Here Be Monsters

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As promised, here are some Monster High dolls I’ve shot lately:

Draculara

One thing I love about Monster High is how the line helped push fashion dolls beyond the typical Barbie look of idealized female bodies and faces. Lines like Monster High and Bratz revitalized the market and took fashion dolls in all sorts of cool directions. Now we have stylized fairy tale dolls, zombies, mermaids, and all sorts of shit for kids to play with and adults to collect.

Electrified Frankie Stein

Lines like these also pushed Barbie to go in new directions, and you can now find Barbie mermaids and fairies, among others, although Mattel hasn’t been bold enough to create a monster Barbie. Yet. Barbie also has introduced a variety of body types and skin tones that are much more diverse and can speak to a larger market of kids looking for fashion dolls that really represent who they are. But I will always be a bigger fan of the lines that find the top and go way over it. It’s the equivalent of my self-portraits.

Frankie with edited makeup by me, and a restyled outfit because I didn’t much like what she came in

Then there’s my first Lagoona doll, whom I attempted to give a short bob and pretty much destroyed. I started to look for a doll wig on Etsy to cover her botched bob, then realized with Lagoona on sale for $9.99 it would be easier to just buy a second one, which I did. Then I went ahead and bought a doll wig for the first one anyway. I haven’t taken any shots of the original Lagoona yet, so I’ll share a stock picture of it before showing my modified one, doll wig and all.

This is how she comes out of the box. I adore the 80’s inspired dress!
My restyled original Lagoona with wig

I’ve actually come to like my restyled version more than the original, which is why there are no pictures of the first one. That wig was only about $7 plus shipping on Etsy, and I did have to completely cut off the rest of her hair to make it fit, which was fine. I would eventually like to add more wigs to my collection since I have two dolls whose hair I had to remove and replace with a wig. Why not have a variety of looks for each of them? but $7 for a doll wig is really economical; most of them start around $20 which in my case is usually more than I spent for the doll, so it’s hard to convince me to make the purchase, even though some of them are incredibly drool-worthy.

Amaaazing! This wig can be found here.

I think this one speaks for itself:

Another thing I’ve had fun doing is trying my best to “remove” the doll’s makeup in PhotoShop and then using this old makeup program I have to change up their look.

Frankie in ”normal face”

I don’t really do anything with these makeup photos, but playing around with them on the computer is still fun.

Posing is still an issue for me because I try my best not to let the stand show. I’ve tried this several ways and they’re all time-consuming, so eventually I may give up and just show the stands. There are definitely doll photographers who do this and it’s not nearly as noticeable or distracting as I thought it would be.

Probably one of my most photogenic Monster High dolls.

Etsy is a great place to buy wigs, and Poshmark is a great place to find used dolls. I got Electrified Frankie for about $15, which is pretty great considering how much use I have already gotten out of her. But I’m still trying to control my spending right now so I haven’t been on the site much lately. What I really want next is this amazing Bratz Gay Pride duo I found on Amazon:

How amaaaazinggggg is this?! I may convince my husband to consider this a Valentine’s Day present because everything about this set is awesome. First of all, I am really loving Bratz right now. Those faces photograph perfectly. And the statement these two make is absolutely worth the price tag. Plus those are some FABULOUS furry accessories.

Speaking of Bratz, I will be sharing their photos in my next post! Stay fabulous everyone!

Light Up the barbie!

Ohmygosh – I’ve bought and photographed so many dolls since last I wrote.

In fact, I went on such a buying spree my husband threatened to divorce me if I bought One. More. Doll. And yes, we’re still married.

So I think the best way to catch everyone up on all the dolls and all the photos, I should categorize my entries by line – and yes, first up is good old Barbie.

I swiped this outfit from a different brand of doll. It didn’t really fit her but I made it work.

When it comes to Barbie, the choices are endless. But there’s a certain body the line makes that is called “made to move,” and it is a fully articulated doll. This means it bends and rotates at the elbows, the wrist, the shoulders, the feet, the knees, and the torso. The head on an articulated doll usually has more movement too. Whereas a non-articulated doll’s head will swivel back and forth, an articulated doll will also look up and down. They’re just infinitely more posable. You can identify an articulated doll by the joints. It’s a tradeoff, the joints themselves are kind of ugly, but the posabiliity makes up for it. And while it’s not a total dealbreaker, there’s no denying how much more I can do with an articulated doll.

Several of Barbie’s collections have this “Made to Move” body, and my favorite is what is called their “Signature Looks” line. Based on the lack of availability of a lot of these dolls, I assume they are a line that’s been out of production for a while, and many are listed on Amazon at over $100, but I’ve managed to collect a nice variety of them for less than that. The Signature Looks line is more focused on the fashion statements the dolls make – which is nice, considering that Barbie’s outfits are often lackluster.

A “tall” Barbie and an average-sized one.

Barbie also has different sizes of dolls – something they’ve been doing for a while now – and while I haven’t bought a “curvy” doll yet, I intend to do so at some point. They also have a “petite” doll, and some “tall” ones. The doll on the left in this photo is one of the tall ones – and I mean, she is TALL. Legs for days. She photographs beautifully. She was hard to find, and the one I bought off Amazon clearly wasn’t new, but I was happy enough just to have her so I didn’t complain.

See what I mean about posability? You really can’t beat an articulated doll when it comes to taking photos. And the fashions on the Signature Looks dolls are pretty nice, too. They’re not elaborate, but they’re more fashion-forward than your average Barbie, and the materials are a bit nicer too.

Dress from a different Barbie

Remember when I told you that my tall Barbie was clearly used? Well, one issue I had with her was that her hair was a little creased. And I tried to flat-iron the crease out of it, which was a mistake, because I burned off a section of her beautiful long black hair. I can fix it in Photoshop, but when she is hanging out in my closet she looks pretty sad. Fortunately, there are doll wigs. I found this one on Etsy, and wow – it really elevates my photos! The thing about doll hair is that it doesn’t move like natural hair or normal wig hair; all the wind in the world won’t move it much. But with this wig I can pose it like the wind is blowing it, and it stays. So now this gal takes even more gorgeous photos!

Sure, the hairline’s a little thick, but hey, it is just a doll.

The Signature Looks line also has some short-haired dolls, and of course, I had to get both of those! It’s really rare to find a female doll with short hair, and these two were too cute to pass up:

I love Blondie’s Argyle sweater! I stole that off a “Be Kind” doll that I only bought for her outfit. (She was cheap)
Really pretty make-up and face sculpts on this line, too – not so Barbie-ish

Both of these had very limited availability online – I bought them through Amazon but from third-party sellers, and they were more expensive than I generally go for. But I had to have them. Also, the brunette is a “petite” doll, and when they say petite they really mean it! I have two, and as of yet, I haven’t posed them with a taller doll, so it might not translate here, but trust me when I say these dolls are pretty short.

I stole those pants from an average-sized doll, and her shoes disappeared! The shirt and tie came from a Rainbow High doll.

I have a few more Barbies I haven’t had time to photograph, a curly redhead and another petite gal – also from the Signature Looks line. So this post turned out to be shorter than I thought it would be, but oh well. Next up – Monster High!

Doll Wonders

Hey there – more doll photos!

I’m really digging the monochromatic look of some of the Rainbow and Shadow High dolls, which isn’t a surprise considering my previous selfies. One thing I’m using PhotoShop to help with is the eyes – I’ve found that moving the irises to a different position helps with realism, but it’s kind of a bitch to do. In the photo above, I moved the eyes of the doll in the foreground to be looking directly at the camera, which makes a huge difference. I also tilted the background doll’s head just a bit for the same reason. It’s a small adjustment, but it really helps.

Same for this one – I shifted her eyes so that she’s looking up instead of straight ahead to give it an angelic quality. I think I may have over-processed this one, but old habits die hard, y’all.

.With this one, I think I made her eyes too blue, but I’m keeping it as is. And let me just say that a solid black doll is difficult to photograph! You really have to lighten it up to get any of her facial features, and then you have to decide where you want to add shadows back once that is done. It’s tricky.

This solid white doll on the other hand? Heaven.

Another issue I’m working through right now is doll stands. The ones that come with these dolls is fine if you’re just going to stand her in the corner, but for posing it absolutely sucks. It falls apart constantly. I even tried gluing it all together (it comes in three pieces) with Gorilla Glue yesterday, and the damn thing still fell apart, although it lasted longer before doing so. Good doll stands are stupid expensive – like $8-$14 for ONE stand – so I haven’t bitten the bullet yet, but I’m going to have to because working with the ones I have is making me crazy.

I finally got the doll with the plaid leggings!

Backgrounds are another issue, and while I have purchased some small backdrops specifically for photography of small items, they haven’t arrived yet, so I’ve managed to come up with some creative ways around the problem. As you can see in the photo above, wrapping paper hasn’t worked out that great – it has creases I have to try and fix in post, and it reflects light which I then have to pretend like I intended to be there. But in the photos above this one, I had better luck – I have a furry white chair cover that I was able to use to good effect, and I have some other ideas for things I can use around the house.

Oh, and another issue with these plastic doll stands is that they show – there are ways to maneuver the doll’s legs to conceal them, but when the stands keep falling apart while I try to place the legs properly things get annoying quickly. So for this one, even though the full shot was super cute, I could NOT find a way to successfully get rid of the stand, so I chopped her off mid-calf. Bummer. With the fuzzy background, I was able to use it to cover up the stand for the most part, but when using wallpaper not so much.

This was part of a shoot that really did not work. The paper was reflective and crinkly, and the outfit I put on the doll just really didn’t work. But I did get this one pretty cool shot. As much as I love to have hair moving around in my photos, I haven’t yet been able to successfully do this with a doll. Their hair just does not move like human hair or wig hair for some reason, no matter how much wind I blow on them. So I’ve kind of given up trying. And as excited as I was to try taking photos of dolls outside now that I’ve got this lovely property, I’ve found that I hate it as much as I do taking selfies outside. For whatever reason, I just can’t function when dealing with heat, or leaves, or gravel, or dirt, or anything relating to the outdoors. So back to the studio it’s been.

These are actually quite small dolls – about five inches – and I’m really proud of this “backdrop” I came up with. It’s just some old paint palettes I use when doing my paint pours – one behind them and one they are standing on, as well as some of the plastic stands I use to dry them that get all drippy. I think it came out kinda cool!

Dolly Shots

I can tell I’m going to quickly run out of doll puns to use as blog post titles. Oh well.

I’ve been doing a fair bit of reading since my last post, and have picked up some tips from others to improve my doll photos. One big mistake I was making was using too much light. Generally, when dealing with a human subject, you want as much light as possible on the face to balance out uneven skin tone and help hide imperfections. Not so with dolls. Too much light on a doll’s face and you end up with a hunk of plastic with eyes. You actually need more shadows on a doll’s face to give it depth and dimension. So yeah, learning this improved my results tremendously.

I’ve also had to pull way back on my photo editing – which has always been my first love – and put more care into the shots themselves. When taking self-portraits I worry mostly about color and the texture of fabrics, then I just twirl and jump and roll around until I come across a good shot or two. Dolls obviously cannot do any of that, so most of my time is spent on getting the setup and the pose of the doll just right before taking the photo. There’s a lot of upside to this. While much more time is spent actually taking the photos, a lot less time is spent editing them, and I also don’t have to take as many to get a good shot.So, it’s a different process, and I still get too heavy-handed with the editing on occasion because I can’t help myself, but overall I’m starting to really enjoy it.

Obviously, I am now obsessed with buying dolls, but it’s much cheaper than wigs and people costumes, plus I don’t have much room to build up a massive collection so that helps. And with “fashion dolls” like the Monster/Rainbow/Shadow Highs or the LOL OMGs, they usually come with extra clothes and accessories so I can mix things up. There are some gorgeous dolls out there I’d love to buy, but they actually cost more than a synthetic wig even at today’s prices, so that’s not going to be happening. Pullips and Blythe dolls are the two I’m drooling over, but I couldn’t see myself daring to take one of these and stick them in a tree to take a photo anyway, given their price point, so for now I’m sticking to dolls in the $20-$30 price range.

