I often think about Hollywood as America’s Chocolate Factory.

The outside world sees its glittering, golden towers from afar and aches for a peek of what it’s like on the inside. We consume its chocolates– the feature films, the television shows, the rep carpets, the celebrities– like a swarm of Charlie Buckets, full of delight and hope. Hollywood, the fortress that it is, makes us happy. That’s it’s job, after all.

But it is weeks like this that make it clear why the entertainment business is shrouded in mystery. When the gates to Hollywood’s Chocolate Factory are opened, the sweet aroma abruptly sours and out expels its dark truths.

What did the name Harvey Weinstein mean to you– as of, say, a week ago? Perhaps you couldn’t picture his face immediately, but surely The Weinstein Company logo has flashed before some of your favorite films. With some familiarity, you may have associated the Weinstein name with the film industry itself, great accomplishment, money, or even power. Before upwards of 40 women came forward with accusations of his sexual assault, Harvey Weinstein was a prestigious cog in the precious machine they call “The Business”.

Because the entertainment industry spans over the entirety of Hollywood, rather than sanctioned office buildings, it is not unusual for meetings and auditions to happen behind the closed doors of hotel rooms and back rooms of bars or restaurants. It’s almost as if seediness is embedded in the culture– but no one fights it. Hollywood oozes this sort of open-door policy that passes around its talent like a human auction.

A great deal of trust and passion goes into an actresses’ career building; trust in men 20 years their senior and passion that may supersede safety concerns. Hollywood culture impressions upon its young actresses to ignore all red flags. Harvey Weinstein, sweaty and enormous, a handsy, demanding sycophant, invites you into his hotel room. You must say yes. No matter what happens, your career depends on it.

Silence is compulsory.

Some of the most notable names who have come forward include Cara Delevingne, Angelina Jolie, Gwyneth Paltrow, Ashley Judd, Rose McGowan and Reese Witherspoon. Their names probably trigger images of smiling, waving red carpet appearances: happy and successful. And for many, it is impossible to understand these perfect stars may also be damaged, assaulted, silent. These actresses, who are longtime constituents of the Hollywood machine have carried with them a not-so secret.

The sexual perversion towards and predation of women in Hollywood is nothing new. The foundation of that Chocolate Factory we see is layered by the untold stories of victims to men in the industry. The news about Harvey Weinstein is not shocking because rape is Hollywood’s open secret. In fact, these recent news items about his predatory behavior are a mere foot in the door to exposing the true corruption in the beloved Business.

Perhaps the most interesting angle to the Harvey Weinstein accusations is not the issue of consent– like other highly publicized rape cases at Duke University or University of Virginia– or victimization of the aggressor himself– like the Bill Cosby shitstorm of 2014. Rather, the recent events surrounding Harvey Weinstein call into question the politics of The Business itself. Weinstein is a media giant who owns one of the most notable production companies in the industry, as well as a high-profile seat at The Academy. Weinstein has bumped elbows with the Obamas, Clintons and virtually every Hollywood star who has traipsed a red carpet at some point in time.

A rapist has maintained these friends and networks, as well as a respectable reputation in the public eye. This begs the question– who knew about Weinstein? Who said nothing? It can be understood that his predatory actions were protected by both his status and those in his inner circle. When rape is an excusable act to those in the culture, why bother speaking up in Hollywood?

These men are the gatekeepers to our entertainment. Harvey Weinstein. Woody Allen. Journalist Peter Bart. Director Michael Bay. Photographer Terry Richardson. Music producer Dr. Luke. On all platforms, sexual assault has been a man’s forceful effort to maintain power. Costume designer Dawn Dunning recounts Weinstein’s advances towards her, stating he told her sexual submission was “how the business works”. Men in power– producers, directors, CEO’s– exploit the passion and hard work put in by females. The Harvey Weinsteins of the world rape because it is easy; no one is stopping them. Those with the capability to protect victims are on Weinstein payrolls, under contract or simply cannot be bothered by the bad press.

I have the distinct privilege of interning at a local filmmaking program for high school students. The program director believes so deeply in the students enrolled and insists each one of them have a bright future in filmmaking. The program kicked off with an orientation night, which invited parents and students to hear about learning objectives and project scheduling. The program director proudly announced that we work against the gender bias in the film industry; our program encourages young women to explore their potential in acting and filmmaking. That’s the same value that drew me in as an intern.

But as much as I hold gender equality true in my heart, and wish fiercely for girls like me and the students at the program to succeed in the entertainment industry, I must accept the bleak danger we all face as women in the workplace. Against all encouragement from our friends and loved ones, and confidence we have in our abilities, females have been, and will continue to be, disadvantaged in the Hollywood system. It is high time we reclaim that system.

I see so much bravery from the women coming forward against Weinstein. Their experiences with him, all alone, sometimes as young as 16 or 17, all echo the same icky, exploitative setting. The same setting shared by too many females’ experiences with uncles, teachers or friends’ fathers. By banding together with their messages, these actresses and industry workers are all confirming what society denies: it is okay to speak on your sexual assault. Moreover, you must speak up against your sexual assaulter. 

Now that Weinstein has been fired from the Weinstein Company and his Academy membership has been suspended indefinitely, it appears as though we are getting a glimpse behind the curtain; the doors to the Chocolate Factory are opening. The system is  finally getting the exposé it deserves and individuals with connections to Weinstein are being held accountable in the media.

That was all made possible by women using their voice. And that power resounds louder than any response a miserable, rapist executive could ever dream of making.

.   .   .

The National Sexual Assault Hotline is 1-800-656-4673. Online chat is available here.

If October means to you what it does me, this month is all about movies, movies, movies.

Scary ones, to be exact. The horror genre consistently pushes the boundaries of norm and challenges constructions of our everyday world– including gender. It’s often been said in critical circles that the horror genre is one of the only that allows female characters to speak as much as males. In the spooky season, it’s important to explore the films that delve into female representation alongside their thrills. Whether they be heroines or female villains, you won’t want to miss out on these female-centric films redefining what it means to be a scream queen.

