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thebeautysurrounds · 3 years

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THIS CONTAINS SLIGHT SPOILERS FOR NEVER HAVE I EVER S2 READ AT YOUR OWN RISK.

This is quite long I had a lot to unpack.

Since watching the 2nd season of Never Have I Ever a few things have been bothering me about the way people are reacting to Devi, and the show overall but mostly Devi. First of all she’s what a sophomore in high school? and she’s doing this all while being the only brown girl (up until kinda the middle of S2) and still dealing with grief and having absolutely no idea who she is yet. To me outside of being an honor roll student she is not doing things FOR HER she is doing this to appease her mother. Who while she means well pushing Devi to succeed to certain extremes which if Devi shows the slightest behavior of fucking up her mother makes harsh comments instead of understanding Devi is a literal teenager and needs room for fucking up.

Is Devi hella unreasonable at times? YES does she often times act strictly on impulse without a second thought…YES. But as a girl who virtually has no one outside of her friends who also are staring to drift from her and get into their first relationships themselves and have their own activities she essentially is left to navigate the world and her teenage angst alone. While I will give Nalini credit for all the work and time she has put in to not only being a single mother and navigating her own grief but also being a working mother who is a doctor and quite possibly has her own struggles with being a brown women in that filed. My problem lies with her not being able to balance or even let go of a strong arm parenting style that mostly focuses on Devi’s fuck up more than her accomplishments and makes comments on how her fuck ups that haven’t even happened yet. I’m not sure Nalini even realizes Devi is at the very very top of her class because I truly believe (after S1) even though Nalini apologized to Devi Nalini has a ‘hoping for the best but expecting the worst’ attitude when it comes to Devi and that’s in the for front of her mind so much she doesn’t realize Devi goes above and beyond not only for herself but to make her mother proud of her all for her mother to just not acknowledge that.

Now with Devi’s characterization I get where some people are coming from on saying Devi shouldn’t have been “boy crazy” or that they “ruined her character development” but here’s my problem those critiques while valid and your allowed to have those opinions…It’s just not really realistic and let me tell you why like I stated Devi is what a sophomore in high school and she has made it a abundantly clear her parents forbid her to date cause it’s school and extra curriculars only. Which will lead to a good college which thus will turn into a good career. While that’s all well and good. I don’t think y’all realize the FOMO of being in high school and growing up with very strict parents, and wanting to have your first relationship. Wanting to be an actual teenager and not wanting to think about 3-4 years down the line which most teenagers don’t/can’t visualize cause it’s not the right now. Devi wants to have those experiences and there’s nothing wrong with that does she go about it the right way…not exactly but y’all act like YOU have never been a teenager and said and done awful things out of anger or just pure immature stupidity. For the boy crazy part Devi is literally having her first feelings and experiences with boys she has 0 clue what she is doing outside of probably books, tv, movies and what her friends assume they know (even though they mean well) the only person Devi would remotely trusts is gone, and she can’t ask her mother cause her mother would honestly probably shut her down and make her feel guilty for even wanting to start having her first experiences with boys. Y’all have such a warped view of not only real teenagers and high school aged kids but also fictional ones. Y’all are so use to shows having protagonist being awful or starting off kinda okay but then their character turns awful and remains that way. What some of you fail to realize is actual teenagers and “teenagers” in shows can/are VERY morally grey.

Should Devi have been honest and possibly communicated to both Ben and Paxton that she has some sort of feelings for them both..possibly but Devi is a teenager do you think she is having a in depth analysis and talk with herself (outside of a pros and cons list) about what infatuation versus lust versus genuine connection versus romantic attraction looks like probably not. Let’s also analyze how she literally goes from being in her eyes forgettable to being noticed and even though it’s not talked about in the show explicitly she honestly probably struggles with self esteem/self image issues. To go from being a girl who to her no one cares about/notices to one who is getting the attention of two boys who are in Devi’s eyes attractive in their own right. She is so consumed with two guys ACTUALLY being interested in her that she fails to realize she is/and will hurt them both, Do I think Paxton is genuinely attracted to Devi…maybe. But I’m still on the fence about their relationship to me in the beginning I felt Paxton felt Devi is just another meaningless high school fling that he will forget about once he gets to college but to Devi here’s this guy who is “popular” very attractive and he pays attention to her is she looking at the semantics of the situation and how Paxton is more than likely just using her and is only engaging with Devi to get a passing grade and to basically give her the superficial experience of a “high school boyfriend” no she’s not she’s looking at it like here’s this guy who is attractive and he wants to be with someone like me. But do I also believe Devi in S1 was using Paxton and then fell for him DEFINITELY but I will give credit to Paxton for trying at a real relationship with Devi and I hope he will try to be more open and honest.

Do I think Ben likes Devi I honestly do, While the insensitive jokes (exchanged between both) should be discussed I think Ben over time started to see Devi as a girl who finally saw him not the rich, annoying, know it all. But in his view Devi and him are on equal playing fields because they are both overly driven smart individuals and when she said yes to going out with him it was probably the first time he felt like a girl saw the real him. While Ben too more than likely struggles with abandonment issues him dating Devi in a way made him feel like this was the first time he could actual be happy about something cause it was something he actually wanted and not something he just did to earn points in others books and impress people he genuinely got something on his own and that he was actually happy not a front he put on. To me Ben’s abandonment issues come out even more than in S1 when he tells Devi why he’s so hurt and it’s the night of the party when she runs after Paxton (who he sees has it all) and Devi doesn’t “choose him” Do I think Ben and Devi should date cause they share some form of the same trauma no. But again Devi is not use and doesn’t even know what to do with the attention of two people. Again is Devi looking at the semantics of her relationship with Ben…No. I don’t think Devi even realizes she’s quite literally hurting two people cause we could also discuss how Ben and Paxton probably have had other flings and relationships without a second thought while Devi having no relationship experiences and this is territory for her and she has no idea what she is doing or how to properly navigate this situation.

I’m almost done with this long ass rant I promise but it’s two more things I want to make light of/point out I don’t think anyone really gives Devi credit for still going to therapy, loosing a parent is unbearable especially loosing one as young as Devi did, especially when you feel the only parent that truly understood and supported you is gone. Devi doing things that are impulsive and unreasonable because she quite literally has no guidance her mother is only consumed with Devi not making the family “look bad” Devi’s grief is so heavy and she feels she’s going at it alone because her mother doesn’t take genuine time to talk to her. Now was Devi “stalking” her mother extremely inappropriate yes for sure but do Nalini and her need to communicate better for Devi to understand that her mother wasn’t dating sure even if Nalini was on a date their should have been communication there. Devi will probably never stop grieving her father hell he literally came to her in a dream to tell her she deserves better when it came to “dating” Paxton and Nalini will probably never stop grieving her husband but she deserves happiness too and I believe if Devi and Nalini were both honest with each other her slowly dating again wouldn’t have been a problem. Another point I wanna make connecting Devi, Paxton, and Ben is they all have this view that the grass is greener on the other side and that’s just not the case. Ben is jealous of Paxton cause he feels he has the “Perfect life” but in actuality Paxton is extremely flawed and honestly insecure his own family doesn’t believe in him and he knows people only like him because he is attractive, while Paxton looks at Ben like this, while annoying Ben is smart, rich, and no one ever questions Ben’s intelligence but in actuality Ben is very lonely and has spent most of his life alone or being raised by other people which has caused him to put on a huge front to people and often times overcompensate in his social life, and Devi looks at other girls like they have it all and have 0 struggles or problems (I.e her views on Anissa) but Devi fails to realize thy also struggle, are insecure, is struggling with mental illness, and don’t have themselves figured out, and Devi is looking at this man her mom is “dating” as if he’s taking something away but In actuality he is experiencing his own losses. All in all Never Have I Ever gets teenage angst and messy problematic morally grey teenagers right and the fact that y’all beg for more “flawed or problematic” characters and when you get them you don’t like that they are just that it’s odd to me it seems like y’all only want problematic characters if it’s how you see fit.