Pullip doll – price range $200-$400. These are supposed to have more posability than the Blythes, but I still like the Blythes a wee bit better.
Blythe Dolls – $250-$400 without customization – that pink one tho!! It’s everything.

After some experimentation, I’ve figured out the best lens to use (my 17-40 mm L-series)and where the best setup is around the house (on top of my desk). One nice thing is that I can sit in a chair while I take pictures! 🙂

She’s leaning on a little desk shelf I have that I turned over on its side – I also used some PhotoShop magic so that her eyes are looking to the side instead of straight ahead, and changed her skin from blue to pale.

My head is brimming with ideas right now for things to try, which is great – I bought several rolls of wrapping paper to use as backdrops as I still prefer to take pictures in a studio setting as opposed to outdoors, and all sort of things I have around the house can be put to use as props.Some work out great, others not so much, but it’s so much fun trying things out I don’t mind too much when something fails.

Wallpaper backdrop and $12 doll from Amazon
There’s that desk shelf again
I freaking LOVE this doll’s hair and rockin’ outfit

I often look up photos of real people to help me get poses right. My little $12 Amazon doll in front of the wrapping paper was posed by looking at photos of poor children from the 1800s. And this rockin’ babe was posed in imitation of all those Charlie perfume ads from the 80’s with Shelley Hack in them. Remember those? In almost every single one of them she’s walking with this wide stance and her hair is blowing everywhere. I can still sing the jingle.

There’s a fragrance that’s here to stay, and they call it – CHAAARLIE!
OK so I had to add a background to this one – and check out those SHOEEEES!

I’ve started to look more at the clothes a doll comes with than the facial features, since these two brands I really like mostly look the same but with different hair. And since a set of clothes cost as much as, if not more than, just buying a new doll, I’ve got two more coming that I bought strictly for the outfits. But the dolls are cute too:

LOL OMG Melrose doll – I NEED those leggings!
OMG LOL Groovy Babe – I need those leggings, too

The OMG LOL’s don’t have as much movement as the Monster/Rainbow/Shadow Highs (their legs really aren’t bendable at all), but they’re about an inch shorter which makes them easier to deal with. I also like their big old anime eyes and the fact that they’re all pear shaped – lots of junk in the trunk and pretty small boobs. My Rainbow and Shadow High dolls are adorable, and I love the monochromatic color schemes, but they’re not curvy like the LOLs.

Speaking of which have you seen the curvy line of Barbies? They’re pretty awesome. Just wish they dressed them better. Although this one looks cute:

“Curvy” Barbie AKA Normal Sized Barbie

Sadly, my Madame Alexanders have pretty much been shoved to side, since they don’t fit the photography I’m doing at all, but I still owe them for the inspiration. More to come!

Hello, Dolly!

It’s been a minute since I posted anything – you know how it goes.

It’s been quite a while since I’ve seriously engaged in photography. As I’m sure I’ve already mentioned, I just got bored, and I had no new ideas or subjects to pursue. So I dropped it, for the most part, and focused on other things: rock painting, paint pouring, and knitting. But recently – and I can’t even recall why – I became interested in rebuilding my Madame Alexander doll collection, which is something I do from time to time, and in pursuing that I came across the most amaaaaazing doll photography happening all over the internet. Not MA, so much, but mostly more modern and anime-looking dolls, with which I fell in love immediately. Especially the Monster High dolls and all of their spinoff collections. There was only one thing to do. Buy the shit outta some dolls! Let’s go!

What I love about these babies is that they come attired and made up exactly like I used to do myself. Only, these bitches require no application time on my part! And I’ve never enjoyed taking pictures of other people; it’s an art form I like to engage with in solitude – which is part of the reason I started putting myself into costumes, so I’d look different each time. Well now I’ve got the perfect models to work with – they do exactly what I say, they don’t engage in small talk, and they have no ideas of their own. My dream models – where have you been all my life?

Okay, okay, I know where you’ve been. In stores. On Amazon, mostly. And I have been snatching you up! In fact, I have one more shipment coming today and then I have recognized I need to calm the hell down with all this purchasing. Fashion dolls are NOT going anywhere, and I’ve already got a backlog going. So I’m going to work through the ones I have before buying any more – but man are these tempting!

I have so much to learn – which is what has all my gears cranking again. It’s the learning curve that I enjoy; getting excited over trying new ideas, and constantly coming up with ideas of things to try. The possibilities, at the moment, feel endless.

Oh sure, I know I’ll reach an end eventually, but that usually takes me about ten years, so we’ll see how far this goes. I can already tell I’m going to have to recycle a lot of these as I do not have the space for the endless supply of new dolls I’m sure to encounter, but that’s OK. It’s all part of the process.

So here’s to a new photography hobby! Stay tuned for more doll photos! Possible very, very many doll photos.

Horror Heights – “Fall” (2022)

SPOILERS BELOW! Don’t read if you don’t want to know.

What’s the Horror: Two climbers get stuck on top of a 2,000 ft. tower

Does the Dog Die? There’s the death of one extremely mean bird

Gore Factor: Maybe a 2? Aside from the bird, there’s really no gore in this one

Character Quality: Weak. Borderline annoying. But there are enough thrills for me to overlook it.

Re-Watch Scale: I re-watch this one a lot. It’s an easy watch, and those heights never cease to freak me right the hell out.

I kept the review title because it pretty much sums up my feelings about this movie

Indeed, as a movie, Fall should not work. I think for many people it does not. But given how long I have been watching horror movies, the big thrill I get out of this one is that it actually terrifies me. I’ve watched it many times now, and every time I cringe, wince, and hide my eyes – the tall shots never cease to freak me out, and that’s a lot of fun and one of the reasons I love horror. It’s great to find a movie that will get to me repeatedly, even if it is wildly uneven, ridiculously stupid, and completely implausible. Hey, I’m a horror fan. I’m used to these characteristics.

SPOILERS BELOW! DON’T READ IF YOU DON’T WANT TO KNOW!!

As previously mentioned, Fall is about two female climbers who climb a 2,000-ft tower on a lark and then get stuck up there. If you’re wondering how a movie could sustain this premise for an hour and forty-five minutes, well, it’s clear the writers already thought of that. Unfortunately, they toss in some silly side stories to try and pad out the length, and those things hold the movie back from being awesome. Stephen King said he wished he’d thought of the premise and written a book before anyone else came up with the idea, and I totally agree. If anyone could have made this premise work over a series of days, he could have. But he didn’t. Oh well.

Hey looka me! I’m an idiot!

Our main character is Becky, and we first see her as she and her husband Dan, along with her best friend Hunter, are scaling the side of a huge cliff. Now look, I know nothing about rock climbing. I am lucky to climb a flight of stairs without toppling over. But my first impression was that these people did not look like experienced climbers. First of all, with the exception of Hunter, they seem terrified to be as high up as they are, and Becky in particular comes across as very unsure of herself.

Nnnnnope.

Dan doesn’t appear to be much better, because when he slips and takes a swift plummet down until his rope (or whatever they call it) breaks his fall, he is instantly panicked beyond belief. I have to assume that this sort of thing is always a possibility when one is climbing a freaking cliff that never intended to be climbed, so I would imagine there is a proper way to rectify a situation such as this. Isn’t that why they are all attached to each other and there are ropes and clips and pulleys and shit everywhere? Again, I know absolutely nothing about that of which I speak, but his immediate freak out (complete with “high danger” music in the background) makes me wonder just why either he or Becky started doing this stuff in the first place. They both come across as nervous as hell and overly reactive to every little thing that happens – you know, more like EXACTLY like I would be if I tried this shit. And it must also be said that the shots of Dan dangling from his rope, spinning and struggling and squealing, involve what turns out to be the worst green screen of the movie. He just looked so incredibly fake here, and it worried me about how good the rest of the movie would look. But the rest of it is fine,, so I’ve no idea why this scene didn’t look better.

That first one’s a doozy, Dan

Cut to Becky a year later, sitting in a bar by herself, getting drunk, and listening to Dan’s voicemail message over and over. She staggers out of a bar that looks very “1970’s New York City”, and oops – there’s her dad waiting next to her car. He’s worried about her and tells her she needs to stop glorifying her dead husband and get on with her life, which is – a weird thing to say. I get the whole get on with your life part, but telling someone who recently lost their spouse to stop idolizing them in their mind is pretty bold, and as Becky points out, not particularly useful.

I have to say that the actress playing Becky doesn’t have the gravitas to nail this scene. She just looks so very young, and while even very young women lose spouses, I don’t feel like they take to frequenting seedy bars that are clearly watering holes for professional, pathetic, seasoned alcoholics. The whole scene comes across as cliche as a result.

Nooobody knooooows the trouble I’ve seeeeeen…

Cut to Becky in her apartment, with Dan’s ashes still in a USPS box on a table. At least, we assume it’s his ashes. If not, then damn, there really wasn’t much left of him after he landed. Becky tries to call Dan’s voicemail again, but oh my – it’s been shut down. Becky loses it and starts scrambling through her cabinets, looking for what we can assume is enough medication to end her life. Fortunately her cell phone rings – her ringtone is “Cherry Pie” by Warrant, which is done heavily-handed enough for us to get that the song is going to have some significance later. This movie doesn’t exactly hide its cards, kids. Anyway, it’s her friend Hunter, who was climbing the cliff with Becky and Dan when he fell to his death. Hooray! Becky lives!

Hear that? It’s the sound of an anvil dropping.

Hunter has “come back” from wherever she’s been because good old Dad called to tell her how bad off Becky is. Hunter does come across as likable and sincere in this scene, if a little pushy. See, Hunter has a new climb she wants to pull off, and she thinks Becks should come along, which seems a bit much to ask. But, according to her in some of the film’s signature clunky dialogue, Hunter tells her that if she doesn’t face her fears now she’ll be scared forever. Which may be true, but when your loved one plummets to his death in service to a cliffside that never wanted him there, well, maybe Becky should be afraid. I’m just saying. I think there are many, many things Hunter could have suggested here to push Becky out of her doldrums that did not involve putting her in danger. Maybe, I dunno, clean out your apartment instead? Take a trip to the beach? I’m just spitballin here.

What Hunter has in mind is climbing something she calls the “B67 TV Tower.” Cut to pictures Hunter has on her phone showing said tower. It’s tall. It’s rusty. It’s a tower. So yeah. Hunter wants Becky to climb this thing with her. It’s only a six-hour drive, after all, which – is it just me? – seems long a long way to travel. Damn, how long did they drive to reach The Cliff of Dan’s Departure? Because however long it took was too long, all things considered. Hunter wants the two of them to climb the tower, and Becky quite reasonably declines, although we all know she’ll change her mind because if she doesn’t, no movie. Sure enough, the next morning Becky walks into the bathroom while Hunter is brushing her teeth and says, “If you’re scared of dying don’t be afraid to live,” which is apparently something Dan used to say. Real deep, Dan. But maybe you should have been just a leeeeetle more afraid of dying dude. Just a little. But whatever – floating on a sea of Hunter and Dan’s platitudes, Becks is inspired. So she agrees to climb this TV tower. Hunter, of course, is thrilled.

Cut to Hunter and Becky driving up a dirt road in a desert-looking area, “Cherry Pie” accompanying their journey. Surprise! It’s Cherry Pie time again! Then we cut to inside the SUV where Becky is watching a video of herself on Hunter’s phone. She’s pole dancing – sort of? – in that we see her grab a pole and attempt to bend herself backward. Oof. I hope that wasn’t some kind of competition. Becky comments on how “ripped” she was, although she looks no different to me, and Hunter tells her she is awesome and she wants that old Becky back. So couldn’t you have suggested that they go do some pole dancing instead of this? Seems way safer. Becky then starts flipping through Hunter’s other photos in that incredibly intrusive and inappropriate way most people do when you give them your phone to show them ONE PICTURE. Stop doing that, people. It’s rude as fuck.

Seriously, where is the rest of this dude? Is he reaching out to her from the bathroom?

Becky flips to a picture of Hunter leaning over a balcony railing and smiling widely. She has a lovely smile. There’s what is clearly a man’s hand across her shoulder. Gee, who is that guy, Becky wonders. Hunter blanches a bit and says she doesn’t even remember because it was so long ago. Annnnnnnd if you can’t see that bit of writing on the cliff wall then I don’t know what to do with you. Not subtle, this film.