Here are 13 feminist horror flicks to watch this October:

1. XX (2017)

If you’re looking for female-centric horror entertainment, XX is definitely for you. Female written and directed, XX is horror anthology focused on four distinctly female tales or terror. Directors Jovanka Vuckovic, Annie Clark, Roxanne Benjamin and Karyn Kusama band together to create an empowered storybook of creepy female experience.

2. Knock Knock (2015)

Knock Knock is an underrated gem from the mind of total babe horror genius Eli Roth. This thriller sees Keanu Reeves in psychological torment after two unsuspicious young women set his life ablaze in one weekend. These female villains are sexy, devious and off their rockers– but above all else, provide well-rounded female characterizations in their roles as antagonists.

3. Ginger Snaps (2000)

This cult-classic hit is a not-so-subtle critique on the teen female experience… with werewolves. Ginger Snaps follows sisters Ginger and Brigitte, who, after an encounter with a deranged creature find themselves with an appetite for boys. This film is delightful, bloody and metaphorical; Ginger Snaps makes light of puberty’s confusion and what it’s like to be a teen girl with a beastly twist.

4. Hush (2016)

I stumbled upon Hush as a recommended film on Netflix– and I was totally floored by this masterful slasher indie. Hush follows author Maddie on her race against time to escape a home invader. The catch? She’s deaf… and she uses it to her advantage! Hush proudly presents audiences with a heroine who crushes sexist and ableist expectations in a thrilling fight for her life.

5. Jennifer’s Body (2009)

Watching this film in the seventh grade gave my budding sexuality plenty to chew on. Director Karyn Kusama brings to life Diablo Cody’s hilarious screenplay about a cheerleader with a taste for human flesh. Jennifer’s Body plays up teen archetypes with a satire drenched in morbidity. The film is as just hot as its starring lead Megan Fox, but is also hilarious, smart and most importantly, gory.

6. Holidays (2016)

Don’t be fooled, this anthological horror-comedy packs a mighty scary punch in its collection of eight short films. Holidays operates like a storybook; the film navigates the calendar year through various holidays, each setting the stage for some seriously demented retellings of our reality. Several holidays in the anthology follow female characters in dealings of murder, psychosis and demonic in-betweens. Holidays carries a dark, dark humor throughout and does so with prominent female POV’s.

7. Scream (1996)

Ah, yes. It wouldn’t be a horror recommendation list without my inclusion of Wes Craven’s beloved Scream. Released in 1996, Craven put forth this work as a response to the cookie-cutter formula of slasher films before it. Scream‘s female characters reclaim the damsel in distress narrative and turn it on its head. This iconic film opened up a dialogue for female horror characters that is fondly continued today.

8. Ava’s Possessions (2015)

This witty indie flick follows what happens after an exorcism. The brilliant premise explores a young woman’s life after her possession, in which she must deal with the ramifications of her satanic outbursts. Ava’s Possessions gains points for originality, but ultimately wins for its character-driven parallel to overcoming female addiction.

9. American Mary (2012)

Move over, Patrick Bateman– Mary Mason of American Mary gets paid for her work in butchery. Canadian filmmakers Jen and Sylvia Soska, otherwise known as the Soska sisters, created American Mary as a true-blue feminist piece. The directors are devout LGBT and gender equality supporters and wanted to put forth a film that reveled in both female empowerment and subculture– all under an ultra-violent lens, of course. American Mary chronicles the story of an underground female surgeon, whose victims are not always unwilling. Though she is totally tortuous in some sequences, Mary gracefully tackles rape, occupational gender bias and female sex work.

10. The Love Witch (2016)

The breathtaking visuals in The Love Witch are reason alone to watch this film. Created as a love-letter of sorts to 1960’s horror and classic cinematic camp, The Love Witch is a meticulous body of work that nearly mirrors the Technicolor aesthetic. Feminist writer and director Anna Biller uses the spellbinding vibe of the film to discuss gender contention with witchcraft as the vehicle. Groovy and vibrant, The Love Witch hauntingly discusses love, lust and roles of the sexes.

11. Silent House (2012)

You can’t get in much more female representation than a feature-length continuous shot of a female protagonist! Silent House is an emulated one-take look at a young woman who confronts the demons of her past. Silent House is an American remake of a Uruguayan film of the same premise. Female writer and co-director Laura Lau revamped the original story and created this limited point of view to convey a new perspective on childhood trauma. Elizabeth Olsen leads the film to a result that is tense, hazy and slightly incestuous.

12. The Descent (2005)

Claustrophobes beware– The Descent is enough to make anyone feel like they are suffocating. Released in 2005, The Descent tapped the market for the spelunking/cave horror genre– an accomplishment for an all-female cast. The under-worldly creatures and characters’  low air supply make The Descent something of nightmares. The film is still widely regarded as a top horror film of the decade, veering from classic horror conventions with a band of resilient women.

13. The Witch (2015)

I can best describe this slow-burner flick as The Scarlett Letter with satanic goats. A critical darling of 2015, The Witch is a venture in minimalist horror. Set in a confined colonial community, this film sees a Puritan family struggle with religious devotion, sin, temptation and a greater evil. Robert Eggers’ The Witch has been highly regarded for its staunch discussion of patriarchal religion and female sexuality; conceptualizing witchcraft as female sexual prowess. As these issues have prevailed in American culture for centuries, The Witch brings them to a roaring boil in this chilling, feminist masterpiece.

.   .   .

Do you have a favorite feminist horror flick? Did I leave out any from this list? Leave me a comment!

There’s plenty happening on the Carter-Knowles home front. No one knows completely for sure, but it is essentially confirmed that Beyoncé gave birth to her twins very recently. While the birth of the near-royalty twins is exciting news, the media seems to have all eyes on Jay-Z, who recently released his newest album, 4:44. The reviews for the record are lukewarm, as member enthusiasm for Tidal is just as tepid. Yet Jay-Z is garnering public attention for 4:44 because of a major truth-bomb he drops in his song by the same title. In this record, Jay confirms longstanding cheating rumors and solidifies the storyline Bey creeped around in her historic album Lemonade. Jay-Z was in fact unfaithful in his marriage to Beyoncé.