TL;DR: Y’all need to stop acting like y’all weren’t gross annoying and had fuck ups as teenagers y’all should really stop pretending like teenagers in real and some of us as teens didn’t have/engage in relationships that weren’t good but we learned from it while this show isn’t real it shows y’all will scream let people fuck up and let them grow but you don’t actually mean it. Devi is a teenager and requires room to grow she even admits she acts out and is impulsive but y’all act like she’s supposed to have the self awareness of a 60 year old.

#netflix never have i ever #never have i ever season 2 #tv show #never have i ever #devi vishwakumar #paxton hall yoshida #ben gross #nalini vishwakumar #maitreyi ramakrishnan #darren barnet #Poorna Jagannathan #jaren lewison #rant #analysis #spoilers #never have I ever spoilers #I wrote this at like 2am so if it doesn’t make much sense 🤷🏾‍♀️#I just had to get these thoughts out there cause it’s been on my mind

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out-there-so-it-isnt-just-me · 3 years

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Hey guys...I have an idea if you aren't sad enough yet. I was struck by a painful comparison sort of crossover idea. It would never be canon, but I'm mourning the end of Campaign Two, and I want to be sad and over-dramatic. Essek, but as Eliza from Hamilton in “Who Lives, Who Dies, Who Tells Your Story.” But, it’s for the entire Mighty Nien. Some of the lyrics are so on point for a poor Essek who will probably outlive all of his friends (Elves still generally live longer than Firbolgs by a good 200 years). Anyway, enjoy.

Every other founding father's story gets told

It occurs to Essek, during one of the many periods without one of the Mighty Nein (the time that he dwells on them the most), how unfair their whole situation is. They saved all of Exandria, and no one knows. They are amazing, and odd, and frustrating, and no one knows. They will die loved deeply, but not widely. He knows they prefer it that way, all things considered. But, everyone else who saves all of Exandria becomes legends, while the people he loves best will be forgotten, remembered only by him.

And that. That sounds unbearable.

So, in-between the times he sees the Mighty Nein, he begins to gather accounts. He writes down stories from those they helped, or simply left an impression on. The people who have met the Mighty Nein have an air about them that he gets good at detecting. They attracted the oddballs and the outcasts. And if they're entirely normal (whatever that means), then they usually get a certain twitch if you ask for stories about interesting strangers. About half the time, a certain blue tiefling pops up in them. He almost has a heart attack when he hears “go fuck yourself,” in Jester’s cheerful voice, when he knows Jester isn’t anywhere near there. He ends up getting the kenku’s story, and the voices of his friends are weaved into it. Essek thinks the Mighty Nein are the best people in the world, in their own rambunctious way. Part of him wants the world to love them as he does, or at least have the option to. Everyone should have a chance to get to know them, even if it's just through tales. The world would be a better place for it.

...And when you're gone, who remembers your name?

Who keeps your flame?

Who tells your story?

Once there is only him and Caduceus left, this becomes a more prominent part of how he spends his time. After...after a long, long period of mourning. He has so much life left to live without most of the people who made it worth living.

I put myself back in the narrative

I stop wasting time on tears

I live another 50(0) years

He stops hiding his past and bears his sins and his story to the world. Essek tells his story so their story can be appreciated to the fullest; his part in their story emphasizes the depth of their compassion and chaos. He tells his story, but not as himself. Essek continues to drift from town to town under a vast number of aliases. Everywhere he goes, he spreads his stories of his friends, some serious, most silly. He disguises himself so he can stay alive to do a little more good, tell a few more stories, to truly live the life his friends wanted for him.

...I try to make sense of your thousands of pages of writings

You really do write like you're running out of time.

Eventually, he gets his hands on some of Beau’s journals, Jester’s diaries, and Caleb’s research. Well, he always had the research, but he gets to the point where he can share it with the world. He slowly begins to share and explain their thoughts and personalities with excerpts from those. Maybe he also has letters that he shares parts of (though most of those, those words specifically for him, he keeps to himself, for himself). He wonders if they'd be angry at him for spilling their private thoughts. But neither Beau nor Jester filtered their thoughts very much in the first place, and he keeps anything truly painful out of the public eye. Caleb, well, Caleb was always about sharing his knowledge and research, provided it wasn't dangerous. And they were all dead anyway. One of the last things they told him was to be happy. And talking about his friends, learning more about his friends even after they were long dead, that made him the happiest he'd been in a while. So he hoped they wouldn’t begrudge him this small joy he’d managed to grasp and forgive him, should it be necessary.

I rely on Angelica

While she's alive, we tell your story

She is buried in Trinity Church near you

When I needed her most, she was right on time

Caduceus isn’t particularly interested in being well known or famous, but he never shies away from telling a story about any of his friends. Plus, he thinks it’s a good project for Essek. It's a way to continue to show his love for them and keep them alive in the only way they can be now. When Caduceus eventually passes away, he joins the eight other graves (Veth refused to be buried apart from Yeza) that lay in a tucked-away corner of the Blooming Grove. There is one space left, nestled between where Caleb and Jester lay, but it will be empty for a long time yet.

And I'm still not through

I ask myself, what would you do if you had more time...

...You could have done so much more if you only had time

And when my time is up, have I done enough?

Will they tell your story?

He keeps adding to his tale; he stretches it longer and longer with every shred he can remember. But, even his memory, as long as it is, runs out eventually. And their story finally ends, but he doesn't. He throws himself into activities that remind him of them. He does a lot of gardening ( mostly tea, poisonous plants, and flowers). He teaches children some rudimentary dunamancy in his spare time, for Caleb. He messes around with alchemy a little. Eventually, he publishes the last of the research that he and Caleb worked on together; ones that took him decades to solve by himself. He even finds himself drawing a surprising amount of dicks on random surfaces near the very end.

Oh, can I show you what I'm proudest of?