I’d prefer to skip this next scene, which is just the girls eating in a diner, but there are anvils aplenty that must be dropped, so here we are. We find out that Hunter has a YouTube channel called “Danger D,” which is completely horrible, and if you don’t get the hint that she names her channel Danger D and has no D in her name and Becky’s husband was named Dan, then again, you’re on your own here. Because seriously. Becky still has no clue though, and focuses not on the horrible channel name but on the fact that Hunter appears to be playing a character on her channel and not acting like her real self. Because in general, that never happens. Whatever Becky. Hunter exposits that her channel is sponsored, so she makes coin from going on dangerous excursions. I can’t recall if it’s now or later when Hunter says she just doesn’t feel alive unless she’s doing something dangerous, which aside from being clunky as hell, I guess also explains the whole “Danger D” situation. Climbing towers is one thing, but sleeping with married men? Now that’s dangerous. But somehow I suspect she didn’t upload those videos to her channel. Moving on.

I can honestly say I’ve never eaten at a roadside diner that has lamps on the table. Is it just me?

We gotta plunk down one more anvil before we leave – Becky’s phone is out of juice, so Hunter removes the light bulb from the lamp, and aligns the prongs of Becky’s charger with the holes that I assume hold the light bulb in place? I dunno, all I know is she does this and Becky’s phone starts charging. Since this is a lot of focus on something that surely doesn’t seem to matter, we can only assume this will come in handy at some point in the future.

Cut to Becky in a dream, lying in bed with Dan beside her. She tells him she loves him, and Dan responds by – tapping on her hip with his fingertips? He basically taps out the letter of each word in the phrase “I love you,” (tap once for I, tap four times for love, and three times for you – whatever Dan) and by the way Becky reacts this is the first time he’s done such a thing. I have no idea how long they’re supposed to have been married by now, or why this matters, or why he doesn’t just say it anyway, but suddenly Becks is covered with blood and then she wakes up. Time to climb! There’s a shot of the hotel floor as the curtains wave in the breeze, and damn, that is one dirty floor. Do not walk barefoot in there, Becky! Talk about danger.

Unfortunately, Hunter is much more interested in filming a spot for her YouTube channel than paying attention to where she’s driving, because the two haven’t even left the parking lot before almost creamed by an oncoming truck. Do not trust Hunter, Becky! She’s still likable, but I get the feeling that the only thing y’all are going to be climbing is the stairway to heaven. But I’m getting ahead of myself.

Let’s get to this damn tower and get the movie started for real. It’s ridiculously tall. It’s old. It’s surrounded by fencing and menacing signs that unsurprisingly warn people that death is lurking. So maybe they should be unafraid to live? But Becky is afraid, so fuck off, Dan. As Hunter describes the tower to her iPhone – to be uploaded to YouTube later – Becky quite reasonably starts to panic. She tells Hunter she can’t do it. Because she is a sane human being. But Hunter ain’t havin it. She gives Becky a pep talk that would be sympathetic and kind if she were trying to convince Becky to do anything other than this to get over her fears. But it works. Becky tells Hunter that’s the kind of inspiring message she should be posting on Instagram instead of her Danger D persona, and I thought it was YouTube, but whatever movie. Off they go towards the tower.

Hunter runs to the bottom of the tower, exclaiming “Holy shit! How awesome is this?” which it clearly is not, Hunter. And there’s something forced in her tone that leads me to believe she knows it’s not. She comes across as trying just a little too hard to be stoked here, which could be her staying in Danger D mode or something. And here is where I have to mention a few other things that bother me about Ms. D. Why is she wearing Converse tennis shoes? Becky had the smarts to wear actual climbing clothes, but Hunter looks like she’s dressed for Coachella instead of the B67 TV tower. Maybe she’s dressed for the Fyre Festival. I hear it’s making a comeback. Short shorts, Converse sneakers, a push-up bra that elevates her knockers (tits get the clicks, she says, and heh. I’ll give her that one). She 100% is not dressed like a serious climber, while Becky is in athletic gear. What gives, Hunter? I guess this is just her dressing for her followers, but if her followers really expect her to wear useless outfits while risking her life then they should all fuck off, in my opinion. Anyway, they do that thing climbers do when they hook themselves together because that is helpful for reasons I don’t understand. Maybe we should ask Dan, who is in Becky’s backpack at the moment, by the way, so they can scatter his ashes from the top of the tower.

And here comes the best part of this movie, hands down (or up, such as it is). The movie has actually done a decent job of building up tension leading to this moment, and some shots of old, shaky nails, rusted-out beams, and rickety wires help raise the stakes. This thing is tall, y’all, and it is absolutely insane that these two are going to climb it. But I’m at home on my sofa so I’m here for it.

I don’t know what I was thinking really, but I was surprised to see there was a ladder that went all the way up to the top of this thing. I mean, hey, it’s only a ladder, right? Just take it one rung at a time and all will be fine! The ladder is inside a cage-like structure for 1800 feet (info thanks to Hunter and her future uploads), but the last 200 feet are out in the open as the ladder breaks free from the structure. Seriously, why? You couldn’t extend the cage another lousy 200 feet, tower? When they reach that part, it’s gonna be windy as hell, and basically awful all around. Hunter is up ahead in her Converse and push-up bra, with Becky trailing behind and panicking the entire way. Remember, this is supposed to be good for you, Becky! Hang in there!

No. Just no.

There’s lots of cuts between the duo climbing ever higher, and the structure getting ever more unstable. Somehow, neither one notices. I mean, the thing is shaking, y’all, and shit is just falling off it left and right, plummeting so far down that we can’t see it hit solid ground. This is ridiculous. Why is this happening. Stop this, movie. You’ve lost your mind. Becky grabs one of the rusted rungs, and it snaps off, falling to the ground. We watch it go down in a sickening shot. I don’t even think they’re halfway up yet. Hunter asks if she is OK, and Becky rightly tells her she is not. Because of course she’s not. Hunter keeps climbing up gleefully. Somebody please stop her.

Where is the top of this tower, movie? FOR THE LOVE OF GOD WHERE IS THE TOP OF THIS TOWER

They stop for water. Hunter is amazed that the diner looks like part of a little toy town. Yes, that’s how heights work, Hunter. Next, she’s going to say that everyone looks like ants down there. Imagine what people would look like if they fell off this thing, Hunter. It’s called foreshadowing.

This climbing segment is the best part of the movie, but trying to describe it in detail here would fail to capture that, so suffice it to say after much trembling, quaking, shaking, and looking down when one should clearly only look up, the duo make it to the top of this thing. And they’re happy about this. I get being happy that you didn’t die and all, but I do not get being happy standing on a tiny little rusty metal platform 2000 feet in the air. Go home, movie. The thinning air has bloated your brain.

The girls celebrate for a while, sending Hunter’s drone out to circle around them and take some sickening shots of them risking their lives for thrills and clicks. They also scatter Danger Dan’s ashes. He’s not worth the risk, Becks. You should have just flushed him.

So, woo-hoo, wee-hee, we’re on top of the world. Isn’t Becky glad she faced her fear? Wasn’t Hunter right all along? And just when Becky is about to agree with that statement, Hunter hands Becks her camera and tells her to film her as she squats down and then hangs off the platform like she’s in the world’s worst Presidential Physical Fitness Flexed-Arm Hang. But this is Danger D, after all, so she can’t just hang there holding onto the edge of the platform like a moron, she has to take one hand off for added Darwin points. You win, Ms. D, you win. Can you please stop this now?

D is for Danger. And also for Dan, dipshit, and dumbass. And dead. Spoilers, Hunter!

Somehow this young and healthy but not even remotely muscular young lady manages not to die and hauls herself back onto the platform. I think we all know what comes next.

Hunter harangues Becks into following suit. “The old Becky would have done it,” she says, but I mean, the old Becky was married to a philandering asshole, so maybe that’s not the most inspiring thing she could have said. But it works. Hunter reassures her that it will all be fine because she is going to hold her hand while she dangles 2,000 feet in the air. That’s right, folks, the chick with a bad YouTube handle and not one visible muscle is going to dangle another human with one arm from the top of a 2,000-foot tower. I mean, not even Michael Jackson was this reckless with Blanket, for Christ’s sake. But soon it’s done. Becky dangles, Hunter manages to both hold her with one arm and snap a photo of her with the other and then pull her back onto the platform. Seriously, can Hunter fly as well? I hope so, because that is a skill she’s going to need pretty soon.

Enjoy this moment, kids

So okay, great. They climbed and conquered this salty bitch of a tower. Now it’s time to get back down to earth. Except the tower has some cards of its own up its steely sleeve, and it’s about to play its creaky old hand. They hook themselves back up or do whatever it is that climbers do before they descend anything they just scaled. Becky goes first. Off the tower and onto the ladder she goes, and as soon as she lets go of Hunter’s superhumanly strong hand, the ladder emits a sickening crack and series of jolts as the camera close-ups on screws popping off and the ladder un-attaching itself from the pole. The ladder breaks free from the top of the platform, sending Becky backward as it folds in half. NEVER LET GO OF HUNTER’S SUPERHUMAN HAND, BECKY. I feel like this one’s kind of on you.

I think this same thing happens in Urban Cowboy except Bud was only hanging like, 300 ft. Have you learned nothing from Bud and Sissy, Becky? Because it sure looked like you were downing all those depression drinks at Gilley’s.

So now Beck’s back to dangling off of the tower again, albeit at a slightly lower elevation. I doubt she finds that comforting. Becky hangs off the edge of the folded ladder for a few seconds before the ladder completely detaches from the tower and plummets to the ground. Becky follows, saved only by the miracle rope tied to Hunter, who uses that one miracle hand to grab onto the pole and stop herself from being dragged down with her.

Becky pulls a Dan by flailing and spinning from the rope while repeatedly banging into the pole and freaking the fuck out. Except this time I don’t blame her. They were nowhere near this high when Dan and his wandering dick met their demise. Hunter uses Magic Hand to wrap the rope around the tower pole and start pulling Becky back up. Hey, I just had a thought – do you think Hunter’s Magic Hand had anything to do with Dan being tempted to cheat on his wife? Seems likely.

Magic Hand manages to pull Becky back up onto the platform and they both start laughing uncontrollably. I get it, you almost died, except that you didn’t. It would be funny if only they still had a ladder to use to climb down, but Becks leans over and looks down, realizing they do not.

Oops.

And here is where we enter a whole new world of stupid. Because, as it turns out, neither Hunter nor Becky told anyone where they were going, or what they were going to do when they got there. Not even Danger D’s followers know where they are, because Hunter likes to record all the important segments of a new stunt and edit them all together before uploading, rather than upload each segment as she goes. Great job, Hunter. And yes I am putting more blame on you than on Becky because this was your stupid idea, and Becky hasn’t spoken to anyone for like a year so who would she tell? What does your Magic Hand have to say for itself now, DD? Maybe they can jump off and try to land on Dan’s ashes.

I’d also like to point out that it’s clear Hunter did not check out this tower before hooking herself to Becky and climbing up it, because even a perfunctory inspection would have proven that this structure is not stable. I mean, the camera showed us the tower’s flaws way before you gals passed Eiffel Tower height, so I think Hunter should have been able to detect them. If she’d bothered to look, that is. Which she didn’t.

Oh hey! It’s a real tower! It’s not called the B67 Radio Tower, but it is a real structure

Okay, so we’re 40 minutes into this thing, and it’s time to set up some complications for our climbers. Complications aside from being stuck 2,000 feet in the air, that is. Because just watching them try to climb back down wouldn’t be all that thrilling if they say, figured out some way to rappel down (wouldn’t they need a 2,000-foot rope though?) or did that thing lumberjacks do where they loop something around the tree trunk and scurry down to the ground.

Like this?