Whether mainstream media wants to admit it or not, this piece of information blows any other relationship news out of the water for the rest of 2017. For so long, Beyoncé and Jay-Z have symbolized their own empire, defining “power couple” in every red carpet appearance and business venture. Their mutual respect and support was so envied and idealized by everyone. Fast forward to now, and even their most loyal of fans are questioning both stars’ integrity. Suddenly the most perfect couple in Hollywood the world isn’t so perfect anymore. It almost feels like the kingdom is finally crumbling. In this media frenzy, there are so many ways to take this news and run with it. I for one, have a few thoughts.

As I said before, plenty of people are hurt by this news. No matter how old you are, your heroes are supposed to be perfect and remain as such. How could Jay-Z have cheated!? They looked so happy in their music videos, at the Grammy’s, court side at NBA games. I really looked up to them! Unfortunately, the same way we learn Santa Clause is more of an idea, Hollywood continuously bubbles over as the façade it really is. When I write pieces specifically on celebrity news, the crux of the article is always this: they are human. And humans, no matter how flawless, rich and powerful, will always falter. Even in their marriages.

This is a devastating reality for both Jay-Z and Beyoncé fans. A lot of females fans are angered because something they long for and look up to exposed its nasty underbelly. Particularly for black women, infidelity is an all-too-real hardship within the culture. It was enough that Beyoncé was the ultimate black role model for young women, her successful marriage was a wonderful added bonus. For many, the Carters’ strong bond meant something more than a media spectacle. It was an accomplishment. It was a goal. But after all Beyoncé’s love songs we sang our hearts out to, and the articles we read about their incredible acts of devotion, the final takeaway from this recent news is that men still ain’t shit. Just the name Beyoncé is now synonymous with sex appeal, talent, beauty, intellect, strength. Jay-Z had all that and he still wanted more.

I think it is important that we consider how the media is presenting this controversy. Beyoncé laid out a 12-track record that explicitly explored her husbands’ infidelity, yet it is only news when he confirmed it a full calendar year later. This echoes the narrative so many women face; in which they are only taken seriously behind a male’s truth. Granted, there is some nobility in being held accountable. Jay-Z didn’t have to write 4:44, but the whole world was waiting to see if he would come clean. But I can’t help but think the press is still slighting Beyoncé in the wake of this news. How dare she bear two more of his children with this in his past. Isn’t she better than that?

The older I get– which still isn’t very old– the more I come to terms with the power of love.  I’ve learned that love can push you as a person, challenging everything you thought you knew. And many times this leaves you in situations where your head can’t catch up with your heart. Luckily, I’ve never been cheated on, but I can 100% see why a woman wouldn’t leave her unfaithful partner. It’s so easy to point a finger at women who stay, questioning their self-esteem or emotional intelligence. But love, particularly in a marriage, is so deeply binding. How can you leave someone you committed to in the name of God? Someone you share your whole self with? Built your life with? Considering  all that Beyoncé and Jay-Z have established together, it seems impossible.

A particular scene in the Sex and the City film always sticks out to me when I think about cheating in a marriage. When Miranda and Steve are in marriage counseling, she unleashes all of her pain in front of their therapist saying, “You broke a vow!”, revealing that he slept with another woman.

Timid, Steve responds, “What about all the other vows?”

In our Western society, monogamy is the premier model of romantic partnership. Somewhere along the way, cheating was understood as mother of all wrongdoings in a relationship. And while the emotional pain it can cause has earned it this title, remaining faithful is only one component of a marriage. Cheating is shameful, despicable, embarrassing, heartbreaking, confusing and awful. But that’s what the “for worse” means. Many shame Beyoncé for staying with her cheating husband, but previously commended her for her commitment as a wife. Is Beyoncé comprising her self-worth as a female? Or is she maintaining her promise to her unworthy partner, despite how bad it makes her look?

Maintaining my feminist moral anchor, I can’t judge another woman for her actions. Because more than anything, it was his actions that forced this strong female to make a very difficult decision. That’s what makes Lemonade just as poignant after all this time, because Beyoncé allowed herself to bleed out in the form of music. Even when her marriage faltered and her husband failed her, she only put attention on her art. Perhaps the most difficult lesson in anyone’s lifetime is that of forgiveness, and she verbalized the learning process in her award-winning album. Knowing what we know, 4:44 seems like mere runoff of Beyoncé’s incredible journey as a wife.

Even though we are in the thick of this marriage controversy, skillful as ever, Beyoncé and Jay-Z have put it in their past. A hallmark of their iconic partnership is the power over their privacy as huge celebrities. While we read headlines and write monotonous blog articles about the state of their marriage, they have it figured out. They might not, but it isn’t our business anyway. In his new album, Jay-Z calls the birth of his newborn twins a reason to “believe in miracles”. Considering the timing of their arrival, the miracle may lie in the context of their existence. Through sour betrayal can come the reward of promise and commitment. Beyoncé and Jay-Z both taught us how excruciating and beautiful it can be to make lemonade.

The following article contains Justice League spoilers.

Over a relaxing, cozy weekend with my fiancé, I saw Wonder Woman and Friends. Sorry– I mean Justice League.

The DCEU has undergone some serious rebranding in the last five years. Warner Brothers has done their very best– or tried, at least– to keep up with the staggering success of Marvel films. Warner Bros’ latest efforts have been met with grand disappointments–the botched-job that was Suicide Squad– and equal glimmers of promise– Patty Jenkins’ glorious Wonder Woman.

For me, Justice League was going to be the ultimate test of the franchise. Were Zack Synder’s previous efforts impactful enough to put butts in seats this go around? Was the run-off excitement from a Wonder Woman summer going to carry over into the ensemble cast? Could DC pull off its own über-exciting task-force film as a response to The Avengers or Guardians of the Galaxy? Or are they just late to the party?