...I help to raise hundreds of children

I get to see them growing up

The time that doesn’t go towards his now worrying amount of hobbies, he spends doing what he has done since the beginning: caring for the Mighty Nien’s true legacy. He looks after and visits their children. He takes care of descendants of Luc, of Jester and Fjord, of the random teenager that Beau and Yasha seemed to adopt completely on accident, of TJ, of the Clays, and of a lovechild of Kingsley’s that found out who his father was and then somehow found Essek himself to learn about him. In an embarrassing show of sentimentality, Essek always keeps at least one offspring of Caleb's very first cat. There is a very funny story about Caleb thinking the animal was spayed when it was, in fact, not. He visits the different generations every couple of years or so (he has a schedule). The drow makes sure they know the stories of their ancestors, the adventures of the Mighty Nien; he tells them it's all real. He gives them ways to contact him if they’re in danger, or need any kind of help really ( he has funds to spare at this point). Every once in a while, a few of them will get it in their heads to write him yearly updates. It’s nice.

In their eyes, I see you, Alexander

I see you every time

And when my time is up

Have I done enough?

Will they tell your story?

It is strange and painful to see the attitude and mannerisms of the Nein in the descendants who have never met them. It is wonderful too. His stories of the Mighty Nein have become well-known tales that no one can decide how much is truth and how much is fiction (it’s true, it’s all somehow, hilariously true). He preserved them in his own way, in the right way (time travel is something he thinks of with a growing hunger the more years pass between when he last laid eyes on his friends). But in these men, these women, these children, they are truly alive.

One little half-orc girl has Jester’s mischievous eyes and infectious joy. Another halfling man squints just like Veth when she's trying to figure out if someone is bullshitting her. There’s a boy who charmingly bumbles his way through most social encounters, as Fjord did. A firbolg woman who has Caduceus gentle smile. A tiefling girl with all the audacious bravado of Kingsley. A man with eyes just as piercing as Beau’s, and a tongue just as sharp. Even Yasha’s kind and gentle demeanor somehow shines through in one small boy, despite her having no direct descendants. He gets to see these flashes of his friends in those who survive them, and it thrills him as much as it cuts him. (Sometimes, when the current cat has ruined some item of his, the pleased look it wears resembles the quiet glee Caleb exuded after he pulled a successful prank, but he’s pretty sure that’s just fanciful thinking.)

One of the last things Essek does before he dies is fully publish, in print, the entire tale of the Mighty Nein. How they came together, every person they helped along the way. The love, the loss, the kindness, the chaos, every moment he could recall or record was put into this one account (necessarily stretched out into several separate books). There is only one set, and he hands it over to the Library of the Cobalt Soul in Rexxentrum. Then he goes on his lonely way.

Oh, I can't wait to see you again

It's only a matter of time

There are now ten graves, each one as unique as its owner, nestled in a small corner of the Blooming Grove. One grave has the dirt still fresh around it. And somewhere, beyond the Divine Gate, there are cheers and laughs and cries of joy as the Mighty Nien become the Mighty Nine once more.

fin.

It’s my head-canon that by the time Essek dies he’s practically a mythical figure among the select families he looks after. It's to the point that in certain locations ( that have a lot of Nein remnants) he becomes a local legend, the guardian angel of nien (no spelling specified and with no real distinction of what that means), with skin like the night sky who drifts (literally) through towns and helps those who meet a certain requirement, unknown to the general populus. There are rumors that certain people have bestowed upon them a token they could use to call upon the angel’s aid. Of course, the people who have the tokens (sending stones or something similar. IDK how he would get that many wondrous items, but I focus on satisfying narrative not, like, plausibility) know Essek and know that he has died and that the tokens no longer work, but for a while they keep them as heirlooms, to show the love of one drow wizard for the friends he had long, long ago. Eventually, one of Veth’s descendants sells off their set because sending stones are worth A LOT, and the money seemed more practical. They have their stories; those are enough.

And before anyone complains about the Kingsley bit, I felt compelled to add a smidgen of Kingsley content because Essek loves Jester and Jester’s with Fjord and Kingsley is with both of them for years. I’m sure they get to know each other well enough that seeing traits of Kingsley is vaguely nostalgic and warming, even if it lacks the depth and love he feels for everyone else. Also, there’s no convincing me that Molly/Kingsley doesn’t have at least one illegitimate child running around from various trysts, he was basically the Scanlan of this campaign. It goes with the hedonistic vibe he gives off.

Also, is it normal that I completely designed the Nein’s burial site in my head because I did? Like I imagine they’re all spaced out in a circle. It’s almost like a stone gazebo but there’s not really a roof; it’s just a group of nine pillars that support a stone circle. The entrance is the Traveler’s door with dicks around the edge, and each of the nine pillars/supports is designed to look the knowing mistresses staff. The stone circle is covered in carvings of storm clouds and lightning. Wires are strung across the center of the stone circle to form the symbol of the Cobalt Soul. Not that you can see the wires, because vines have been grown all around them. Once you step through the Traveler’s gate, you’ll find yourself on some kind of rough mosaic floor, with depictions of a peacock, a pyramid, a snake, a sun, a moon, and (oddly) a pirate ship. The mosaic is made up of buttons of various materials and shapes. In the center is a saltwater pool/spring (depending on how magical we can get idk) and floating above it is an eternal flame encased in some sort of dunamancy magic that doesn’t actually exist that keeps it floating and eternal. Look I'm running out of ideas.

I can’t imagine what everyone’s grave marker would be, but I’m pretty sure Yasha’s is a simple stone that says "YASHA NYDOORIN: wife of Zuella and Beauregard Lionette," and the place where’s she’s buried is just covered in wildflowers that spread outside of the gazebo to encircle the structure entirely up to the gate. Also, everyone has a stone tarot card by their grave with the picture and designation that Molly gave them. Beyond that grows a weirdly dense thicket of trees and bushes that make finding the Nein's resting place rather hard. It’s said only the descendants of the Nein’s family or those favored by the Wildmother (or Traveler, Or Ioun, or Storm Lord) can find their way to them. And one tree, directly behind Yasha, is dead, struck by lightning who knows how long ago.

And they’re buried in this order: Yeza/Veth, Caleb, Essek, Jester, Ford, Kingsley, Yasha, Beau, Cad. I know there’s a good chance that a) Kingsley would just eff off and die somewhere unknown and b) Cad would probably want to be buried with the rest of his family, but shhh let me dream.

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rantshemlock · 5 years

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you heard it right folks, for the second year in a row i watched

Every Halloween Film

it took around 18 hours. there are eleven movies now after all. next year there will be twelve, and next year i will throw myself into the river thames if i make myself watch Rob Zombie’s Halloween II again.

this time i wrote it out as a journal. it is a mess. i will not edit it. if you read the entire thing you dont get a prize. im very, very tired. i watched eleven movies today. i like five of them.

9:27- I boot up Halloween (1978). I don’t know if this is the movie I’ve seen the most in my life, but I’ve certainly seen it dozens of times, and it never loses its impact. I’ve gotten to the point where I’m reading into micro-expressions on actors’ faces and I don’t know how much any of this was ever intended, but it certainly enhances my own reading of the film. I catch the expression of slight annoyance on Judith’s face when Michael walks into her room; it’s clear she had just no idea this was coming.

9:37- The staging of the opening of Halloween is so like a nightmare, a comparison I keep using this year for the movies I watch, but there’s a sense of being placed in the immediacy of what’s happening with no context and a burden of responsibility that only exists in dreams in the first few opening scenes. You don’t know where you are or what you’re supposed to be doing, but something huge and terrible is happening and the thick, dark shadows combined with the pale white-blue light the film uses makes everything emerge out of the black but never truly divorce itself from the darkness.