First, they realize their cell phones can’t get reception because they’re up too high (I tried to research whether or not that’s a thing but gave up). As previously mentioned, no one knows where they are. And if it wasn’t obvious from the photos, it’s worth pointing out that the tower is in the middle of the desert, with nothing around for miles. It’s also worth pointing out that this just confirms their stupidity in not letting anyone know where they are. Oh, and Becky’s tower tumble cut a huge gash into her leg that’s bleeding. Hunter has a drone, but the batteries have run down, and true to form Ms. D didn’t bring extras. But even if she had, the gals couldn’t get to them because Becky was wearing the backpack when the tower ladder collapsed, and it fell from her shoulders onto a satellite dish attached to the tower about 100 feet below. This also means they don’t have any water. I’m going to assume these dipshits didn’t pack any food.

So. They have no ladder, no drone, no cell service, no food, and no water. But hey! They do have some binoculars they find in an emergency box and exactly ONE flare loaded into a gun, so if any other human being decides to wander this far into The Desert of Nothingness they can get said human’s attention. Or maybe a spaceship will crash nearby and they can get the attention of the astronauts before they all convince themselves they’re on a foreign planet and kill each other for the supplies. Thank you, Twilight Zone.

Hunter uses the binoculars to spot an old camper in the distance. It looks abandoned. Try again, Hunter. She remembers that her cell phone was getting service when they were at the bottom of the tower before they started climbing. so they decide to tie her phone to the end of their rope and dangle it down as far as they can, after typing out a help message set to upload to her followers as soon as the phone connects. It doesn’t. Hunter decides to try and drop the phone lower by climbing off the platform and onto the tiny piece of ladder still connected to the pole, which is in no way going to make a difference, but it looks good.

It doesn’t work

Their next plan is to toss Hunter’s phone down to the ground since they know it got cell service when at sanity level. Of course, if they throw the phone from this height, it will just smash to bits – should we call that a preview? – unless they can reinforce it with something to cushion the fall. Is it too late to get Dan’s ashes back? Of course it is, so they decide one of DD’s useless Converse shoes can finally be useful if they stuff the phone into it. Now it’s time for more stupidity. Hunter takes off a Converse and starts to shove her phone into it, but Becky thinks it needs more padding and asks her to take off her sock too. Hunter’s face gets all panicked like it did when Becks asks her who the dude was with her in that picture she saw on Hunter’s phone, and she pauses a quick minute before agreeing to take it off. And if you don’t get how that means Hunter has a tattoo of Dan or at least something Dan-adjacent on her ankle then seriously, stop reading. I’m cutting you off. Becky suggests Hunter take off her ridiculous push-up bra and shove it in the shoe for even more cushion; Hunter agrees. We get this really cool tracking shot of the shoe as it falls; screenshots don’t do it justice but I tried. They can’t even see it hit the ground, so who knows if it worked or not. Oh who I am kidding, we all know it didn’t.

Now that Hunter’s shoe-and-sockless on one foot, Becky notices she has a tattoo – not on her ankle, more like on her instep, which is odd. We just have a second to register that the tattoo says “143” before Hunter exclaims that she sees a guy walking around at the base of the tower. Hmmm, where have we heard those particular numbers in that particular order before? And why didn’t Hunter just take off the other shoe so this little detail would never be seen? Maybe she has a matching one on her other instep. Whatever, Hunter. We’re not worried about that right now because there is indeed a dude with a dog walking around right below them.

Dude’s on his phone, talking to someone about mailing him a check. The girls start screaming, and while the dog hears them, the dude does not, and even after Becky throws both her shoes off the tower to get his attention he walks away. Sorry gals. That sucks. And now you have no shoes. All hope is not lost, though, because the dude and his dog apparently are living in that camper they thought was abandoned, along with another dude. Becks wants to shoot the flare right away, but Hunter rightly assesses that they can’t risk doing it until one of these guys is looking in their direction. And being a little darker outside wouldn’t hurt, either.

The girls engage in the least practical stakeout ever as they peer at the camper through binoculars from 2,000 feet, waiting for them to turn in their direction. Hunter is convinced the two dudes are lovers, which I can’t imagine would matter in this scenario. Gay or straight, they see the flare Becky shoots into the sky, so they leap into the camper and start driving towards the tower. They can, in fact, see them, as Becky and DD are going crazy, waving their cell phone flashlights into the air and screaming. Sure enough, the dudes are coming for them – except no. They’re just coming to steal Hunter’s car, seeing as being stuck 2000 feet up in the air diminishes the possibility of getting caught by the owners significantly. They rev up her SUV and drive off. Damn, that’s cold, my dudes. I hope you never get that check.

OK so, it’s nighttime, which is the perfect time for the movie to put us to sleep. It’s only been 55 minutes, so if they want to get this sucker to feature film length some more stuff’s going to have to happen. But the writers have stuck their protagonists on a tiny little platform 2000 feet in the air in the middle of the desert, so what else can they do except work in some silly emotional beats that don’t resonate at all. These characters are pretty one-dimensional to start with, so there’s no reason anyone would care about their relationship conflicts, but movie’s gotta movie, so here we go.

Somehow the gals have fallen asleep sitting upright with their backs against the pole. I guess Becky could do some pole dancing to spice things up, but hurt leg and all, right? Anyway, Hunter starts to roll off the tower in her sleep but Becky catches her, then tells her that Dan could never say I love you. What is this stupid trope? I know I’ve heard it before, and it’s ridiculous. Why would you marry a dude who can’t say he loves you? That’s clearly problematic. You’d almost think a dude who couldn’t say I love you to his wife might be cheating on her, which is why Becky says this to Hunter after we get another shot of her 143 instep tattoo. Hunter immediately cops to having slept with Danger Dan. Man, she cracked easily. Being trapped atop a 2000 tower really gets to you after a while, I guess. Bafflingly, Becky does not toss Hunter off the tower, but she does move to the other side of the pole so they are back to back. Heh.

But honestly, who cares about any of this? Dan was literally onscreen for like, 40 seconds before meeting his maker, and we saw nothing about Becky’s relationship with him to make us care at all about this situation. Hell, we know more about Becky and Hunter’s relationship than we know about either one of their relationships to Danger Dan, and we barely know anything about Becky and Hunter. How long have they been friends? How did they meet? Did they go to college together, or just pass each other on the way up a mountain? When did Danger Dan come into the picture? Who knew Dan first? Did Hunter and Dan sleep together before or after he married Becky? These things matter, folks, and we know none of it. Hell, we know more about the pole than we do any other character, so I’m Team Pole now. Go fight win, pole. We’re all rooting for you.

The sun has risen, and Hunter is explaining why and how she fell in love with Dan. I wonder if they’ve been having this conversation all night or if they’ve just picked the subject back up for some reason. There’s nothing all that unusual revealed here – she just couldn’t help falling in love with Dan – with Dan, for some reason – but when Becky asked her to be her maid of honor at their wedding she ended it. That – doesn’t seem soon enough, DD. She says she loved Dan, but she loved Becky more, and I can’t see how either of those things are any consolation to Becky now that she’s stuck up a pole without a ladder, so whatever Hunter. And for that matter, whatever Becky, because there is nothing interesting in any of this at all.

It appears the movie has wasted enough time, though, because Hunter decides to try and rappel down to the satellite tower and retrieve their backpack. Becky tells her it’s a bad idea, and Hunter pops off with “Maybe you’ll get lucky and I’ll fall,” which, way to make this all about you, Ms. Passive Aggressive. She ties one end of the rope to the tower pole, then lowers herself down off the tower while holding on to it. I don’t think there’s any maybe about this, Hunter. You are definitely gonna fall.

AAHHHHHHH

Except she doesn’t. She somehow makes it down to the satellite dish and leaps onto it without either her or the dish falling to the ground.

And again: AHHHHHHHHHHHHHHH!!

See what I mean? No matter how lame and plot-holey parts of this movie might be, shots like this will always give you the willies. So good job, movie. More of this, less of relationships with Dan, please. Speaking of plot holes, here comes one of my favorites: Hunter makes it onto the satellite and retrieves the backpack. But oh noes! The rope is too far away for her to reach it and climb back up! Never mind that Becky could clearly just MOVE THE ROPE OVER TO WHERE HUNTER COULD REACH IT. Nope. Hunter ends up having to do all sorts of acrobatics here to get the backpack and herself back up to the platform because Becks is either too stupid or too pissed at her to just swing the damn rope closer to the satellite dish. I mean, I am not a climber but even I could figure this one out.

Oh, if only there was some way I could reach it…

We go through a whole thing where Hunter has to get the backpack hooked onto the rope and then she has to do this Cirque du Soleil-style leap to grab onto it herself, but of course, she eventually pulls this off. Speaking of, imagine how cool this movie would have been if Hunter and Becky had been Cirque du Soleil performers. They’d totally be on the ground by now. Oh, who am I kidding? Clearly, they would both be clowns.

Yep, she really does this.

Now it’s Becky’s turn to access her superhuman strength to pull Hunter, and the backpack, back up to the platform. She almost does it too, except at the last minute Hunter’s foot slips, and she goes hurtling back down. Did she die? Of course not. She’s still at the end of the rope, but now she’s sitting on top of the backpack, having ripped open her palms in the fall. Becky now has to pull Hunter back up on her own, as she sits on the backpack because Hunter can’t use her hands anymore. You know how this ends. She pulls it off, and Hunter is saved. Okay, movie. It was way more fun than watching these two talk about how much they loved Danger Dan, so I’ll go with it

Now they have water, and Hunter’s drone. This is where we find out Hunter didn’t bring extra batteries, so way to go Hunter. If only they had a way to charge the drone back up again…

There’s a dream sequence that doesn’t matter so I’m skipping it, except to say there are vultures. Or maybe they’re buzzards -I don’t know shit about birds. This might be important later. The next morning they realize they can probably use the big blinking red light at the tippy top of the tower to charge the drone, you know – just like Hunter showed us back in the diner! So now Becky has to crawl her skinny ass up even higher – I mean, however high it is, it’s more than 2,000 feet so does it even matter – so she can take the light bulb out and stick the drone charger in there, and hold it in place while the thing charges. I mean, bitch doesn’t even have shoes at this point, but whatever. She somehow pulls herself up there, with Hunter encouraging her by singing – you guessed it – Cherry Pie, and apparently, this big-ass tower with its big-ass red light just has a regular-ass old light bulb in it that she can take out and use the base as a charger. That seems improbable, but whatever. It works. Later, seventeen planes crash right into the tower because Becks took the bulb out. Hey, let’s watch that movie!

Before the drone fully charges, a buzzardy-vulture-ish creature starts whacking Becks with its claws, because of course it does. It’s actually – kinda funny. Unfortunately, Becky learned nothing from the time she lost their backpack when the ladder went all un-ladderish on her, because she’s carrying it again, and the devil bird manages to knock it off her shoulder. Down it goes, right past Hunter, who just – stands there and watches it fall. It literally flies right past her, and Magic Hand could have grabbed that thing in an instant, but she doesn’t even try. What gives, Hunter?

Becky fights off the demon bird somehow, gets the drone charged, and shimmies back down the pole (Cherry Pie, indeed) so they can attach an SOS to the drone and send it flying in the hopes of it reaching the hotel where they stayed. You know, down in that tiny little toy town. As soon as Becky is back on solid platform she asks Hunter why she didn’t catch the backpack, but before Hunter can totally not answer her at all, Becks barfs over the side and the moment is forgotten. They need to get a message down to Tiny Town pronto. We’re an hour and 24 minutes in, so this could be the thing that really works – except the dumbasses fly too close to the street as it reaches the hotel – and crunch. A truck smashes it to pieces. Damn, these two have the worst luck ever.

It’s getting dark, and Becks is losing energy along with her last vestiges of hope. She wants to sleep. She doesn’t think she can make it through another night. Hunter, who seems in much better shape than Becky at this point, tells her not to talk like that. Nonsensically, she tells Becky she needs to eat something. Yeah, no shit, Hunter, but what is she supposed to eat? Hunter tells her there’s always a solution, and clearly no, there’s not, but Hunter warns Becks that she can’t fall asleep because the demon birds can smell her rotten leg wound and are just waiting to pounce on her. I don’t know if this is how demon birds actually work, but hey, something’s gotta end these two at some point so fine. Still, Hunter is acting peculiarly calm right now. Becky says they should try to drop her cell phone, which has yet to run out of battery life somehow, and asks if they can use Hunter’s other shoe to cushion it. Hunter says she can’t, because her other shoe isn’t up on the platform. Becks is confused. What do you mean? It’s right there on your foot. Except that Hunter’s foot isn’t on the platform. It’s on the satellite dish below, where the rest of Hunter’s dead body is. Dun-dun-duhhhhhhn!