Let’s begin with the League itself, from the top down:

Ben Affleck as Batman

Best: Team Captain

Worst: It’s still Ben Affleck

Affleck delivers a very plausible performance as Bruce Wayne. Don’t get me wrong, I liked Batman v Superman: Dawn of Justice. But I’m still not convinced. Call it my own Dark Knight bias, but Batman deserves so much more swagger, poise and intelligence than what Affleck has to offer. In Justice League, Batman provides a pleasant narrative to the band of heroes, equipped with cute one-liners about his immense wealth. But aside from being merely likable, Affleck is a haggard interpretation of the beloved dark hero.

Henry Cavill as Superman

Best: Surprise!

Worst: Preposterous story arch

If you didn’t see Superman’s return coming, what an exciting 20 minutes those must have been! Seriously, the return of the one and only Superman was allotted less time than any of the Justice League recruits’ backstories. Cavill once again embodies Superman’s idyllic persona, but his monumental resurrection is downplayed to the disadvantage of the film. The rushed return of Superman appears to go through the motions– but more on that later.

Gal Gadot as Wonder Woman

Best: Diana Prince: fashion icon

Worst: It’s not Wonder Woman 2

Justice League felt like Wonder Woman’s Day Out. Appearing a little more pedestrian and with less moral peril, Diana stars as a level-headed, compassionate matriarch of the Justice League. Gal Gadot continues to shine in the role, breathing courage, perception and depth into this punctuated appearance as Wonder Woman. For this reason, it was discouraging to see that the matriarch of the Justice League fell secondary to the patriarch, Batman.

Ezra Miller as The Flash

Best: Quirky & impressive character acting

Worst: Not enough screen time

Miller surprised me with his impeccable performance as Barry Allen. In the slew of superhero films prefacing an unsuspecting nerd with powers, I felt Ezra Miller offered us a refreshing embodiment of a character that could have easily been generic. The Flash quickly became my fan favorite of Justice League all thanks to the advantages Miller took during his time on screen. His performance was subtle yet genuinely hilarious and I resent his low level of involvement in the Justice League’s mission.

Jason Momoa as Aquaman

Best: Costuming and gorgeous ombré

Worst: Weak finish

Our introduction to Arthur Curry was a strong one. This whiskey slingin’ CrossFit kind of Aquaman was one that baited females for his looks and males for his bad-assery. But the trajectory of Aquaman’s character in Justice League went south quickly. With little to no character development, Jason Mamoa led a character that was all brawn; disposable brawn, seeing as Aquaman had ONE battle sequence featuring water. The dopey-hunk characterization had not yet been earned with previous franchise installments, giving audiences an Aquaman that flatlined.

Ray Fisher as Cyborg

Best: Self-awareness in diversity!

Worst: The 6th member

In an interview with NBC news, Fisher shared that it was an honor to portray a member of the Justice League with diversity. His esteem for the role carried onscreen, with a strong performance as a struggling, half-human Victor Stone. As Barry Allen lovingly called them “The Accidents”, Victor Stone arguably had the most emotional character struggle of the film in dealing with his newfound abilities. While there were no flaws in Fisher’s execution, the jam-packed cast and multiple storylines ultimately shoved Cyborg into the role of the Justice League’s 6th member.

Overall

The common denominator for all of my character critiques seems to land on the film’s crunched storytelling. I have always admired the DCEU for its political, high-brow premises; incorporating superheroes into a larger dialogue about crime, society and the good of man. Justice League made it painstakingly clear that Warner Brothers is willing to sacrifice the sophistication of the brand for the motive of the studio.

The necessity of a Justice League came from the world’s loss of Superman; without a beacon of justice, our foundation began to crumble. That purposive central idea was dropped in the middle of the film in its attempt to juggle six leading characters with respective storylines in under 90 minutes. What should have been a brilliant extravaganza of superhero teamwork ended up as a watered-down attempt with an obvious studio thumbprint left behind.

I’m aware that the DC and Marvel comparisons can be obnoxious and even annoying to fans. But Marvel’s untouchable success can be accredited, in part, to its excellent, seamless world building. In order to brand a successful comic universe, gaps must be filled and the production must be full-throttle. I can decidedly say that Justice League was not full-throttle.

The cut-corners were just too obvious for me. The Amazons’ costume change, as controversial as it has been, cheapened the women from warriors to WWE girls. Amy Adams looked like her manager booked the role hours before filming, giving a flimsy performance as Lois Lane. And the CGI covering Henry Cavill’s mustache was truly unforgivable in some sequences! These minor grievances would have slid on their own, but they added up as an indication of disregard for a feature film that should have been major. If Marvel Studios can be diligent and committed to their projects, so can Warner Brothers.

All things considered, I left the theater Saturday with a smile on my face. The purpose of superhero films is to indulge in the fun of fantasy and argue about who is the best on the car ride home– all of which I did. Justice League has the makings of a great film, even two or three great films, if studio executives provided ample screen time for character development and world building. To the film’s credit, much of the cinematography reminded me of what many DC films have in common: breath-taking visuals.

These heroes are beloved for a reason; they represent a reality we all wish were true. Despite its weaknesses, the excitement each audience member feels when their hero prevails serves DC’s special purpose. No matter the execution, films like Justice League will always succeed with fans of the genre. And their are certainly enough fans to help Justice League become successful in its own right.

What did you think of Justice League? Leave a comment!

The following article contains Annabelle: Creation (2017) spoilers.

Annabelle: Creation is the fourth installment in James Wan’s The Conjuring cinematic universe. This film, of course, has James Wan written all over it– everything from the skillful dolly shots to spooky background attention-getters. Annabelle: Creation follows the famous Wan formula meticulously, which is why many claim this film is the weakest in the franchise. But, much like sex, pizza and ice cream, when it’s not its best, a James Wan horror film is still pretty good. Annabelle: Creation managed to make me peak through my fingers at some sequences and check over my shoulder when I was readying for bed.

Annabelle: Creation may not be the next Psycho (1960), nor does it compare to Wan’s notorious Insidious (2010), but it was still a successful, fun summer horror flick. The film in no way hindered the franchise; it carried on the mythology of The Conjuring universe with cohesion. The famous, terrorized doe-eyed spirit of the series was kept alive by the film’s cast comprised mostly of children.

