#made for tv horror movies

[aaronshattuck]

Harvest Home-style popcorn.

[ilovemesomevincentprice]

Bringing this back...

[unreal]

there is still time

[mellowmaidenhairs]

i saw the tv glow really scratched an itch i had for queer horror. they really hammered it in with the “i even have a family now” thing like wow that was genuinely one of the more dread inducing lines for me

[decolonize-the-everything]

Just finished watching I Saw the Tv Glow, happy to report everyone cried and left with a vague feeling of existential dread

[mostlyvoid-partiallyflowers]

The most recent episode of Interview with a Vampire let's us see Lestat's side of the story and see how it compares to Louis' accounting of their relationship. As a result, it reaffirms just how unreliable of a narrator Louis is, but it also further illuminates elements of his character that the director and writers have been playing with since the beginning of the show.

There's this part in the episode where Lestat turns to Louis and apologizes and it's framed with Lestat turned to Louis on one side and Claudia on his other side. They're the angel and devil on Louis' shoulders, but who is the angel and who is the devil? And as my friend said, Armand and Daniel are placed into that same dynamic with Louis later on. We are being asked to decide who to trust, who's telling the truth, who's the good guy, but the fact of unreliability robs us of that decision.

This whole story is about Louis, he's the protagonist, though not the narrator, and he is constantly being pulled in two directions, no matter when or where he is in his story. He's a mind split in two, divided by nature and circumstance. He's vampire and human, owner and owned, father and child, angel and devil. He's both telling the story and being told the story. His history is a story he tells himself, and as we've seen, sometimes that story is not whole.

Louis is the angel who saved Claudia from the fire but he's also the devil who sentenced her to an life of endless torment, the adult trapped in the body of a child. He's the angel who rescued Lestat from his grief and also the devil who abandoned him, who couldn't love him, could only kill and leave him.

He's pulled in two directions, internally and externally at all times and so it's no wonder that he feels the need to confess, first to the priest, then Daniel, and then Daniel again.

He's desperate to be heard, a Black man with power in Jim Crow America who's controlled by his position as someone with a seat at the table but one who will never be considered equal. He doesn't belong to the Black community or the white community, he can't. He acts as a go-between, a bridge, one who is pushed and pulled until he can't take it anymore. He's a fledgling child to an undead father, he's a young queer man discovering his sexual identity with an infinitely experienced partner. He's confessing because he wants to be absolved, that human part of him that was raised Catholic, that child who believed, he wants to be saved. He wants to be seen.

Louis wants to attain a forever life that is morally pure, but he can't. He's been soiled by sin, by "the devil," as he calls Lestat, and he can never be clean again. Deep down, I think he knows this, but he can't stop trying to repent. He tries to self-flagellate by staying with Lestat and then tries to repent by killing him, but can't actually follow through. He follows Claudia to Europe to try and assuage his guilt. He sets himself on fire, attempts to burn himself at the stake, to purify his body, rid himself of the dark gift.

Louis is a man endlessly trying to account for the pain he has caused and he ultimately fails, over and over again, because he can't get rid of what he is. A monster. He's an endlessly hungry monster. He's hungry for love, for respect, for power, for forgiveness, for death. He's a hole that can never be filled. He can never truly acquire any of those things because he will always be punishing himself for wanting and needing them in the first place. He will never truly believe he deserves them and as a result, can't accept them if they are ever offered. He can never be absolved for he has damned himself by accepting the dark gift and thus has tainted himself past the point of saving.

[libraryleopard]

earlier today i was thinking about how interesting it is that i saw the tv glow is a piece of media about fandom but it's entirely grounded in the real world instead of the internet (like there's no mention of either character visiting forums for the pink opaque or anything which probably would have existed in-universe even if it's the 90s) and also how i bet there was some really killer lesbian fanfiction about tara and isabel and then i was like WAIT i can think of a piece of media with somewhat similar vibes that is indeed All About the internet

[brokehorrorfan]

Dark Night of the Scarecrow and Dark Night of the Scarecrow 2 will be released together on 4K Ultra HD and Blu-ray on September 10 via VCI Entertainment.

Dark Night of the Scarecrow is a 1981 made-for-TV horror movie directed by Frank De Felitta and written by J.D. Feigelson. Larry Drake, Charles Durning, Tonya Crowe, Jocelyn Brando, and Lane Smith.