Ghost-Hunter (heh) tells Becks that after she retrieved the backpack from the dish, then slipped when she was almost back to the tower, Becky did not, in fact, save her by pulling her back up while she sat on the backpack. What really happened is that Hunter fell all the way back onto the satellite dish and bled out, She even asks Becky if she really believed that she was strong enough to pull Hunter all the way back up on her own, to which I say, good point, Hunter. Finally, someone realizes the implausibility of all this. Becky freaks out, rightly so, and as Hunter’s voice fades out for good she says that Becks was too afraid to admit to herself that she was all alone, so she hallucinated Hunter still being alive. This is a silly plot twist that was in no way needed, so that’s all I am gonna say about it. Moving on.

Now it’s dark and windy and thundering, and Becky’s hanging on to that pole for dear life. Cherry Pie, Becky, Cherry Pie. She pulls a Blair Witch and uses her iPhone with it’s Miracle Battery to record a goodbye message to Dad, since she’s clearly gonna die up there now. It gets confusing at this point, because as Becks is recording this message it cuts to her father, trying to text her on his phone, and it sure looks like he is listening to the message Becky recorded. Maybe Dad is hallucinating too? No, the movie is just showing us what Dad is doing at the exact moment Becks is recording her message, but it’s still confusing.

Cut to the next morning, and Becks is looking a lot like someone who’s been stuck atop a 2,000-foot tower for days. In other words, she looks dead. A vulture agrees, and settles down to munch on her leg wound. Nom nom nom goes the vulture. Oh hell no, goes Becky, and she and the vulture engage in a battle of the wits and wings. Once again, it’s pretty funny. There’s no way to fight a big ass bird and not look ridiculous, it seems. But Becky wins the battle, breaks the bird’s neck, and then turns the platform on it by eating the damn thing raw. Ew. I feel ike this should at least make her a little queasy if not downright ill, but no, Dead Buzzard gives her more energy than a Red Bull (how can they have not made that a marketing drink? Dead Buzzard! More Energy Than a Cherry Pie!) and Becky is officially OVER this fucking tower.

Looking every inch like the buzzard-eating badass she is, Becky pulls her hair back, hooks herself to the rope, and lowers herself over the side of the platform. In spite of all the silliness this movie contains, I think the actress really nails this scene. If only she’d nailed the ladder to the tower better none of this would have been necessary, but then we wouldn’t have been able to see Becky really take her power back. and haul herself down to the satellite dish where Hunter’s body is.

Yaasss Becky! Do that thing!

The music crescendos as Becky rappels down to the dish and unhooks herself when she runs out of rope, landing next to Hunter like she’s been doing this shit all her life. I’m inspired in spite of myself – how can I not be? Bitch just ate a raw bird and slid 100 feet down a 2,000-foot tower in the blink of an eye. Give us more Becky! There’s a vulture on the dish that is not pleased Becks interrupted its dinner. Becky looks it square in the eye and stares that fowl down, and the vulture dips. That chick has vulture blood dripping down her chin, man. I ain’t messin with that.

Becky holds Hunter’s dead hand for a while and I gotta say Hunty doesn’t look all that dead to me. What if Becks is hallucinating again, and she’s really cuddling a dead vulture? But we know she is not, because she types out a text to her dad telling him where she is, yanks off Hunter’s other shoe (I was half expecting Hunter to have a tattoo of her Dad’s face on her other foot, but no) and then – to be sure her phone makes a soft landing – she shoves the shoe all the way down into one of Hunter’s flesh wounds – and shoves that chick right off the satellite dish. Sorry, Hunter, she tells her, but I have to be sure this message gets through. The new iPhone 17! It sends texts through human flesh! But also, you cannot convince me a little part of her did not enjoy doing that. Bye-bye, Hunter. Tell Dan I’m not afraid of living.

Sorry Hunter – but you gotta goooooooo

Then the satellite dish gives a sickening lurch, just to remind us that Becky is still most likely as good as dead. And then the movie makes the weirdest choice. We cut from that to Becky’s Dad, driving like a bat out of hell through the night. He drives past the Tiny Town Hotel and the smashed drone. Ooooh, maybe he’s gonna have to climb up to the satellite and get Becky down! How cool would that be? But no – he approaches the B67 tower and there are flashing lights and helicopters all around. Aw damn, Dad doesn’t get to play hero? But still, watching a helicopter lift Becks off that tower will look really cool. Except – no. Dad gets out of his car, and there’s a dead body on the ground covered with a sheet. I think the movie is trying to trick me into believing that this is Becky – clearly, that is what Dad thinks – but I never thought it was anyone other than Hunter. I mean, this movie is NOT going to deprive us of the moment Becky gets rescued off that tower, is it? Except yes, it is.

Just as Dad is about to lose his shit, we hear Becky call out to him. She’s sitting in an ambulance covered in a blanket. Um, yay? She’s alive, and while Dad is happy, I can’t help but feel let down. How could we not see Becky’s rescue at all? Is it just to give us a cheap half-second of thinking she’s dead like her father does? That’s all I can figure because otherwise, the choice makes zero sense. Becky runs into her father’s arms, tells him she is going to be okay, and as Hunter’s body is carried away, we hear her voice repeating her inspiring speech about how life is short and blah blah blah. I don’t like this choice either. It should have been Becky’s voice we hear in those last movie moments, not her cheating friend who carelessly led her up a tower and almost got her killed. Wrong move, movie. Wrong move.

But yay for Becky anyway. I mean, the movie didn’t give her the full resurrection she deserved, but she made the most of what she did get. Now I just want to see her hunt down those guys that stole Hunter’s car and beat their lousy asses.

Horror Movie Fave: The Harbinger (directed by Andy Mitton, 2022)

SPOILERS BELOW! Don’t read if you don’t want to know.

What’s the Horror: A deadly pandemic (yeah, I know, but I promise this one is worth watching)

Does the Dog Die? No animal cruelty in this one

Gore Factor: Maybe a 2? There’s really no gore to speak of here. Trust me, it doesn’t need it.

Character Quality: Excellent. Gabby Beans (as Monique) is captivating.

Re-Watch Scale: Not too often. Not because it isn’t amazing, which it is, but it’s a hard watch given that most of us, self included, really want to just forget all about the early days of lockdown, when no one knew what the hell we were dealing with and how long it was going to last.

SPOILERS AHEAD – LAST WARNING

The Harbinger came out in 2022, as did another film called simply Harbinger. I’m not sure if that’s why this one didn’t get as much attention as it deserves, but trust me, it deserves your attention. It deserves ALL the attention. Better than any pandemic-based movie I’ve seen over the past few years, The Harbinger serves as a sad, scary metaphor for death and how fear of it can completely dominate people’s lives. It also evokes the panic and trepidation of those early weeks and months of COVID-19, when everything, and everyone, felt dangerous, and learning how to navigate our lives in a different way felt daunting and depressing.

Gabby Beans as Monique

The Harbinger presents us with a world in still, silent turmoil: Monique has moved back into her father’s house with her brother to stay with them during the pandemic. She’s uprooted herself in order to ride out the crisis with her loved ones, hiding out at home and marveling over how they can now order groceries in advance and pick them up without making any contact with anyone (remember how novel that was in the beginning?). It’s the dead of winter, and while Monique and her family sit down for a warm family dinner, the view outside is cold, grey, and completely still – there’s nothing going on out there, no movement, no action, no life.

But there’s a twist here that, even though it’s not a detail the real pandemic contained, feels as real as COVID itself: in this version of the pandemic, when you die, everyone you ever knew immediately forgets that you ever existed. Let that sink in for a moment. The second you’re snuffed out, all of your loved ones forget who you are. And every time someone you love checks out, you forget who they were. Imagine it: All over the globe, people are looking at photos on their phones wondering who the hell that person is. And it’s you. Terrifying. Aren’t we all afraid of being forgotten after we’re gone? Isn’t so much of what we do in life an attempt to leave a legacy behind? Imagine being a parent and realizing that your children will forget you the instant you stop breathing. Now imagine being locked up in your apartment, looking at photos of strange people and wondering why the hell you’re surrounded by images of strangers. It’s horrifying, existential stuff. It harkens back to that first year of COVID-19, when the number of dead became so overwhelming we grew numb to it, unable to comprehend how so many human beings could perish in one day. And we weren’t even able to honor them with a funeral service. They just … died. And if they had to be hospitalized, that was another kind of disappearance, because you couldn’t visit them. You didn’t get to say goodbye. So many people died afraid and alone. And The Harbinger harkens back to those fears with astounding accuracy.

But I’m getting ahead of myself. It will take a while before anyone learns the truth about what The Harbinger does to any life it snuffs out. First, there’s a different dilemma Monique faces that will be familiar to all of us: she has a friend who lives in the city (I think it’s New York) and she is distressed. She’s in a very bad place, and she’s all alone. She’s a friend Monique hasn’t kept in touch with since college, but when they were close, Mavis helped Monique through a particularly dark time. According to Monique, Mavis saved her life, and Monique promised her that no matter what, she would do the same for Mavis if she was ever in need. And she’s desperately in need now. How many of us faced a situation like this throughout the pandemic? Going to visit a sick friend was an absolute minefield, and if a friend or family member needed anything at all, you had to evaluate whether or not helping them out was worth the risk. Monique decides it’s worth the risk, and against the advice of her family, she goes to help her friend.

A big part of Mavis’s distress is that she’s not just sick. She’s having visitations in her dreams. Nightmares from which she cannot wake. A horrible entity wearing an awful plague mask stalks her in her sleep. And it’s getting harder to resist it. Would it help just to know you’re not alone? Monique asks Mavis at one point, and damn, that hits hard. It should be such an easy thing to do, but during the height of COVID-19, it felt like an impossible task to accomplish for anyone. But Monique is a fucking hero. She made a promise, and once she arrives at Mavis’s apartment, she comes through for her friend, hugging her and even offering to sleep next to her so she won’t be so scared.

Unfortunately, human kindness in this situation means you risk being struck down by the same thing that’s tormenting the person you’re trying to help, and that’s what happens to Monique. She starts having bizarre dreams from the first night. So let’s talk about these dreams: Mavis describes how they’ve slowly increased in duration, to the point that now she sleeps for days at a time, unable to wake no matter what she does. The only reason she even knows she’s sleeping is because – she can’t go to sleep when she’s in them. She’s already asleep. And the plague doctor is always there, telling her it’s almost time for her to die, to fall asleep, and never wake up. Monique responds with empathy and support – exactly what anyone would do for a friend in this situation, except in this situation, showing up with empathy and support means you might be the next to die. It’s clear Monique doesn’t understand this, and whether or not she’d come to the aid of her friend if she knew is unclear. She probably would. It’s the sort of balance a lot of us had to deal with during the pandemic, and it forced us to make choices we never thought we’d have to make, to behave in ways we never thought we would behave. Suddenly, just extending a helping hand has disastrous consequences, and what that does to our collective psyche is incomprehensible.

Monique’s first dream reveals her as a child, walking through the snow with her mother. We can’t see Mom, but we hear her, calling Monique into the woods. She calls Monique “sparrow,” a detail that will matter later. Having already seen Monique with her family we know her mother has already died, and sure enough, instead of seeing her mother emerge from the woods, Monique sees a dark shrouded figure. Please don’t hurt me, she begs, and then we cut to Monique in the present moment, sitting upright on Mavis’s bed, still sleeping. She wakes up and checks her phone, only to find a long list of unreturned texts from her brother. Who knows how long she’s been asleep. Mavis is still snoozing, so there’s no way to know. Monique hears coughing from the apartment upstairs and goes out into the den to listen more closely. Her brother Facetimes her and immediately asks why she isn’t wearing her mask. And just like that, reality intrudes upon the safe little bubble Monique created with her friend. When it was just the two of them, it felt like the right thing to do to unmask and hug. But with her brother on the line asking questions, Monique struggles to justify herself. Again – such a familiar experience, right?