Wan’s previous works have centered themselves around families, in which young children often take the brunt of the poltergeist’s shenanigans. Annabelle: Creation, however, focused on children who were distinctly family-less. The Mullins family, who lost their young daughter in tragedy, open their home to girls from a Catholic orphanage. Wan’s previous narratives left parents to fend for their children in the wake of demonic activity, but the latest in the franchise leaves most of the work up to the kids. Make no mistake, the Annabelle sequel is not a children’s flick– it’s a highbrow horror film led by a strong cast of child stars.

At one time, child stars ruled Hollywood. Dating back to the Shirley Temple era, some executive in an office figured out that innocence and cuteness is profitable. I think back to the favorite films of my childhood and recall a slew of child stars that appeared in popular movies. In the 90’s, audiences were enamored with young talents like Christina Ricci and Kirsten Dunst. America’s sweetheart came in the forms of Macaulay Culkin, Lindsay Lohan, and the cast of the original Harry Potter film. Films at the time were able to incorporate child presences that were dynamic, solid and in the foreground.

Particularly in the horror genre, children have proved their abilities as vehicles for terror. M. Night Shyamalan’s famed The Sixth Sense (1999) would be nothing without Hayley Joel Osment’s performance at the age of 11. Referring further back to films like The Shining (1980), that same profitable innocence of children has heightened horror viewing experiences. Child stars brought an extra element of excitement to the table in filmmaking, which helped many of them reach household-name status. But in a market that once boomed with young talent, in the last 10 years or so, child stars have been noticeably absent in the film industry.

I can find blame in the rapid maturation of millennial culture, where people like Kylie Jenner are adult sex symbols by the age of 17. Eventually stories from youth and teen points of view were overshadowed by the accessible glimpses into adult life made possible by social media. The lines between child star and young actor blurred and suddenly there weren’t many authentic child perspectives in film. There’s a certain nostalgia to be found in these perspectives– a fondness that many movie-viewers have expressed.

It appears that child stars are on track to make their resurgence in pop culture. Hit series Stranger Things brought back the Goonies-esque boyhood to sci-fi storytelling; a throwback that captivated all of Netflix. The children in the cast of Stranger Things are gaining traction in the media with well-received appearances on the Tonight Show, at the Emmy’s and across notable magazine covers. Finn Wolfhard, who stars as Mike Wheeler on Stranger Things, joined the cast of the upcoming film It (2017)– a project that also has a predominantly youth cast. The premiere trailer for It broke the online record for most views of a trailer in a single day; an accomplishment for a film whose protagonists barely crest the legal driving age. The recent success of these recent works leads me to believe filmmakers are shifting their focus back to the simplicity of youth narratives. Annabelle: Creation is a step in this direction.

Talitha Bateman, who portrays Janice in Annabelle: Creation, delivers a genuine performance as the handicapped outcast of the girls’ home. Her counterpart Linda (Lulu Wilson, 11), upholds the same sweetness in her terror. Aside from their honeyed, all-American looks, these two leads will easily land more work in the future as they succeeded in the challenge of their respective roles.

In fact, all the girls in the home deliver a star-quality effort as young horror actresses. At no point in time did the film suffer from its youth perspective; I was able to indulge in the characters with credibility. These child stars were able to entertain me in the way adult actors do. The child stars of Annabelle: Creation do not come across as phony or immature, rather they prove that talented youth can lead films with an honest screen presence and a robust spirit.

It also occurred to me halfway through my viewing of Annabelle: Creation that the film is distinctly female. The girls in the home are watched over by a nun from their original orphanage, Sister Charlotte. In James Wan’s previous films, the father character typically takes on the entity, protecting his family. However Mr. Mullins, Annabelle’s father, is essentially disposable and shows no qualities of heroism. Ultimately, Sister Charlotte bands the girls together when the demon attacks and damns Annabelle’s possessor herself (well, to her knowledge at least).

The final sequence of the film links the story to the Conjuring universe. Janice, possessed by the entity, escapes the Mullins’ home to later be adopted. She introduces herself as Annabelle, and times lapses to reveal that she is the cult follower who murdered her parents in the introductory scenes of the first Annabelle (2014). This tie-in was purposed as the final OMG! moment in the film, but I couldn’t help but appreciate that a female now carried the responsibility of the franchise.

Female characters in horror films are too often featured as topless, shrieking imbeciles or demonic temptresses. Yes, characterizations in Annabelle: Creation were not as full as they could have been, but it was refreshing to see a non-sexualized female character scare the pants off of viewers. By some stretch, The Conjuring universe now has more bite to it with this discreet layer of feminism.

A brief Easter egg in Annabelle: Creation hinted at the franchise’s continuation with Wan’s upcoming The Nun, due in 2018. Continuing with this theme, The Nun could open up more discussion about females in horror films and also their role in religious settings. In the meantime, I hope for more young actors and actresses to make their debuts in works of significance. Too often I spend time trying to convince others– and myself– of how grown I have become. But I look to popular child stars of this generation with such admiration. Youth is the most precious gift we will ever be blind to.

Child stars remind me of the delightful possibilities of girlhood– if only for 2 hours at a time.

40-year-old Brandon Bernard was executed on December 10 at a Federal Correctional Center in Indiana for a crime he committed in 1999. Bernard, a Black male, was sentenced to death for his gang involvement related to a double-murder in Texas when he was 18 years old. Because of his incarceration, the father of two died never having been able to physically touch his children.

I learned about the tragic details of Brandon Bernard’s story not through any mainstream news outlet, but via a series of tweets from internet mogul Kim Kardashian.

Kardashian is reportedly working, among other projects, on becoming a lawyer. Her particular interest in prison reform has led her to share other stories of the unjustly imprisoned online before, in specific that of Alice Johnson, whom Kardashian famously worked on behalf of with the Trump administration to grant Johnson clemency.