The way Loomis talks about Michael like some kind of animal is such a point of fixation for me. He calls Michael ‘it’ and wants ‘it’ to be locked up for life. Maybe it’s just being of a crazy persuasion myself but being the responsibility of a doctor who despises you and refers to you as an untreatable evil doesn’t feel like it would be much help to me. I just don’t think Loomis is a great doctor, is my point.

Laurie’s introduction is such a surge of light in a film that has up until now been shot almost exclusively in darkness. We are shown someone good, normal, happy, but the long, distant shots mean we are not accompanying her on this journey from her perspective; we are following her. Halloween legend suggests Michael doesn’t start stalking Laurie until she approaches the Myers’ house, but it feels like his eyes are lingering on her long before she does that. He casts a long shadow over her life before she even knows he exists.

9:42- The fact the film approaches the idea that it doesn’t make sense Michael would know how to drive a car but doesn’t explain it at all is weirdly funny. Just fuck it man, he can drive.

9:45: I really love the focus on Michael as a physical being. The fact we see him touch someone with his hands, open a car, steer while driving, run his hand over a fence… All of this adds a sense of Michael being tangible that I think is so vital. Michael Myers is a human being, not a demon, and that’s precisely why he is scary. Halloween as always meant to be a movie about the person next door; the fear comes from the fact that something inside your apparently nice, normal neighbourhood is rotten to the core. Laurie herself is incredibly on edge almost from the start; she knows something is wrong. She just hasn’t figured out what yet.

9:57- The gravekeeper’s insistence that something like this happens in every town is probably right on the money. It’s definitely what the film wants you to understand. The apparent nicety of your hometown doesn’t mean it’s free of violence, only that you’re trained not to notice it.

10:01- at exactly 0:33:16 Michael drives by in the background right behind Loomis without Loomis noticing, which is hysterically funny to me. I imagine Michael finds this incredibly funny too.

10:02- Laurie saying she’d “rather go to the dance with Ben Traimor” smacks of being a teenager and gay and saying the name of the first kid you know who’s nice to you because you guess that’s what having a crush is?

10:05- Loomis’ insistence at 0:37:12 that Michael killed and ate a dog raw is incredible to me. Also, I can’t say “Michael raw dog” to my friends without them screaming hysterically at me. They’re fuckers, and I hate them

10:07- From Loomis’ description, he met Michael when Michael was six, already condemned by the doctors as an incurable patient, and stopped treating Michael and turned to insisting he be locked up by the time Michael was fourteen. I think about this a lot.

10:13- “I’m not about to let anything happen to you.” I’m always very touched by Laurie’s immediate assertion of her position as a protector of children.

10:19- Lindsay caring literally only about watching horror movies is incredibly relatable. Truly a hero I can finally understand.

10:28- The house across the street, Lindsay’s house, is almost as haunting as the Myers house itself. It’s certainly a beautiful spectacle, the huge white building with its pillars and vast, blank windows, looming out of the darkness like a moon-lit tombstone. Laurie always seems so lonely when she watches it from the outside.

10:33- The head tilt after Michael pins Bob to the wall is so fucking iconic. It’s the first time it was done, I believe, and while it’s a cliché now it’s still chilling. The way Michael just studies Bob’s corpse, thoughts completely unable to be interpreted. The fact he turfs up in a ghost costume wearing Bob’s glasses moments later is so strange; there’s really no reason he would do that at all, other than the idea he finds it funny. There’s more showmanship to what Michael does than people recognise a lot of the time, I think. It’s like he really wants his work to be seen.

10:43- The shot of Annie on the bed under Judith’s tombstone has to be one of the most beautiful shots in the franchise. The perfect arrangement made just for Laurie to walk in on and experience in one precise way is so meticulous. Michael’s obsessiveness nature manifest in so many ways. The final showdown between Michael and Laurie is only around ten minutes long but it’s an incredible endurance test of a scene; the way Michael grows out of the shadows like he’s being formed within them is still beautiful and terrifying.

I think a really underrated part of this sequence that makes it so frightening is how Laurie is pointedly not alone; the neighbourhood she’s in is populated, and there are people around her. But when she runs to the neighbours for help, screaming and banging on the doors, they choose to ignore her. Seeing something they don’t like in their neighbourhood, they shut it out.

10:50- the closet scene is an incredible piece of filmmaking. There’s really never been anything before or since. I love art with a lot of lines and shadows and seeing the shadow of Michael moments before he breaks through the door is so haunting.

10:52- Laurie desperate and holding the knife in her hands is stunning. I love her.

10:54- I love the brief glimpse of seeing Michael’s face and how it stops him dead in his tracks. The fact he looks so painfully normal is so important too.

10:55- There’s a lot to be said about Loomis confirming Michael is ‘the Boogeyman’. I think Michael’s definite physical humanity in this movie is so important because it contrasts so strongly against the dehumanisation of him by the characters around him. We can only accept there’s a nightmare inside our neighbourhoods if we choose to believe it isn’t natural to it; that someone like that could not form there, but must have been artificially summoned, like a demon. Later movies and the remakes run with this idea; that Michael is somehow an outsider, but I think that defeats the entire point. Michael is part of this world just as much as Laurie is, whether we want to believe it or not.

10:57- I should be starting Halloween II but unfortunately, I have to go to the pharmacy. It might be Halloween, but prescription medications wait for no slasher villain.

11:13- I start watching Halloween II (1981). I like that this movie starts off with Mr Sandman. Horror movies having nursery rhymes in them now is another cliché, but this is such an interesting pick for Michael. I suppose it fits with him being the Boogeyman; he’s a creature of nightmares that slinks into our homes only through dreams. Allegedly.

I like the decision to pick this movie up right after the last one stopped, something that it looks like 2020’s Halloween Kills will be duplicating. It just makes a straightforward kind of sense.

11:21- The hysteria of Loomis screaming “I shot him six times!” over and over is sort of funny and sort of sick. There’s a slight traumatised, obsessive lunacy in Loomis the same as there is in Michael. I like the parallels between them. Loomis raised Michael more than Michael’s own parents did; it makes sense he’d have a lingering affect.

11:23- The shots from Michael’s perspective both in the first movie and this one are great. I love that we’re challenged to be inside his mind. We follow Michael a lot in this early opening. There’s an obvious strategy to his actions in this film, but the randomness of his kills are new. In the first movie, all the kills either get him something or revolve around Laurie. In this one, he kind of just does whatever, a theme that carries on for the rest of the movie.

11:24- A difference I don’t like so much in this movie is that the neighbours are so much more keyed into each other; they pay attention to the screaming and the strange noises, watch out for things that look out of place. I feel like it clashes with the first movie’s themes of isolation simply through your neighbours not caring what happens to you.

11:32- Ben Traimor getting hit by a cop car which crashes into a van and then explodes is one of the funniest fucking things that’s ever happened in this franchise. It is so completely fucking inexplicable and suddenly violent and pointless that it becomes hysterical, which is unfortunate given it’s meant to be a serious scene.