Her brother Lyle tells her their father started running a high fever the night before. They hope it’s not that, but they can’t be sure. Suddenly Mavis starts to scream, and just as suddenly, the ceiling caves in and the body of a little boy crashes through it, landing on the floor with a thud. He’s bleeding from his mouth. Panicked, Monique looks around for any sign of what the hell is going on, and through an open doorway, the image of the plague doctor appears. “He says it’s nice to meet you,” the ceiling kid says, and then Monique wakes up again – but is it for real this time? It’s already getting hard to tell. Damn, this plague moves fast, doesn’t it?

Lyle calls (again), but Dad is fine. And Mavis screams (again), but no one falls through the ceiling. Monique goes to Mavis, who has bitten her lip in an attempt to wake herself up. Monique asks Mavis to describe the entity to her, and she makes a sketch of it – looks like Monique is quite the artist given the quality of the sketch. Then they post the picture online everywhere they can, asking if others have seen the same thing. I’m surprised they don’t know anything about the plague doctor and his mask, but the internet has to tell them what it is. While they’re reading about it, they hear an ambulance siren stopping in front of the building. It’s the little boy. He was real, and he had the plague, and the ambulance is there to take him away. He’s dead.

We cut to nighttime. It’s raining as we peer through a rainy window. A woman is lying in bed as a young girl approaches her, and we see that it’s young Monique again, and the woman in bed is her mom. She crawls into bed with her, frightened by the storm, and saddened that she’s forgetting what her grandmother looks like. She’s afraid people will forget her when she dies. Mom reassures her that the end of her life is a long way off, then points at a picture of her grandmother to reinforce to Moniqe that she will be remembered. But the plague doctor is there, hiding in the corner of the room, and when Monique sees it her Mom changes. Some sort of black, thick tongue sneaks out from between her lips, and she shoves Monique under the covers. As she fights, Monique (in adult form) suddenly finds herself in some sort of morgue-mobile; it’s cold and blue and there are dead bodies on either side of her.

She bangs on the walls of the truck, begging it to stop. It stops. She leaps out, and finds herself in a dark room. A flashlight is at her feet. She picks it up and starts to walk through a hallway, trying to find a way out. Instead, she finds the little boy who died in Mavis’s apartment building. I can help you wake up, he tells her before plunging a needle into her temple. Monique wakes up screaming.

Unfortunately, Mavis is in worse shape than Monique. She’s standing stock-still in the middle of the bedroom, fast asleep. It’s unclear how long she’s been standing there. She’s urinated on herself. Monique cleans it up. It’s another reminder of how humiliating illness can be, how undignified our bodies can be as we die. Yet Monique is there to take care of her, even though she’s paying a heavy price. When Mavis screams herself awake, Monique admits that she’s seeing the plague doctor in her dreams now, too. Mavis is understandably distraught. She feels like she never should have called, that she’s doomed her friend just as surely as she is doomed herself. It’s a sucky way to feel, for sure, but there is nothing to be done now except deal with it. Monique isn’t ready to give up. She’s made an appointment with a demonologist for them to meet with on a Skype call.

The demonologist doesn’t have good news for the two. This entity they are seeing is NOT the plague, she says, but it feeds on the fear the plague creates. What it is, according to her, is a bad idea. It lodges in your head and won’t leave. This being has come to be known as The Harbinger because once you see it, it’s all over. It uses anything and everything it can to deepen your fear and confusion. And the more fear it generates within you, the deeper it digs – until at last it consumes you entirely. Everyone you’ve known, everything you’ve ever done, even everything you own disappears when it finally erases you. Because of this, it’s impossible to track. No living person even knows there’s something to track at all, because they’ve all forgotten the dead ever existed. The demonologist only knows about it because the process isn’t perfect; it often leaves relics behind like a photo or a piece of clothing, and through talking to so many people some relics of their stories have stayed in her memory. But she doesn’t remember anything about them. And that’s all the information she has – there’s no solution to the problem she can offer. She’s just hoping to stop the spread of the fear that invites the entity in.

Monique and Mavis are stunned. It’s not just the dying, Mavis tells Monique. It’s the cruelty of it, that no one will remember her when she’s gone. She shows Monique a picture of a man who is looking at her with love. Mavis has no idea who he is, but she can tell it is someone who loved her, but she has no recollection of their relationship. They both surmise that this is the person who infected Mavis. She probably loved that man too, Mavis concludes, but now he’s just gone as if he never existed. She cannot remember him. And she knows that when the plague doctor finally gets his hands on her, no one will remember her either. It’s brutal.

And it’s too much for Monique, who waits until Mavis falls asleep that night and then writes her a note before taking off. She drives back home to her father’s house, where her dad and her brother are both angry she’s come back after being exposed to the illness. Welcome home!

The note Monique leaves for Mavis

There’s a surreal conversation that takes place here; the camera cuts between close-ups of Monique and her brother as they discuss the consequences of her return. Close-up of the brother, talking through his mask: Monique has to isolate herself in her bedroom. Cut to close-up of Monique, also talking through her mask: yes, yes of course. Back to Lyle: and you have to wear your mask everywhere outside of your room. Cut to Monique: Absolutely. I promise. Cut back to Lyle: Did you do what you set out to do? Did you help your friend? Cut back to Monique, but this time – she’s not wearing her mask. Tears fill her eyes as she starts to tell them how she abandoned Mavis in her time of need, but Lyle cuts her off. Where is your mask? he demands of her, and Monique reaches instinctively for her face where her mask should be, but it’s gone.

Lyle’s body language shifts, as does that of their father. Lyle rushes Monique and grabs her roughly, dragging her up from the sofa and towards the stairs. “I’ll go! I’ll go!” Monique shouts, trying to get Lyle to stop manhandling her, but he persists, as Dad shouts at her to get upstairs. It’s another harsh reality of the pandemic that’s easy to understand: as soon as you’re infected, and at the point where you need the most love and support, you’re cut off entirely from everyone, left to handle the illness on your own. You know you’re a danger to others, but the instinct NOT to isolate is still there; as soon as Lyle shoves Monique into her room and slams the door, she turns around to see her dead mother sitting in her bed. Monique immediately starts pounding at the door, begging to be let out, but of course, no one comes to help her, because as far as they know this is just Monique trying to get out of isolation. Now the Harbinger appears before her, and she turns back to the door, pounding and shouting until she knocks a hinge loose and collapses onto the door as it smashes to the floor.

Monique stands up and looks around. She’s no longer at home; she’s in a funeral parlor. There’s an open casket at the end of the hall – it’s the boy from Mavis’s apartment building who died. Monique hears a sound – it sure sounds like Mavis screaming – and when she turns back around, the boy’s body is no longer in the casket. The lid slams shut, and the boy is standing behind it. He starts to walk towards her, and she takes off through a door at the back of the room. She ends up in a morgue, complete with a dead body on a table, and, still hearing the little boy’s footsteps behind her, hides inside an empty cabinet. The boy, of course, knows where she is, and gives us a good jump scare when Monique peeks out from behind the door. But he’s not following her to try and harm her; he wants to tell her that there’s a way to defeat the Harbinger. He knows this because he died from a disease that only adults were supposed to get, and that made him an aberration, even in the awful afterlife of the Harbinger. He wants to help her. Show me where you sleep, he says, and immediately they’re back in Mavis’s bedroom. The real Mavis and Monique are asleep in bed.

The boy tells Monique that the Harbinger is on its way, and soon the figure appears in the open doorway. Monique is frozen in fear, but the boy says the Harbinger is not there for her. It approaches the bed on Mavis’s side. We have to do something, Monique says, but the boy tells her they can’t because they are in a dream. They aren’t real, but the bodies on the bed are, and suddenly Mavis sits straight up and begins to scream. The Harbinger grabs at her and starts to drag her away as she screams and fights. Dream-Monique grabs her own sleeping body and starts shaking it, shouting at herself to wake up. We see Mavis as she is dragged off the bed and out the door, and as soon as she is gone Monique wakes up in Mavis’s apartment, alone. Every trace of Mavis has disappeared. It’s just an empty apartment. And Monique has no idea what she’s doing there. She’s forgotten Mavis already.

The landlord shows up to tell her that she can’t squat in an empty apartment, assuming Monique has been on some kind of bender. Monique has no idea where she is, or how she got there, so she calls Lyle, who’s upset with her for disappearing the way she did. He can’t understand how Mavis got into the city without her car, which is still at home (because she never drove into the city, since there is no Mavis now), and Monique can’t explain any of it. Lyle is frustrated, but kind, and the love between the two is clear, as is the strain Monique’s mental illness has put on their relationship in the past.

Once she’s back at home, Monique goes to bed, and as soon as she falls asleep she’s awake. Here we go again! She’s back in Mavis’s apartment, and it’s still furnished as if Mavis lived there. Monique has a moment of remembering, whispering Mavis’s name. The sadness in her eyes is heartbreaking. She walks into the den – the room where the little boy fell through the ceiling in another dream – and sits down on the sofa with a deliberateness that reveals her courage. She’s waiting for the Harbinger, and it’s clear she is going to confront it when it arrives.

And arrive it does, in dramatic fashion. Ol’ Harbinger is really pulling out all the stops for Monique here, materializing in the apartment on a wave of golden light. Monique stares at it knowingly before standing up and walking right up to it. They share a conversation that sheds some light on why Monique is not as afraid of the Harbinger as others might be: You have no family, the Harbinger tells Monique, in a voice that is clearly Monique’s own. You were never born. Just like you always wanted. So in a way, Monique’s past suicidal ideation has familiarized her with the Harbinger in some unconscious way, and the Harbinger is using this knowledge to get at her.

But Monique isn’t going down without a fight. She screams and digs her fingers into the open eyeholes of the Harbinger’s plague mask. Blood streams down its face. She grabs a knife, and in a flash, she’s stabbed the thing in the gut and tackled it to the floor. She saws off its head in a fit of rage, then covers its dead body with a sheet. Problem solved?

Unsure what else to do, Monique sits on the floor of the apartment and waits. Soon a bright blue light appears across her face, and there’s a knock at the door. She opens it, and the little boy is on the other side. The door no longer leads into the apartment hallway; it now opens onto the same bleak, snowy landscape Monique saw in her very first dream. She tells the little boy she’s happy to see him. He’s happy to see her too – but the green screen is really bad here. Ok, he didn’t say that last part, that was me. Moving on.

The little boy praises Monique for killing the Harbinger, then asks her if she wants to wake up. Monique didn’t realize that she could, and the boy says she can if she follows him. Out they go into the snowy woods. They make quite a pair, as neither one of them is dressed for chilly weather, but they don’t appear bothered. They walk deep into the woods until they come upon Monique’s bed nestled among the snowy trees. The boy encourages her to climb in, which she does. He tells her to close her eyes, and she asks him where he will go. He doesn’t know – maybe he’ll just disappear. Monique smiles at him kindly. I won’t forget, she tells him. The little boy smiles back at her. It’s a lovely moment.

She closes her eyes and wakes up in her bedroom. Her brother is there, and as soon as he sees that Monique is awake he calls out to their father. The two of them tell her about how she’s been unresponsive for three days, and how they had to badger their doctor to do something about it. The doctor ended up sending someone in a Hazmat suit to tend to her, and while they were there they administered all three of them a plague test. They were all negative. Damn, this just keeps getting better and better doesn’t it? And the light outside seems to agree – there’s no doubt this scene is brighter and more vibrant than any other scene in the movie up to this point. Monique is thrilled and clearly taken aback at all this good news.

We get some shots of a statue in the snow – the Angel of Hope, it says, and hey, why not? – and then a close-up of the family’s mailbox, which has a note on it reading “Thank you essential workers” with a heart drawn on it. These are good people, this family, and it’s a relief to know they’re all OK. It’s cathartic, after all the horror we’ve watched Monique go through so far.