Dark Night of the Scarecrow 2 is a 2022 sequel written and directed by J.D. Feigelson. Amber Wedding, Aiden Shurr, Carol Dines, Adam Snyder, and Tim Gooch star.

Special features are listed below.

Special features:

Dark Night of the Scarecrow audio commentary by writer J.D. Feigelson (new)

Dark Night of the Scarecrow audio commentary by film historians Heath Holland, Robert Kell, and Amanda Reyes (new)

Dark Night of the Scarecrow audio commentary by director Frank DeFelitta and writer J.D. Feigelson

Bubba Didn't Do It: 30 Years of the Scarecrow featurette

Dark Night of the Scarecrow cast reunion Q&A at Frightfest 2011

1981 CBS world premier promo

1985 CBS re-broadcast promo

Photo gallery

Dark Night of the Scarecrow tells of the murder of a young girl, Marylee Williams (Tonya Crowe), and the vicious mob justice wrongly enacted on Marylee’s innocent, mentally challenged friend Bubba Ritter (Larry Drake). A cover-up by the murderous mob, led by Otis P. Hazelrigg (Charles Durning), results in a strange turn of events. Soon, one by one, the guilty are stalked and served a specific kind of justice by an unknown figure.

40 years in the making, Dark Night of the Scarecrow 2 picks up with Chris (Amber Wedding) and her young son Jeremy (Aiden Shurr), moving to the small town where the events of the first film took place. Chris finds a tattered scarecrow amongst the cornfields of her new home and tells the effigy her secret; the real reason she has come to this small town. Soon after, a mysterious figure begins to roam the fields of their new home… stalking them or protecting them from unknown threats?

Pre-order Dark Night of the Scarecrows 1 & 2.

[bitter69uk]

I am unrepentantly garrulous about my obsession with the Sam Pancake Presents the Monday Afternoon Movie podcast, in which our effervescent host disinters and forensically (and hilariously) analyzes ultra-kitsch unloved made-for-TV movies from the seventies and eighties. In his latest installment Pancake is joined by guest Andrew Hopf to discuss freaky 1973 ABC thriller Scream, Pretty Peggy. (The weirdly un-tantalizing tagline “A pretty co-ed’s part-time job leads to a bizarre pay-off!” barely hints at what an oddity this movie is). The titular Peggy (played by Sian Barbara Allen) is a hopelessly naïve and gauche mooncalf-type who takes a housekeeping job at the Elliott family mansion presided over by sculptor son Jeffrey (Ted Bessell – aka Marlo Thomas’ fiancé Donald from That Girl!) and fearsome gorgon-like alcoholic mama Mrs. Elliott (special guest star Bette Davis, pictured. Wait until you hear Pancake’s Davis impression). If Peggy wasn’t so damn unworldly, alarm bells would be ringing. Jeffrey’s menacing satanic sculptures are clearly the expression of a troubled psyche. Then there’s the conspicuously absent mysterious sister Jennifer everyone keeps referring to. “She went to Europe, I think,” Mrs. Elliott explains not very convincingly. “Yes. Europe.” What follows is heavily (and I mean HEAVILY) indebted to Alfred Hitchcock’s Psycho. For Davis completists, Scream is a must. This dates from her wilderness years when her opportunities were limited to obscure films no one saw (like Connecting Rooms (1970), Bunny O’Hare (1971) and The Scientific Cardplayer (1972)) and flop TV pilots (The Judge and Jake Wyler (1972), Madame Sin (1972). Davis is on ferocious hagsploitation form here and her delivery of the line “I fell. I’m sorry. I’m afraid. I’ve. Broken. My. LEG” alone makes this gem worth catching. (Scream, Pretty Peggy used to be viewable on YouTube (that’s where I watched it years ago) but has since been deleted. It IS available on DVD and Blu-ray as of 2021).  

[iamcinema]

[horror-aesthete]

Frankenstein: The True Story, 1973, dir. Jack Smight

[ilovemesomevincentprice]

VINCENT PRICE AS EGGHEAD

BATMAN (1966-67)

[vsthepomegranate]

The Initiation of Sarah (1978)

by Robert Day

[axinite25]

MOVIES THAT MADE ME FEEL THINGS

NOPE (2022)

Dir. Jordan Peele

Cast: Daniel Kaluuya, Keke Palmer and Steven Yeun

[eepyjay]

Them my beloved