The breakdown scene that follows, where the Sheriff Brackett finds his daughter Annie is dead however is excellent. Charles Cyphers manages to carry the weight of the tragedy pretty effectively for a film that can veer into the goofy too easily, and Dr Loomis’ more measured delivery on his beliefs about Myers is Donald Pleasance at his best.

Halloween II isn’t any longer than Halloween, but the pacing is worse. It lets go of the original’s constant, haunting tension and delivers a sloppier movie as a result, too padded with side characters and people passing through the world with no consequence. The character of Brett is probably one of the most obnoxious characters in the franchise, which is saying a lot.

11:46- Laurie literally not knowing it was Michael Myers who was after her until she’s told is weirdly sad. Like of course she didn’t know, but it’s still sad. She feels very small and vulnerable in this movie, very lost in the big, empty hospital. The fact her parents are inexplicably missing and never shows up makes me crazy. I always wonder if there was a dropped plot thread where Michael was meant to have killed them, or something, because there’s really no explanation.

11:53- The musical stings in this movie are so odd. They’re too bleepy. Don’t know what the hell happened.

11:55- I take the laptop into the kitchen to make a sandwich while I watch the movie. It’s early for lunch but I don’t eat breakfast and I can actively feel my braincells hurting me.

12:01- I’m fascinated by the shots in this of the faint dream Laurie has of seeing a boy in the hospital when she was a child. I can never decide if these are real or not; if she’s unlocking some strange, contextless memory from childhood or just imagining it, instinctively feeling the connection between her and Michael without knowing the truth.

12:04- Bud’s off-screen death is so unsatisfying. Also, so continues the trend of Michael being mistaken for people’s boyfriends. Guess he’s just boyfriend material. Seems unbelievable to me she wouldn’t notice how dirty his hands are, though. And Jesus, the boiling her to death kill is really pretty brutal and graphic, after kills in the first few movies are so relatively restrained.

12:07- Michael writing SAMHAIN on the wall is so over the top. Yeah, I can believe he’s fucking 21 years old. Michael is a performance art student.

12:09- Laurie having Michael’s ability to go deadly still and silent is neat. I like them having links. They’re siblings after all. Runs in Myers family.

12:11- The needle into the side of the head kill is bizarre. Also, the head-tilt here feels cheap. I have already started stealing candy from the bowl intended for trick-or-treaters. In my defence, I could, and I wanted it.

12:20- I like that Laurie has an instinct to run, hide and defend herself. I don’t know if it’s the trauma of surviving or a prenatural sense that Michael is coming for her, but I like it. I don’t like that this entire movie is like twenty minutes longer than it needs to be, or how little Laurie is actually in it.

12:28- The reveal that Laurie is Michael’s sister is so great. It fits so well. I say bullshit to anyone who doesn’t like it. The repetition and obsessiveness of Michael’s behaviour, the strange links and parallels between Laurie and Michael. The fact that the two of them are just as much parts of Haddonfield as each other. It just feels right for them to be related. They are related.

12:31- Laurie crawling on the street begging for help as Loomis ignores her again – this man is truly useless.

12:33- Michael walking directly through a glass door is hysterical.

12:38- Laurie calling Michael’s name, stopping him for a second, blinding him with a shot… This last sequence is fantastic. There’s an enormous amount of pity in seeing Michael blindly stumbling around, swinging his knife, unable to see but still so desperate to kill. The fact she stops him by calling his name is great. The way it almost, for a second, perks some recognition inside him. I think a lot about Michael’s sense of identity. Who does he think he is? I guess we’re never going to find out.

12:43- Halloween III: Season of the Witch time. There’s a trend now of saying this is really the best Halloween movie. I can’t really argue with people’s personal takes, but there’s always a sense to that to me of denying the classic to favour the underdog. People love an underdog. But Halloween III definitely does kind of rule. As much conspiracy thriller as it is horror movie, Halloween III is deeply weird and creative, but packed with great performances and truly memorable special effects, with a killer soundtrack to boot.

1:11- Halloween III is so distinct feeling; it almost feels like a John Carpenter movie, but more like The Thing than Halloween. The film is less aesthetically distinct than Halloween; it takes place over days, in many locations, following the characters as they dig into the conspiracy behind the menacing Silver Shamrock company. It’s well-written and often pretty witty and builds an incredible sense of menace and strangeness. The little company town surrounding the Silver Shamrock factory is bizarre and frightening and although the film can be a little heavy-handed in its depiction of a surveillance state, it certainly builds up atmosphere.

1:20- The scene of the old drunk being taken out by the corporate men in black rules in how suddenly violent and horrible it is. We love a horror movie.

1:26- Some of the digital effects leave a little to be desired but god the practical effects are fucking incredible, and so goddamn memorable and horrible.

1:33- The over-the-top niceness of the Silver Shamrock owner is so pitch-perfect. He’s so nice that it’s obviously, blatantly menacing. What owner of a big corporation like this just gives shit away for free? I mean, come on. I really love the apparent legends that surround him, though, the reputation of being a genius and a great man.

1:48- The complete calmness with which the whole plan gets revealed is so good because you really sense how fucking little threat our heroes pose; no one here thinks they have a chance in hell of stopping Silver Shamrock. The plan in itself is absurd, but like, who cares. It’s fun. The fact Cochran is like, delighted to show off his big ideas because he’s so confident nothing will stop them. And in a way he’s right; at least partially, the heroes do ultimately fail.

2:00- the speech Cochran delivers about the power of Samhain rules. It’s so intense and menacing. Fucking great performance here.

2:07- As much as I like the ending, I think how much it drags on kind of kills some of the tension. Feels like it could have been cut back. The imagery at the very end is fantastic though; it’s so weird. The way this movie embraces strangeness is great; I’ll always take a film that tries to be something different and weird over anything that plays it safe.

2:20- Halloween 4: The Return of Michael Myers. Jesus we’re starting down a dark path now. Halloween 4 is pretty thoroughly ‘ok’ and even has a couple of good moments but God. The decision to return to just being about Michael Myers after risking and flopping with an anthology movie is fine by me, but Halloween 4 plays it as safe as possible and lacks any of the flair or charm of the original. It just doesn’t have any style, and the forced drama falls short. Jamie Lee Curtis’ absence also feels like a sucking void in the film; it’s too painfully obvious that she was meant to be in this movie, and the fact she isn’t, the fact she died off-screen in some completely nondescript way is so depressing. The filmmakers assumed no one watching gave a shit about Laurie, and that’s so wrong and so disheartening.

2:25- the other doctors hating Loomis really adds to my reading of him as a man on the brink. He must be insufferable to know.

2:30- It really feels so painfully fucking unfair that Laurie would go through so much to just die in a random car accident. Or maybe there’s a kind of poetry in her dying without Michael’s involvement; just part of her own life.

2:36- Donald Pleasance is such a mensch. As stupid as these movies get, he never stopped bringing his fucking A-game and giving them as much respect and gravitas as he could. What a fucking legend.

2:41- Loomis seeing Michael in the diner is so fucking good. Loomis’ quiet pleading, asking Michael not to go back to Haddonfield but just take him instead, the quiet God damn you. Such a great moment. Would be better if Michael didn’t just suddenly teleport out of the room with no explanation, but you can’t have it all.