Kim’s tweets about Bernard were sent with a sense of urgency last Thursday, as time was running out for the federal government to intervene ahead of his execution. Many on social media then mobilized to try to contact government officials and share Bernard’s story with other followers in the hopes his execution would not be carried out. Their efforts were unsuccessful. Bernard was the sixteenth person to be put to death in America this year.

The aftermath of this news, met with the federal execution of Alfred Bourgeois–another Black male– just one day after, drew attention to the ongoing online dialogue about prison reform, mass incarceration and racist flaws in the justice system. #AbolishTheDeathPenalty trended in response to Bernard’s execution.

In the online circles of discussion about Bernard’s death, I noticed a number people scolding certain social media influencers for not spreading awareness about his case. TikTok stars Charli and Dixie D’Amelio and Addison Rae were tagged in videos and tweets charging them with doing nothing to address their audiences on the subject.

These criticisms harken back to this summer, where it seemed media attention on the Black Lives Matter movement was indistinguishably intertwined with celebrity and influencer voices. The combined issues of George Floyd’s murder, the COVID-19 pandemic and the impending Presidential election seemed to back those with high follow counts into a corner; the implications of remaining neutral or silent were too loud.

It seems those blessed or cursed with fame today have accepted a responsibility that may have not existed in the recent past. In order to enjoy the privilege of being a trending personality, you must exist within the space of other trending topics. The aforementioned Kim Kardashian often attempts to strike a balance with this. As she promotes her many business ventures in beauty, fragrance and fashion on her large social media platform, sprinkled in are her fleeting takes on current events.

Prison reform, I would say, is the issue Kim is most passionate about, having engaged in more than one-off posting on the topic. Single tweets and posts about other issues, like gun control, climate change or Coronavirus, to name a few from the recent past, seem to pepper her online presence as a way to confirm a degree of self awareness. Kardashians and other online influencer types tend to post generic messages about hot topics as participation trophies. I posted about Black Lives Matter today, where’s my Girl scout badge on the matter? And with public opinion operating like a checklist, it is certainly a luxury to decline comment.

On the other hand, the average person’s ability to access and spread information today is unfettered. In 2020, it seems some everyday people have taken it upon themselves to act in the manner that is being asked of large internet stars by sharing political and social information as if their reputation depended on it. The difference between the two types of worlds here is the average person’s risk of association to political ties can directly effect their business, careers and personal relationships. Whereas a celebrity’s tweet about social justice tailed by a sponsored or promotional post may not stand out, someone in your community’s hot take on structural inequities could very well lead to them getting doxed, fired, or cyberstalked. For us regular folks, it is a gamble to be outspoken.

Among the young and famous criticized for their silence about Brandon Bernard’s execution was beauty Youtuber James Charles, who appears to run in the same hyper-relevant circles as the D’Amelio sisters these days.

In a series of now-deleted tweets, James responded to backlash from followers stating: “You can’t win. Ignore something, people are upset. Speak about something, people are still upset.” 

“Instead of focusing anger towards influencers,” he continued in another now-deleted tweet, “we should be directing our anger to our country’s f–ked up legal system that unjustly took the life of Brandon Bernard today. Justice will one day be served and it’s important that we use our voices and platforms to hopefully make a change for the better.”

However, on the issue of using one’s voice, James further tweeted: “There are some days I’m on my phone from the moment I wake up to the time I go to bed, but there are also some days where I barely pick it up because I’m busy doing other things. No one, not even influencers, can be aware of every single thing happening 24/7.”

There’s elements of truth in each of his statements. Online, merely existing is guaranteed to piss somebody off, especially considering a person’s identity is more widely open to examination on social media. Another interesting point Charles presents is misdirected anger toward online influencers for their missteps on social issues. Are personal attacks being virtually launched at SCOTUS members or political leaders the way they are at viral TikTok dancers and Instagram models? Frustrations were certainly voiced to those with hands in the criminal justice world, but their comments do not hold the same weight of scandal a tweet from a beautiful celebrity may carry. In the same vein, do we become critical of the people in our own lives when they don’t tweet, post or share for the purpose of social change? Am I to “cancel” my distant relatives or coworkers for their absence in posting about something I believe to be important? Of course not, because having an opinion or taking a stance in today’s world is only valued when it can be commodified.

I believe the solution here lies within who we as a public make famous in the first place. For some reason we propel privileged teenagers into the spotlight and act surprised when their attitudes about current affairs are disappointing. If their platform is large and influential, they of course accept a responsibility to at the very least not be harmful. That said, guys and gals that shake their hips to beats in 15 second videos are not inherently charged with teaching their audiences. Even those with followers in the millions could benefit from just stepping back and listening to others.

One incredible thing I saw from events this summer was a large public refocusing on more marginalized communities’ voices. Talented Black men and women in the entertainment space, who have always used their voice, were suddenly handed the megaphone in the wake of recent national racial unrest. It would serve the internet well to launch such valuable voices into the same fame and commodity as the D’Amelios or Charles or Kardashian. When we tailor our timelines and social media experience with purpose and put agency back in the act of “following” others, the messages we receive will cause more impact and, if you’re seeking it, change.

The devil may work hard, but Kris Jenner works harder.

Seriously, Keeping Up turned 10 the same week not one– but TWO– sisters garnered major pregnancy rumors. There are no coincidences under Kris’ reign.

And while nothing is confirmed by the family themselves, everywhere from TMZ to People Magazine is reporting, in confidence, that Kylie Jenner and Khloé Kardashian are both pregnant.

The news that Kylie, 20, may be expecting broke over the weekend. She and boyfriend Travis Scott are reportedly due sometime this winter, making the pregnancy a best kept secret among friends. Aside from this news going against all recent flat-tummied selfies, I was completely floored learning this information. Kylie– the bratty, 20-year-old lip kit mogul a mother-to-be? Sounded like tabloid garbage at first glance.

The reports all but horrified my conservative mother, who doubles as my go-to Keeping Up viewing partner. I dumped the news after our appetizer arrived at family dinner, excited to be the bearer of juicy celebrity gossip.

“Who’s the boyfriend!?” 

“How old is she!?”

“Whatever happened to marriage!?”