A rare moment of happiness

Cut to Monique in her bedroom on her laptop, talking to the demonologist. She remembers the doctor, although not that the last time she met with her Mavis was there. She’s telling the demonologist about how she slept for three days straight without having any sort of dream, and the demonologist seems…significantly less enthused about this than one would expect. Monique notices, and asks her what’s wrong. The demonologist asks Monique how she knew what to do to escape the Harbinger and wake herself up, and Monique tells her it was an angel, a little boy who came to her and led her out.

If your demonologist makes this face, RUN

The demonologist looks panicked. She tells Monique that the Harbinger is everyone in her dreams. There is no one else there. Monique says this was different, and the demonologist reminds her that everyone and everything is a tool for the Harbinger, to get closer to her. Monique slams her laptop shut, not wanting to hear any of it. But it’s clear on her face that doubt has taken hold. I’m not ready to – she starts to say, when BAM! The Harbinger slams through her bedroom wall with violent force.

We cut to the brother and the father downstairs, who are both in a trance. At first, I was sure this meant they have both also been invaded by the Harbinger, but upon re-watch, I’m not so sure. They’re not asleep, they’re just frozen in place, so maybe that’s what happens to the uninfected while someone close to them is being taken? I’m still not sure. Either way, they stay stock still as the Harbinger drags Monique kicking and screaming down the stairs and out of the house. As soon as she’s gone, Lyle comes to while someone pounds on the front door. It’s a policewoman. Someone called in a report of some commotion in their house. But Lyle’s all alone there. Dad is in the hospital, and Lyle has no brothers or sisters. The officer asks if his dad is going to be OK, and Lyle says yes, he is, and that they are taking him off a ventilator and bringing him home the next day. The officer leaves, and Lyle looks around the room, confused.

Cut to the next day, when Lyle is helping his feeble father back into the house. They remove their masks and stand quietly in front of a window. It’s back to being cold and bleak outside. Lyle notices that Dad doesn’t seem happy to have survived, to be out of the hospital, and Dad says he could be happy if the world around him wasn’t so damaged and empty. Oh, if he only knew. Dad says a shadow is falling over them, and that he knows Lyle can feel it even if pretends he can’t. There are worse things coming, Dad says, and Lyle tells him he has to keep up hope. Dad asks why, and Lyle says that’s just what they do; they keep hoping. Dad isn’t convinced. He tells Lyle he’s going to bed. But as he walks towards the stairs, he sees something on the floor. He stops to pick it up. It’s a sketch of a sparrow, and it was clearly drawn by Monique. Dad looks up and around the room with a look of fear, sadness, and confusion on his face. His eyes are full of tears.

The end.

This is a heartbreaking film that’s scary in so many ways beyond supernatural jump scares and suspense, although there’s plenty of that as well. When the Harbinger slams through Monique’s wall after she hangs up on the demonologist, it’s a huge shock, even though we too have figured out that the Harbinger tricked her. I think it’s because she’s in the middle of making a statement (I’m not ready to…to what? To think about the possibility that she wasn’t saved? To die?) that the crash through the wall sent me through the roof. It’s a terrifying moment, but it’s well-executed and well-earned. This may be a tough movie to watch, especially at a time when the world’s collective trauma still has us running from all memories of that awful time – but it’s worth watching at least once for its sad, elegiac beauty.

Found Footage Faves: Bad Ben 10 & 11 – Eulogy and Undead

What’s the horror: ghosts (in the form of Tom Riley), zombies

Does the dog die? Nope

Gore factor: Nah – our man BB doesn’t go that way

Re-watch scale: Eulogy is not one I will re-watch, but Undead has grown on me much like Haunted Highway did.

Here we are again – Nigel Bach is crankin’ these movies out more quickly it seems, for better or worse. Mostly it’s for the better, but along the way, there’s bound to be some duds. Eulogy isn’t Bach’s strongest entry, but it does serve a necessary purpose in bridging the death of Riley in the last episode to future episodes. After confirming Tom was killed at the end of Benign, Bach has to do something to open the Rileyverse back up for future films, and in that regard, Eulogy serves its purpose. Also, I think Eulogy was made towards the end of the pandemic, when working with others was still dicey, so that probably affected the end result as well. And kudos must go out to Bach for continuing to make films throughout the pandemic – nothing slows this dude down, it seems, and even when the world feels apocalyptic, there he is, doing what he does. It’s pretty comforting.

With Eulogy, we start in familiar territory – an investigative podcaster has gained access to new footage regarding Tom Riley’s current predicament and plans to create a documentary about the goings-on for his viewers. We saw this premise in Badder Ben, and it worked well, so I don’t have any problems with Bach mining familiar territory here. After viewing the usual “this is footage we found” opening text, and a quick catch-up/review for anyone who’s either new to the franchise or has forgotten what happened in the previous nine movies, our investigator for this outing, who identifies himself as Jackson Scott, promises to show us new information that will, of course, blow our minds. Let’s get to work!

First, Jackson reminds us that somewhere along the way, Bach started a paranormal investigation service called Boo Be Gone, because of course he did. Jackson gained access to hours of recordings related to BBG through a Freedom of Information Request, and the first clip he shows is one of Tom Riley himself (hey, Tom!) with a collection of BBG’s contacts, client files, and recordings that he’s hiding in his shed. He wants someone to know where his shit is, in case anything happens to him, which we know has come to pass.

Jackson’s standing in front of Tom’s shed as he tells us this, then he uses a crowbar to break into it. He finds the files, and just as he’s about to leave he hears that familiar Bad Ben screech – it’s honestly the weirdest sound ever – and in an old mirror hanging crookedly on a wall of the shed appears the message: He Rots in Hell. Wow, thanks mirror. Now we know what happened to Tom so we can all go home, I guess.

Just kidding. Jackson’s got a ton of material to review now, so we cut to his studio where he’s ready to record a new episode. He starts off by telling us he’s contacted the people in Tom’s files, and any time he encountered someone who was willing to talk to him he asked them “One simple question: did you know Tom Riley?” We then cut to Tom talking about what he thinks people will say about him when he’s dead. “I think people will say, yeah, I knew Tom Riley,” he says, which, way to shoot for the absolute minimum there, Tom.Then we cut to a collection of Tom’s clients all saying, unsurprisingly, “Yeah, I knew Tom Riley.” So far, so good, Tom. You’re predicting the future quite well.

But not for long, because soon Tom is being asked what else people will say about him, and he of course says people will probably say he’s a nice guy. Cut to the same group of people calling him an asshole, moron, and idiot. Heh. It was a pretty obvious setup, but it’s still funny.

This is as good a place as any to mention a key component of this BB installment – all of the clients Jackson interviews throughout the movie are fans of the franchise. Nigel Bach started offering cameos and mentions in his movies to fans who donate a few episodes ago, and with each subsequent film, the number of contributing fans increases. This movie approaches that funding much like Pandemic did, by primarily using these contributors as minor characters in a series of vignettes. It’s a trick that worked well once, but I’m not sure it’s good enough to be used a second time as it gets old rather quick here. Each scene from Tom’s video diary has a random picture in the background that’s clearly another contributor, and different fans create the video vignettes Jackson shares, all of which discuss their experiences with using Boo Be Gone and Tom Riley to rid their house of evil spirits.

As you can imagine, there’s a varying level of acting talent among these fans, so not understanding why they’re being used in the film at all might make the viewing experience baffling. And the random photos that keep showing up behind Tom can be distracting, as they’re clearly added digitally into a frame rather than being real photos. It’s an odd problem to solve; Bach needs financing to keep doing what he does, and he went through some financial difficulty with a shitty distributor who screwed him over which led to needing even more outside help, so I get why he solicits fan donations. Being totally independent is key to Bach’s movies; he does homemade cinema better than just about anyone, but that does mean a lot of crowdfunding, and he needs to keep upping the stakes, I guess, so fans continue to donate. It can weigh the films down, to be honest – BUT, again, the pandemic must be considered here also. Now that the world is back to business, Nigel Bach can find a way to make his contributors and his viewers happy, as well as appeal to new viewers; I’ve no doubt of that. If anyone can do it, he can. And his fans deserve to be featured, to be honest – they’re the ones who step up and keep him going when things get rough financially. Bach has managed to keep this train rolling since 2016, so I’m pretty confident he will iron out the kinks with each new installment.

But to make it work during COVID-19 time, this film is mostly just interviews – of different clients, and of Tom himself. Then we have Jackson occasionally popping in to stare into the camera and relay information, so overall, yeah – there’s a lot of scenes of people just talking into a camera in this one. The stories they all relay revolves around the idea that while Tom thinks he’s a kick-ass ghost hunter and has cleared the spaces of his clients to their satisfaction, his clients have quite a different perspective. Tom either failed to fix the problem, made the problem worse, or in some cases destroyed people’s property in the process. Some of the stories clients tell could have been their own movies, and in fact this kind of feels like a bunch of Bach’s ideas that never fleshed out into full-blown films.

One of the strangest things about this installment is how stiff Tom is in front of the camera for most of the runtime. He clearly had very specific things he wanted to say about each experience that he relays to the camera, and his interviews have the quality of being recited rather than spontaneously discussed with an interviewer. It’s unusual for Bach, who was definitely funnier and more spontaneous in Pandemic as he reacted to the situations people were sending him via video.

Things continue along in this vein until about the one-hour mark (!), when Jackson speaks to Tom directly via a psychic with a crystal ball. Sure enough, he is in Hell, and has taken to calling Satan Glenn just to piss him off. Heh. As soon as Tom Riley is back to wisecracking and done with reciting stories, the energy picks up tremendously, especially as we watch Jackson track down Tom’s lost grimoire (it was stolen by Bad Ben when he ticked Tom off and he threw it at the creature) and use it to bring Tom back to life. And back to life Tom is, about seven minutes before the end of the film. Unfortunately, almost as soon as Tom is brought back to life zombies come stumbling out of the woods, and Jackson and Tom take off. End of movie.

This leads us to Undead, taking place right where Eulogy stopped. Now that Nigel Bach is back to telling one cohesive story, Undead is all wise-cracking Tom, all the time. It starts out a little slow, as we get a fair amount of Jackson and Tom just running around trying to avoid the zombies and figure out what the hell is going on. This is all shot outside near Steelmanville Road, but not at the house, since at the end of Benign it was revealed to have a new owner. Bach, ever the master of the do-it-yourself horror film, does a good job compensating for the fact that there’s traffic driving up and down all the roads they travel as they try to get back to Jackson’s studio – “Are we the only ones who know what’s going on?” they keep asking themselves, which is a simple but clever move – I can’t tell you how many low budget horror films have neglected to acknowledge the normal daily traffic zooming around in what’s supposed to be the apocalypse. Nigel Bach can’t stop the traffic, but he will sure as hell quip about it. And quip he does. It’s all quite meta.

It takes about 20 minutes of wandering around outside and filming themselves talking about what might be going on before they make their way into Jackson’s studio, and Tom’s quips aside it’s a bit of a slow start. Still, there are some good bits in here, such as when Tom calls the cops and tries to tell them they’re being attacked by zombies, but they hang up on him. Jackson rightly points out that he shouldn’t be talking zombies with the police – just say we’re being chased by something else, he suggests, otherwise, they won’t take him seriously – so Tom calls the cops back and quips: “Hello police? We’ve got hummingbirds!” For some reason, this really cracks me up. They also find an abandoned campsite with a severed hand, and a note inside a backpack from the victim’s wife, telling whoever this poor dead dude is not to wear his earbuds too much and to have a good time. “Well, he’s not listening to his earbuds anymore,” Tom tells the camera, then looks at the severed hand. “Or his wedding ring, apparently.”

Things kick in soon enough, once the guys change clothes and pick up Jackson’s assistant, Mitch. They stumble into a zoo, of all places, and film different animals until a zombie pops up in one of the cages. It’s odd, but clearly, Bach got permission to film inside a zoo and was not going to pass that up. Either that, or they snuck into a zoo and were determined to shoot as much footage as they could while they were there. Either way, the zombie in the cage is a pretty good scare, as is the moment when several zombies are shuffling towards them and Tom says, “They’re slow-moving…that’s the good thing,” and a VERY fast-moving zombie bursts out from behind the shufflers to attack the camera. Heh.