2:42- Why are later Halloween movies so fond of explosions.

2:43- The kids literally chanting ‘Jamie’s an orphan’ at her is incredible. Not in a good way.

2:50- I fetch the kitten to keep him on my lap because my house is colder than Michael Myers’ black heart.

2:55- Michael looking at Laurie’s photos… Ugh.

2:56- Why do people not just believe Loomis when he says Michael is back. We have this thread every week, comrade.

3:06- Michael just kinda standing around in the background doesn’t really do much in terms of fear. It’s just silly. And his mask looks ridiculous.

3:12- This film is a masterclass in failing to raise tension.

3:23- There’s an attempt to manufacture conflict by having the police clash with a group baying for mob justice, but it all feels completely inert. Nothing in the film carries any weight or drama, and the tension is all derived from using familiar music stings to try and kick your brain into recognising it’s an appropriate place to feel something.

3:25- The kitten bites me, drinks my water, and goes to sit in a box instead. I hate him. The kill where Michael stabs someone through the gut with a shotgun and pins them to the wall is the most flagrantly absurd thing I’ve ever seen. The fact she’s immediately found also really kills the tension. Also why is Michael so fucking strong. He’s so strong.

3:31- I can see the intention with the roof scene, but there’s too much unintentional comedy and Michael is so unthreatening that it doesn’t hold together at all. I especially hate how Michael will just suddenly appear out of nowhere; the first movie utilises his forming out of the shadows so well, but it doesn’t fucking work the same if he’s just there, in a formerly empty and well-lit corridor. He’s not being beamed in by a spaceship.

3:39- God this film is slow. Michael’s hands look absolutely terrifically fucked up. I wish Laurie was here.

3:41- It is insufferable how this film has like ten climaxes. Jamie running to inspect Michael really just doesn’t make any sense. I understand why the filmmakers did it, but it doesn’t make sense. They allude to some connection between the two, but it’s really underplayed and doesn’t pay out well when so much of the movie is her being flatly scared of him. They could have – and should have – acted more on the idea of her finding some sort of familiar connection between them. Famously, the movie ends with the idea Jamie might have somehow inherited Michael’s drive to murder, but the plot thread disappointingly gets dropped after this movie.

3:47- It’s time for Halloween 5: The Revenge of Michael Myers. God, this movie is such a non-entity in the franchise. It doesn’t have 6’s turbulent history or 4’s dramatic ending. It just like, occurs. It occupies space and time. It tries to further the connection between Jamie and Michael, turning it into something psychic and supernatural, and begins to introduce elements of the Cult of Thorne before that takes over as the plot of 6, but none of it is interesting and I also hate the attempt to make Halloween a supernatural franchise.

4:04- The totally legal for sure stream I’m using starts fucking up so everything takes a break while I find somewhere else to watch it.

4:05- Contemplate if life is worth it.

4:06- Film returns. It’s not worth it.

4:27- If screaming at kids was always Dr Loomis’ brand of psychiatry no wonder he couldn’t help Michael.

4:30- You really need to put in more effort than this if you want to make someone being murdered in broad daylight scary. If you’re not putting in the kind of effort Midsommar does to sell the death, you aren’t gonna get there. Halloween as a franchise seems obnoxiously dedicated to doing shit in the middle of the fucking day, for something who built the power of the original scares so much off of the quiet and darkness of the shadows.

4:39- Imagine leaving a traumatised child alone because you want to get laid. Tina’s character is fucking absurd. There are far too much entirely interchangeable faces in this movie screaming incoherently.

4:57- The scene of Michael desperately trying to run Jamie over with a car while the camera swings around hysterically and then the car inexplicably exploding is like peak mid-sequel Halloween. It really exemplifies how much the franchise started relying on noise and flash instead of like, being scary.

5:02- Loomis begging Michael to ‘fight the rage that drives you’ and saying that killing will never drive the anger out is too little too late, ain’t it. I like the idea of an appeal to his emotions but there’s so little emotional weight to the rest of the movie that it fails to maintain a meaningful tone. All the moments where Jamie is communing with Michael are supposed to drive tension I guess, but it mostly is just very silly.

5:09- Every set in this movie look so much like a set. Considering the first movie was just shot in a house I don’t understand why they didn’t do the same. I like the prospect of Loomis trying to talk to Michael, to get through to him emotionally, but seeing Michael just standing there in the really goofy fucking mask they gave him this film is just ridiculous. Donald Pleasance can only do so much.

5:19- Again we return to the idea of getting through to Michael emotionally. Jamie calls him uncle and asks for him to take his mask off. He does, even. But there doesn’t feel like there’s any understanding of who Michael is; there’s no consistent psychology or examination, only the gut feeling that family has to be important. But we know how Michael feels about family, and it’s not tender. He speaks his own language.

5:21- Where the fuck did Loomis even get a giant chain net and tranquiliser drafts.

5:25- Sure why wouldn’t a guy with a machine gun show up and just start slaughtering everyone like who the fuck cares.

5:28- I take a break to gather my thoughts and feelings emotionally so I can handle watching Halloween 6: The Curse of Michael Myers.

5:32- I change the cat litter to avoid watching Halloween 6: The Curse of Michael Myers.

5:40- I start Halloween 6: The Curse of Michael Myers.

5:50- The woman calls into radio station and says she’s in love with Michael Myers is the only person in this film I respect.

5:51- The decision to bring back Tommy Doyle as a conspiracy theorist who’s obsessed with Michael is a great concept, which is why I’m glad Tommy Doyle is in Halloween Kills so I never have to say Halloween 6 makes a point again. Paul Rudd (yes, that Paul Rudd) is shockingly terrible in this movie, and also, I don’t like him as an actor, so nothing about this performance endears him to me. I have no fucking idea what they directed him to do. It is miserable.

6:01- I am straight up not having a good time bro.

6:03- This is the only Halloween movie in a long time to actually try and show off its location; Halloween 5 could be set literally anywhere and is unfollowable, but Halloween 6 at least attempts to ground the movie in Haddonfield and show that this is a normal neighbourhood. Unfortunately, this movie takes place in nonsense magic doo-doo land so any attempt to ground us in anything is a waste of fucking time.

6:13- There’s a lot of reasons I don’t like this movie; I think the additions of mythology are absurd and go against the themes of the original, the conclusion is dumb as hell, the story is boring. It isn’t scary and it isn’t well-shot or well-written. But on a more abstract level, I hate its schlock, cheap understanding of what obsession and trauma does to someone. I fucking loathe that it uses rape as a shock tactic and how much abuse it puts its female characters through for no catharsis.

6:50- This curry I’m eating sucks ass. I want that on the record.

7:22- Jesus fucking Christ it’s finally time for Halloween H20: 20 Years Later. I love this movie. I love it for the ambition it had. It might not be a as fully realised examination of trauma after time as Halloween (2018) is, but I admire it for its vision. It doesn’t try to mimic the style of the first film, and I guess there’s a certain loss in aesthetic as it’s more akin to Scream or other fairly uniform 90s slasher movies in appearance, but it’s a far more confident movie than the other middling Halloween sequels. It has a clear understanding of what it wants the movie to be and is genuinely tense and thrilling because of that, as well as more readily grounded in reality. It has a genuine respect for the original that others fail to and tries to build an original film that follows it in a meaningful sense.