The negative responses my mom gave seem to echo public opinion about Kylie’s pregnancy. Confusion and disapproval are overwhelmingly the public’s reaction on social media. People are saying she’s too young, too immature, too stuck up, too Kardashian to be a mother.

And the thing is– she is. But that’s none of our concern.

Kylie Jenner, whether you’re a fan of her or not, has undoubtedly hustled the social media era. Her influence is certain; young girls want to dress like her, accessorize like her, live like her, augment their bodies like her. I would go so far as to say Kylie Jenner is the youngest-ever outright sex symbol of the modern age. Not a hot young celebrity, not just a sexy marketability. Kylie oozes a raw adult sexuality that is unprecedented by any young mainstream media figure. Men and women alike want a piece of Kylie. Her bank account, as a result, is a reflection of her commodity.

The more her celebrity is made into a spectacle, the more she profits off her sex appeal. The more she is rewarded, the more she provides us, the public, with glimpses of her sex. Magazine covers, calendars, Instagram posts, exclusive footage in the Kylie App. Little by little, we are consuming her sexual presence like a savory meal. We expect– and demand– sexuality from Kylie Jenner.

Here’s where our culture’s misogynistic paradigm comes in. The editorial shoots, makeup campaigns, Snapchat updates– they each give us a taste of our temptation. A while ago, sex tape rumors circulated, alleging an adult tape between Kylie and her ex-boyfriend Tyga was in existence. Kylie quickly denied these rumors, but imagine, for a moment, the ramifications of such a tape’s release. All the media speculation, prying and salivating over Kylie’s plumped lips, breasts, hips and rear end… would be over. The public’s desires would climax with full exposure, ending the trail of breadcrumbs. The sexual tidbits carefully released along the way would no longer be of necessity; the forbidden fruit would have already been plucked. Her sexuality would then become tangible. More tangible than that? The biological evidence of sex: a pregnancy.

In layman’s terms, a pregnancy ruins what Kylie is to us. Her edgy, mysterious and sexy media presence would shatter under the role of mother. What was once possible becomes definite; what was assumed becomes known. In our patriarchal society, we keep female sexuality at arm’s length with desire, but shame women who confirm their sexual behavior by conceiving. Kylie’s gig has always been a game of has she or hasn’t she? Having a baby strips us of that sexual fascination.

Pregnancy is the full biological capability of womanhood, so, in a way, being pregnant ages Kylie. Though she has been heavily accused of growing up too fast, her marketing model is age-old in Hollywood. She’s young enough for a tight body, supple skin and revealing clothing, but just old enough to make the grown men lusting after her comfortable. Girlhood is an added layer of her sexuality. Pregnancy contextually implies the sexual maturity she’s been emulating as reality. The whimsy of unspoken sexual fantasy vanishes with the image of a swelling belly and responsibility of a baby.

On the issue of age– Kylie’s sister Khloé, who is 13 years her senior, might also be expecting. A matter of hours after reports about Kylie debuted, news dropped that Khloé Kardashian and boyfriend Tristan Thompson could also be welcoming their own bundle this winter. I’m sure all of this media frenzy will earn the Kardashian-Jenner publicists a handsome overtime paycheck, because this is tabloid gold. The sisterly competition? Figuring out whose baby will be worth more? The headlines are endless.

Khloé’s rumors presented themselves as a fizzled afterthought to the explosive Kylie pregnancy buzz. Many felt that, in comparison, Khloé getting pregnant simply was not as shocking. The 33-year-old, down-to-earth member of the family would be more than deserving of motherhood–  right?

In analyzing these two news items, I realized how they illustrate both ends of a double standard women face. We negate nurturing and mature qualities from sexual women and dampen the sexual identities of mothers. Kylie isn’t ready to be a mother– but she sure is hot! Khloé will make a good mother for reasons X, Y and Z– she isn’t slutty like those other Kardashians!

Of course the Kardashian-Jenners aren’t the most average example of the female experience; not everyone has a baby fathered by an NBA star or gets driven to OBGYN appointments in Lamborghinis. But the understanding we have of both Kylie Jenner and Khloé Kardashian is exactly the understanding media wants us to have. No matter the time we commit to KUWTK on the DVR, we have no possible way of truly knowing them as women.

The sexist qualifiers we attach to their image– hot, ugly, fat, unmarried, fake, whore– have no virtual impact on their abilities as mothers. The same goes for women in our real lives; we judge the socio-economic status, age and aptitude of pregnant women rather than lift them up in congratulation.

The issue of hungry American women and children is bleak; a reality one in six  individuals must face with their families. At the very least, we know that the Kardashian-Jenner babies-to-be will not face this hardship. Knowing this, the ladies’ romantic relationships, public image and sexuality seem insignificant.

And of course, members of the public may still hail the family as poor role models or trashy social media celebrities. Everyone has an opinion. But to them, I ask: where exactly are your opinions coming from? Are you subscribing to an understanding of pregnancy that only celebrates some women?

If the answer is yes, I have already explained why.

In sum, it is past time we stop shoving women into the binary of either “sexual” or “mother”. We, as a whole, need to start accepting that women have qualities beyond our immediate expectation. It is feasible for a female to be young, spoiled, single, sexually expressive and capable of motherhood. Even Kylie Jenner.

I should offer, once again, that this is entirely based on speculation. Popular rumors are exactly that; I, a lowly college student in Virginia, cannot confirm or deny either Kylie or Khloé’s pregnancy. We don’t know anything momager Kris Jenner doesn’t want us to know. With not so much as a baby bump Snap or quick tweet out, I will not believe anything until I see both Kylie and Khloe with positive pregnancy tests in one hand and today’s newspaper in the other.

Until then, I’ll mind my own.

The following article contains Stranger Things season two spoilers. 

A six-pack of beer, sheer excitement and a large pepperoni pizza courtesy of Pizza Hut. That’s all I needed when I sat down Saturday afternoon to officially begin binge-watching the long-awaited season two of Stranger Things. 

Over those nine-or-so hours, I laughed, I cried. I cheered, I gasped, I rooted for my favorite kid heroes all over again. Like the rest of us, I waited over a year to be reunited with the happenings in Hawkins, Indiana and the Upside Down. When season two arrived, I was met by the beloved familiarity of sweet nerdiness and that heartwarming synth original score. As much as those things delighted me, made me smile so hard my cheeks hurt, I realized after finishing the season that familiarity ultimately resonated as repetition.

If you liked the original season of Stranger Things, you will love Stranger Things 2. I promise. 2 fulfilled its promises of being a homecoming of sorts, because whatever you longed for in those miserable months between seasons was revisited almost exactly. Even though I enjoyed every moment of Stranger Things 2, this new season admittedly suffers from sequelitis. 

The Duffer Brothers certainly tapped a gold mine with their ambitious Netflix original. Stranger Things was the hit that no one saw coming, yet it managed to win the year as everyone’s favorite streaming series. The series tackled sci-fi without the bravado of recent extraterrestrial films; Stranger Things was the wondrous and eerie adventure we all wanted to go on.

Flashforward to the present, where the gang of child stars are Hollywood sensations and people are demanding that same nostalgic punch of the first season. Stranger Things left such a flawless impression the first time around, I can see, from a directorial standpoint, where veering from successful elements of the series could be discouraging. As a fan who hopes to see the series access its potential, though, I noticed storytelling techniques in Stranger Things 2 that directly mimicked the original season. I felt that this limited where the story could have gone and our journey to the finale.

Season one left the party estranged from Eleven, assuming the Stranger Things darling was trapped behind the goop of the Upside Down. Her whereabouts unbeknownst to them, Mike and the gang received a new female ally in season two. The arrival of Maxine and her testosterone-junkie step-brother, Billy, were purposed as a major story element in the first episode. Conveniently, the boys were then supplied another conflict of interest with a second female entering the group, as well as a romantic storyline that patterned the innocent, dorky flirting between Mike and Eleven.

The addition of Maxine –or lovingly, MadMax– did incorporate an interracial youth romance in her relationship with Lucas. That relationship allowed Lucas more screen time than the previous season, as well as character development in a conflict against Maxine’s racist older brother. Those successes considered, Maxine’s addition to the party was not beneficial to the greater storyline and read as disposable compared to the happenings in the Hawkins National Laboratory.

Within the lab, we explored answers to season one’s hints about Will’s lasting condition from the Upside Down. Suffering from a supernatural PTSD of sorts, Will readily became the vehicle for the dramatic plot in Stranger Things 2. I must say, Noah Schnapp delivered an unexpectedly powerful performance in his time on screen. This season took his character into even darker territory and he definitely rose to the occasion.

But, much like his disappearance echoed greater repercussions in the first season, Will’s illness (and ultimately his possession-type condition) cast his character to the background of the events happening around him.

In the first season, the significance of his character in the Upside Down allowed other major characters to develop accordingly. Where I hoped Will would get a chance to shine in season two, the storyline ultimately fell into the same premise: the drama unfolded because of him and not with him.

Other repeat aspects of season one were not so layered– many were obvious enough without much consideration. The cherished “a-ha!” moment involving the Christmas lights in season one got its reprise in the form of sketches. Much how Joyce discovers an electric communication to her son in season one, we see the exact chaos of items strewn across the Byers’ home with Will’s pathway drawings.

Similarly, Will’s clever communication from the Upside Down makes an underdeveloped return in season two when Will uses Morse Code while his body is held hostage by the Shadow Monster. My critique of these elements are not the events themselves– because they were perfectly enjoyable in viewing them. Rather it is evident the Duffer Brothers did not attempt to rework plot points from the first season. That copy-and-paste mentality should have only been applied to the spirit of the Stranger Things, not the pattern of the story itself.

I have only reassured myself of this position because the new, inventive elements of Stranger Things 2 were what elevated the entire season to audience’s expectations. The new directions within the series taught us more about characters as well as expanded the mythology of the Stranger Things universe.

For example, the storyline involving Dustin’s new pet, Dart, was complete brilliance. The Gremlins homage to his owning a pet monster was perfectly smart, tender and, most importantly, incorporated throughout.

Perhaps the biggest surprise of the season was Eleven’s parallel storyline to the action in Hawkins. Her journey of isolation and self discovery was one I didn’t expect in my many anticipations of Stranger Things 2. Foolishly, I predicted much of the season would be spent searching for her, shoving Eleven into a damsel in distress role she has no place occupying. This trip into her family life and accessibility of powers carried such dimension that actress Millie Bobby Brown was able to deliver with obvious dedication. Stranger Things 2 accessed the depth of Eleven and it is my hope that Stranger Things 3 grants its other characters with similar defining moments.

The addition of Sean Astin– the original nice-guy in a group of losers– was the cherry on top of a sweet season for me. His initial introduction as Bob, Joyce’s boyfriend, had me worried– I feared he would be cast as a cruel stepfather figure. But the lovable Radio Shack oaf came to many characters’ rescue and aided the sense of family and community among the characters in times of trouble.

What truly rocketed Stranger Things to its success is the sheer purity of the series. I have referenced Stranger Things numerous times in other articles because its impact as an independent streaming series about children is astounding. We don’t watch because it is juicy or grotesque, we watch because Stranger Things encapsulates storytelling that is innocent and compassionate; we watch out of love. Stranger Things is characters with honest-to-God connection and we watch because we relate to empathy, friendship and bravery.

Some moments in Stranger Things 2 could not be more powerful if they tried:

Bob’s fatherly talk with Will on the way to school– there were tears. Bob’s cruel demise as the season’s sacrificial lamb– there were tears. Hopper’s emotional radio message to Eleven– there were tears.

Oh, but the Snowflake Ball. Those were emotions I hadn’t felt in years.

The season’s finale went right for the emotional jugular, reminding everyone watching why they waited so long for the second installment. Maybe it was Will dancing with Joyce in his living room, or a tearful Dustin’s new hairstyle, or the way Mike told Eleven she looked beautiful. Those elements in combination, and the softness they effortlessly give off, will forever belong to Stranger Things— seasons past and present.