7:56- Laurie is really condemned to be around people who don’t listen to her but as much of a horrible little punk shit her son is, narratives about inherited or family trauma make me go insane, so this all affects me still.

8:01- I like the discussion of fate in Frankenstein as parallel to the discussion of fate in the first movie. It’s silly, but I like it, and that’s on me.

8:07- One of the smartest moves this film makes is using its own score. A lot of the middling sequels just lift from the original without any care, but H20 puts in some effort into building up some actual atmosphere.

8:13- I like that Laurie is a mess but still holding it together. She’s jumpy and always watching, with a bottle of alcohol a little too close beside her. It’s not exactly the most monumental depiction of lifelong trauma, but the film makes an effort. I love its effort. I love Jamie Lee Curtis as well.

8:26- This film brings back a theatricality to the presentations of Michael’s victims that I feel the movies sorely lack. If it doesn’t look like an art project why bother? I was going to say I wish there was more development of the relationship with Michael and his nephew, but I don’t. I want more Laurie. Love Laurie.

8:28- Michael’s not good with keys. I love the fact that his hands and eyes are so clear, though. It brings back that kind of essential physicality he had in the original. Him making contact with Laurie, the shot of the two of them through the glass looking at each other is so fucking good.

8:34- Laurie standing in the drive with a fucking axe screaming Michael’s name as the Halloween them kicks in fucking rules so goddamn hard. The final fight scene between these two is an all-time great.

8:39- Laurie pulling a gun on a cop so she can kidnap the coroner’s van so she can make sure Michael is actually dead is fucking incredible. She’s the best person who’s ever been written. The final conclusion of the film, with Michael reaching out to her when he’s pinned down, and it’s unclear if he’s asking for help or trying to reach out to hurt her one last time but his eyes are filled with desperation is one of the best moments in any of the films, and the power of Laurie just delivering the killing blow makes it even better. The fact they both get to be so vulnerable and so human and have a moment, just a moment, where their hands touch for any reason other than violence is so fucking strong. I love this fucking movie.

8:45- Halloween: Resurrection. Because after just seeing Laurie fight for her life and get out alive, triumphing over Michael once and for all, obviously what we want is to have the whole thing turn out to be bullshit and a fake out and for Laurie to die in the first five minutes of this film? Fuck this movie man. Like fuck this movie.

8:59- as bad and stupid and shallow as this movie is, the slight manipulation Michael performs is pretty great, and Laurie’s line “Are you afraid of me?” is an all-time great. This film doesn’t earn Laurie’s death, though, and it doesn’t deserve Jamie Lee Curtis. I’m not even totally against the idea of finding out what Michael would do if all his family was dead, but this movie’s option of ‘be in a reality show being filmed in his house’ is probably the answer I never, ever, ever wanted.

9:03- I have given up.

9:25- People make a big deal out of the ending scene where Busta Rhymes electrocutes Michael Myers in the nuts but it is really the only moment of levity in what is otherwise the most boring experience anyone can have.

10:00- I am eating leftover candy and contemplating my life.

10:17- I boot up Halloween (2007). I have accepted death.

10:19- Yeah, what Halloween was really lacking was a guy yelling “I should crawl over there and skullfuck the shit outta you!” before hitting on his teenage stepdaughter. The level of overt grossness and extremity that Robert Zombert brings to this franchise is so fucking putrid and unnecessary. All he brings to this franchise is insane amounts of unbridled misogyny and pop psychology. I said the same thing last year and I’ll happily say it again; this movie’s idea of what makes a serial killer is like something from a daytime TV movie. I’m sure it was intended to be edgy, but the demonization of the working class and sex workers and the position of Michael as the lower-class outsider to the nice suburbs is the most conformist class politics in existence. Halloween (1978)’s depiction of a serial killer who was a part of and came from inside the nice, safe, upper middle-class suburb will always be a far, far more revolutionary statement than this.

10:44- I don’t believe this really gives Michael ‘more backstory’ since it basically just re-treads what the first movie did, but it sure does it worse. The film just takes an incredible amount of time to say ultimately nothing at all. What really gets me is that this does really destroy the Michael is the big bad boogeyman myth simply because the childhood it gives Michael doesn’t fit with who he is. The change just feels forced. The suddenness of his violence feels forced. There doesn’t seem to be any observation here other than it would be scary if a nice kid was actually murderer.

10:56- Why does Michael’s mother own a huge projector. The melodrama of her killing herself is so absurd.

11:03- Michael Myers gets called the F-slur so many times in this movie that I’m officially adopting him as part of the LGBT community.

11:12- people criticise the original for not having the most natural of dialogue for its teenage girl characters, but the teenagers in this film are so incredibly obnoxious that it’s borderline unbearable to watch. Their dialogue is unnatural too, because it’s the kind of shit a weird old man really, desperately wants teenage girls to say.

11:23- There isn’t a scene in this that doesn’t drag on for too long in a completely unfunny, charmless way. It’s also insanely aggravating how Zombie is incapable of holding the camera still for longer than a couple of seconds at a time, and why everyone in the movie always has to be twenty feet away at all times.

11:25- This movie is just the first movie but longer with people screaming fuck constantly and added rape scenes. It is so insanely fucking worthless it really defies description.

11:28- I could be hanging out with my friends but I’m watching a bad movie. Contemplating life again.

11:45- I wish Robert Zombert wasn’t so horny.

11:51- I like truly never want to hear screaming again. There’s so much noise in this movie all the time. There isn’t a fucking second of silence in this film that couldn’t be filled with someone screaming hysterically or shit breaking. There isn’t a moment where the camera holds still and lets us take in the information in the frame without wobbling deliriously or swinging around like it’s on a fucking office chair.

12:10- I wonder if I can go see Doctor Sleep tomorrow. It’s technically not Halloween anymore, but if I manage to watch all these films within twenty-four hours I think it still counts.

12:13- We’re on Halloween II (2009). I like that this movie opens up with an explanation of what the symbolism of the white horse represents, in case you’re too stupid to figure it out for yourself. I like that the flashback is also completely drained of colour, in case you’re too stupid to figure out that it’s a flashback, even after it had a title card explaining it was. Just in case you thought Michael turned into a kid again, or something.

12:17- Glad we’re back to the constant screaming and camera swirling, just in case you thought for a brief second you’d have a moment of fucking peace.

12:21- I joked about the absurdity of Ben Traimor in Halloween II (1982) getting hit by a van and then exploding but it really doesn’t match up to the pointless fucking spectacle of violence that occurs roughly every ten seconds in Halloween II (2009). There’s no reason whatsoever to have the coroner’s van full of rapists crash into a cow and have the most incredibly bloody crash scene ever while one of them screams fuck over and over, but it happens. It isn’t scary, funny, or interesting, but it sure happens. That just about sums up this movie. Loud, bloody, and gratuitous, but not, y’know, interesting.

12:39- What an exploitative ‘I think crazy chicks are hot’ vision of trauma this is.

12:48- The idea of Loomis cashing in on his fame and becoming a celebrity psychologist is a good idea, but in classic Rob Zombie way, it’s done in the least interesting way possible.

1:04- What the fuck is happening.

1:13- it is like fucking incredible how boring this movie is. None of these scenes have any purpose. It’s just stuff, it’s stuff to put on film, with no larger thesis or point. I don’t fully understand why anyone bothered making this movie.

1:29- Great, a party sequence. That’s what this film really needed. More pointless noise and scenes that go nowhere. It was way too quiet and plot-heavy until now.

1:31- Does Mr Zombie know he can just make music videos. Like wouldn’t it be easier.

1:55- The ending scene in this movie is so incredibly incoherent and unwatchable. The bringing of the strange psychic ghosts that haunt Michael and Laurie and making them real, physical presences only makes the film more incoherent. It’s all jerky, wild camera movements, strobe lighting and screaming from here on out. Michael is such a non-entity in this film. He’s in at least half the movie, but he’s not himself. He’s just like a big guy with a beard and one line.

1:59- The slo-mo is so unnecessary. Like you fucking had to make this movie even longer? For who? For what?

2:00- I wish we were all dead.

2:01- I think I’ve seen Blade Runner 2049, a movie I deeply love and cherish, less times than I’ve seen Rob Zombie’s Halloween II.

2:02- Feel depressed about this.

2:03- If I ever hear Love Hurts again, I’ll kill myself.

2:04- Spent two minutes in silent contemplation.

2:06- It’s finally time for Halloween (2018). It’s hard to understate how much respect I have for this movie. Like I said earlier, I admire H20 a lot for its attempt to be a reaction to Laurie’s trauma and grief, but it does not manage to pull this off with anywhere near as much grace and effectiveness as Halloween (2018). And on top of that, the film is stunningly shot, the only film on par with the original in terms of how beautiful and memorable the cinematography is.

2:10- The distance from which we see Michael initially is so great; there’s so much restraint. He’s unmasked for a good portion of the early movie, but the film holds back in a way that makes his face completely unreadable and instead focuses on people’s reactions to and fear of him. It gives a sense that he’s almost too frightening to be fully captured on film. We can never really understand the legend of Michael, the same way people who don’t see him ‘in the wild’ can’t; we can only see him through legends.

2:14- The soundtrack in this movie is a fucking incredible beast. John Carpenter is God, frankly.

2:17- I adore Laurie’s portrayal in this movie. She’s so cold and defensive towards people who don’t believe or respect her, but there’s a painful, raw vulnerability to her as well. She’s traumatised person who has run the gamut of people refusing to understand or respect her trauma or the worldview she’s developed. There’s such a profound mixture of power and pain, a sense of immense dignity to her. She’s sick to death of the lack of respect and cruelty she’s faced. I just love how much emotion was put into her performance, how much the filmmakers really cared about making her a fully realised expression of trauma and the way people react.

2:24- Dave blowing up a pumpkin with a firecracker is the most accurately teenage thing that’s ever happened in these movies.

2:25- Laurie standing on the sidewalk outside the school in a mirror of how Michael did rules. The callbacks in this movie are always so underplayed that they feel like they take actual meaning, rather than just being a case of demanding fans look at something cool they recognise.

2:31- I am deliriously sleepy. Laurie’s breakdown at family dinner is so painful. She carries so much grief; she is, in her eyes, the only one who does and who may ever know the truth, surrounded by people who can’t understand her because trying to put themselves in her world hurts them too much. I think Laurie’s daughter’s description of what it was like growing up in a survivalist environment filled with anxiety and paranoia is so key; it was traumatising for her to grow up in a trauma-based environment. I hope she gets more time in the next movie.

2:43- This is the third movie in the franchise where Michael kills people in a public toilet, but definitely the best time it’s been done. Michael throwing teeth at the journalist writing about him is something that is so insane that it’s now burned itself directly into my brain and I am incapable of not tweeting ‘i wish michael myers would throw teeth on me’ at least once every three weeks.

2:46- The gravity that’s given to Michael putting the mask on is mesmerising. Again, I love the physicality of his hands and motions; this movie doesn’t forget he’s a real, physical person.

2:52- I’m obsessed with Michael’s decision not to kill the baby. He’s on a random murder spree, killing anyone who he sees without any particular cause, but he passes right by the baby. Looks at it, and then chooses not to. He made an actual choice not to. I always wonder what was going through his mind at the time.

2:59- Alyson’s costume was a really great way to have her end up with the same silhouette as Laurie in the first movie without having her just straight up dress like her grandma. Nice touches.

3:01- “You are so getting dry-fucked tonight” is probably one of the most wretched lines of dialogue in this franchise.

3:09- Laurie hunting for Michael is so good. She’s so fucking ruthless in this movie; she’s afraid but she’s fucking tuned in completely to her revenge hunger.

3:13- Sartain is a character I really love. The set-up is obviously that he’s Loomis 2, Laurie even refers to him as “the new Loomis”, and he reflects and subverts this in interesting ways. I like that he calls Michael “property of the state”; it’s his own way of dehumanising Michael. To him, Michael is an asset, something to be poked and prodded and studied. But of course, unlike Loomis, his obsessive interest in Michael is far more appreciative.

3:16- This film’s ability to just use silence is so good.

3:17- The first time Alyson sees Michael is incredible. The musical sting. Fuck me. God, I love this movie. And God I love this fucking soundtrack.

3:22- The twist of Sartain turning and killing the cop, protecting Michael and trying to seek out what it feels like to kill is great. Also, the way he stroked Michael’s face? I hate to break it to you, but if you don’t think they were fucking? Grow up.

3:30- I love the drama of Michael’s corpse arrangements. Back to the good old art student days, I see. He’s having a midlife crisis. Every time Laurie and Michael see each other is so fucking powerful. The connection between the two of them is so vibrant. And her shooting half his hand off? Iconic. Really excited to see how the makeup department carries that on next film.

3:39- The final showdown sequence is incredible. Laurie and Michael nearly being on equal terms sounds like it should make it boring, if she can match him hit for hit, but the film never drops a level in tension. It manages to be surprising not just for us but also for Michael, who obviously wasn’t expecting to be on the back foot with Laurie, which only makes the scene more intense.

3:42- WHY IS HE SO STRONG!!!!!!!!!!!!!!!!!!!!!!!!

3:43- The performance of Karen screaming she needs help and she can’t do it only to shoot Michael point blank and then have Laurie emerge out of the shadows the way she does is one of the best fucking moments in cinema. The three women working together to defeat Michael and kill him where he stands, absolutely kicking the shit out of him and then setting him alight is fucking incredible. I don’t know if I’ve ever seen such a triumphant fucking ending in anything. The Strode women’s win feels like such an incredible fucking win. I have no fucking idea how Halloween Kills is going to follow this up.

3:46- I love this movie. The house burning down with Michael inside it is so striking. The way fire is shot is so powerful, and the ending shot of the Strodes? With Alyson holding the knife? A perfect movie.

3:47- I have died.

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