They make it out of the zoo and walk right into a cemetery, where Tom gets the brilliant idea to dig up a body and try to “test” what’s up with the wandering undead situation. Jackson is, obviously, against this idea, and when Tom asks Mitch what he thinks, the face Jackson gives him to encourage him to back up his assessment that this is a bad idea is pretty funny:

So yeah, Mitch agrees with Jackson.

Soon enough, another zombie attack sends them on their way without any graverobbing, and then they’re resting in the woods after giving it the slip while Mitch takes a shit in the woods. Hey, I’m just telling you what the movie says, don’t blame me. Anyway it’s here that we get our first big chunk of contributor shoutouts, in the form of social media comments that get posted as Jackson updates his podcast. They read the names first, then the comments, which are mostly insults aimed at Tom, although a few attack Jackson also. Once that’s out of the way, Mitch reappears and off they go again. I can’t help but notice that Mitch is wearing some seriously weird pants – are they cropped? Super long shorts? Capris? I cannot say.

Another zombie comes along, and Tom, true to form, is tired of running. He fights the zombie instead, and after he throws it to the ground Jackson puts a go-pro on its head. They send him on his way, content that they can track its progress in the hopes it leads them to some sort of clues. Tom is chafing and wishes he had baby powder. Heh. Mitch says he might know someone who can help them, and sends a text to his ex-girlfriend. She doesn’t text him back – instead, she poofs into the forest in a puff of smoke. Turns out it’s the witch from Haunted Highway who cut off a dude’s head then carried it into Tom’s Drop-U-Off ride. And what do you know – the headless dude was Mitch. He was into that sort of thing for a while, but he got over it. She doesn’t understand why he ghosted her, because she did reattach his head and everything. And she’s wearing the same style of baggy ankle pants as Mitch, so I feel like they’d make a cute couple. Anyway, the witch has some info for the group – she knows that all the zombies are “fresh kills,” in other words, people who died recently. It’s not much of a clue, but it’s something, and after she eliminates two zombies by throwing fireballs at them, she promises to get back to them with more information and poofs away.

We are now exactly halfway through the movie, and here comes the hard part. The guys find an abandoned laptop and sit down on some tree stumps to have a look. There’s a video file on it showing a burly man named Tony Ponzetti, who works at that cemetery, and he’s discovered some strange things going on with the dead bodies, and he’s going to talk about them. He proceeds to show a grave, then a photo of that same grave all dug up and empty. Then he tells the story about whose body was in the grave and how they died. Then he shows security footage of that body zombie-stomping through the cemetery late at night. Yep, you guessed it – this is Nigel Bach’s next contributor dump, and it’s LONG. The stories are funny, of course, and I’m sure if one of them were about me I’d love it. But I’m not one of them, and in spite of the humor and the clever device Bach has come up with here to include his donors, it slows the movie to a zombie-like crawl – especially since it goes on for 18 minutes. Still, a Wiccan who died while trying to sacrifice a black virgin goat and a woman who was killed by a street sweeper while she tried to retrieve a winning lottery ticket from a storm drain are amusing anecdotes; I just wish there had been more variety in the way these deaths were presented.

Finally, Tony concludes his video by saying that the people who’ve risen from the dead all died within the last 12 months, adding some specificity to what the witch told them earlier about the fresh kills. Before they have too much time to ponder this, a zombie sneaks up on them out of the woods and they scatter. Tom falls into the campfire, which leads to him having to don a borrowed pastel peach half-shirt from this point forward. Hehe. Tom explains that his body didn’t burn because he spent twelve months in hell so he can’t be burned. This triggers a thought for Jackson, who concludes that the spell he cast to bring Tom back to life in Eulogy must have brought every dead body that was twelve months old or less back to life as well.

The gang decides they’re hungry, so they walk back into town and find an abandoned restaurant. Inside, Tom finds some tarot cards, and tries to use them to get a clue about how they should proceed. But as soon as he lays out the cards, he starts talking in these strange tongues, that are basically just Tom’s voice slowed down while he speaks gibberish. It’s still pretty funny. As soon as he puts up the cards he can use his own voice again, and he relays that the cards sent him a message that he can’t trust someone around him. Both Jackson and Mitch swear that they’re trustworthy, and Tom seems to believe them. In another callback to Haunted Highway, the guys call Drop U Off to get a ride back to the house on Steelmanville Road, where they think the grimoire must be.

Once the guys are back at the house, we cut between footage of them looking for the grimoire in the dark, and scenes of the zombie with the go-pro on its head meeting up with other zombies as they wander through the woods. Eventually, Go Pro Zombie and all of his companions meet up with Mitch’s witch – the one who promised Tom she’d return with more information for him – and she tells them all it’s time to destroy Tom Riley. So she was the person he couldn’t trust.

As the zombies draw nearer, the three retreat to Tom’s shed to hide. Mitch mentions he needs to go #2 again, and Tom and Jackson complain about him trying to do so inside the shed. Mitch tells them it’s OK because he found an old book he’s going to use to wipe with, and of course it’s the grimoire. Hehe. The grimoire tells them that if they say the same spell Jackson cast to bring Tom back to life into the mirror, it will be reversed, stopping the zombies in their tracks. Unfortunately, it may kill Tom as well, but it’s a risk they have to take. Jackson reads the spell into the mirror, and all the zombies disappear. Suddenly, Tom groans and grabs his chest, falling to the ground. Jackson and Mitch are upset, but Tom soon pops up on his own, claiming he has a fainting goat disease. Heh.

They exit the shed and encounter the witch, who intends to kill Tom herself since he defeated her zombies. But Mitch offers to let her kill him instead if she will leave Tom alone, so she slashes off his head and disappears in a puff of smoke as Mitch’s headless body falls to the ground. Knowing that the last time the witch cut off Mitch’s head she eventually re-attached it, neither Jackson nor Tom are too concerned; in fact, they’re thrilled to have defeated the zombies and the witch on their own. “Is there anything I can’t conquer?” Tom boasts to Jackson. He’s faced everything at this point and always won, he says – well, except for aliens. And it’s at this point that a light shines down on them from above and zaps them into the sky. And just like that the next installment is up – Tom versus the aliens.

I have not had a chance yet to view Bad Ben: Alien Agenda, but when I do, you’ll most likely hear about it.

Heavy Rotation Horror: Suspiria (2018)

Anyone who attempted to re-make a beloved horror classic like Dario Argento’s 1977 original was bound to catch shit for taking it on (while I like the original, it never left a big impression on me; I much prefer the second film in his Three Mothers trilogy, Inferno) but Luca Guadagnino just said fuck it and re-worked the entire concept, keeping the barest of the original’s structure (a new girl moves to Berlin to join a dance company secretly run by witches) and pretty much telling a completely different story from there. To be honest, there’s not even much use in comparing the two, as the setup of the original Suspiria serves as inspiration for Guadagnino’s film, but nothing more.

If you can get past making comparisons or if you aren’t overly committed to the original, I think Suspiria is a breathtaking, enthralling film. Not everything works (dividing the movie into “acts” as if we are watching a theatre or dance performance is overly pretentious, and weaving in the sub-plot of Dr. Klemperer and his Holocaust-based trauma, as well as the 1977 hijacking of Lufthansa Flight 181 during the German Spring, weigh the film down unnecessarily) and many positive reviews mention how the movie baffles on first viewing but comes together after a second – which was my experience also. I was left feeling disappointed after the first watch, primarily by the third act, which came off as too much of a shift tonally, as well as awkward and unsatisfying. But there was so much going on in the first two acts that I loved that I was willing to give it a second try, where, sure enough, it all come together better – even though I still felt (and still feel) like the script bit off more than it needed to chew.

One of my main reasons for coming to love this film is how integral the element of dance is to the story. In the original, the ballet studio is a backdrop, a way to collect the witches together and get Susie, the protagonist, into the mix. In fact, that Susie is taken ill right away when she arrives, without performing much more than a few pirouettes before she gets hurried away to her room to recover. Not so 2018 Suspiria, where Susie Bannion (played by Dakota Johnson) performs an impressive audition and executes a stunning, impromptu lead performance that also serves to witchily punish a wayward company member in the movie’s most grisly, yet strangely gorgeous, body-horror scene before she needs to be carted away to recuperate. The movie has several extended dance sequences, including a full performance of the piece the company has been working on throughout the duration of the film, and a macabre performance during the gory, over-the-top climactic ritual. This is modern dance, powerful, primal, and purely female, as opposed to the traditional ballet of the original.

Femininity is central to this Suspiria. The dance company is entirely female, as is the staff who oversee the performances and living arrangements, which are dormitory-style. The only man with any presence in the story is Dr. Klemperer, who gets involved in the witchy dealings when one of his clients, a dancer for the company who has become convinced it’s run by witches who are trying to take over her body, disappears. But even Klemperer has a feminine twist up his tweedy sleeve – it’s actress Tilda Swinton in heavy disguise. Swinton is, as usual, rock-solid in this film in every form she takes. She plays Madame Blanc, the lead choreographer, artistic genius, and primary contact with the young dancers, as well Klemperer and, in the insane ritual scene, the diseased, grotesque Mother Markus, the company’s namesake. The first time I watched this, I knew something odd was up with Dr. Klemperer – he had the weirdest voice I’d ever heard – so I wasn’t totally surprised to find out Tilda played him. In fact, knowing it’s Tilda in male drag made me appreciate the character much more, because the director said he made that choice to keep the energy of the set entirely female, even with a male character in the mix.

The same person. Yep.

But just because the environment is entirely female doesn’t mean it’s free from struggles for power and control. While the dancers who live there feel like family, and Susie is welcomed with surprisingly open arms by all of the girls as well as the staff, there’s something off about this place from the start. There’s the sudden overnight exit of Patricia, Dr. Klemperer’s patient, whose room Susie will be taking; the nightmares Susie has each night, as well as the admission from the other dancers that they too had terrible dreams when first joining the company; and there’s the outburst from Patricia’s friend, Olga, who basically calls the dance instructors witches to their faces.

Patricia. Don’t get too attached to her.

There’s also the odd bond Susie has with Madame Blanc, who is not the founder of the dance studio but appears to be its heart. While it seems clear Blanc sees herself in Susie – who manages to gain acceptance to the company when they are not holding auditions, and who manages to take over Patricia’s lead role in the piece the company is rehearsing when no other girl is able to do it – she also appears pained by Susie’s rapid ascendence to principal dancer in a way that suggests something darker is afoot here.

What that something is seems evident from the start – before she disappeared, Patricia confided to Dr. Klemperer that the dance company had something more nefarious going on underneath the surface, that she believed Mother Markos was trying to get inside of her. Patricia’s name comes up regularly among the women who run the company, with intimations that some ritual they included her in went awry, and it’s not a stretch to conclude that the ritual they discuss is, in fact, one that will project Mother Markos – the founder of the dance company – into another body, just as Patricia feared. It’s also not a stretch to conclude that Susie’s incredible instinct as a dancer as well as her innate ability to conjure up some seriously dark magic – although the extent to which Susie is aware of how the movements of her body are used by the coven to exact harsh punishment on Patricia’s friend Olga remains unclear- makes her the ideal candidate.

Olga. Don’t get too attached to her.

One of the elements that is interesting to watch during the film’s long runtime is the role-switching Madame Blanc and Susie engage in throughout. At times, Susie is, as one would expect, the ingenue who needs the guidance of Blanc’s fierce creativity and drive; while at others, Blanc wavers in her resolve to do as has been dictated by the coven, based on her affection for Susie; at such times Susie is the one whose confidence and surety reassure the Madame that everything is going to be all right. Of course, the audience knows, or thinks it knows, that Susie keeps saying this out of ignorance; surely she has no idea what the company really has in store for her, and is merely comforting Madame Blanc over what she thinks is the choreographer’s uncertainty about her ability to meet the demands of a principal dancer in what is undeniably a difficult piece.

And yet…there’s something unnerving about Susie’s calm, quietly assured manner throughout her time with the dance company. Through flashbacks and a conversation with Blanc, we learn that she ran away from her Mennonite family in Ohio, where she was homeschooled by a mother who despised her and considered her to be something more than a disobedient child; on her deathbed (she has slowly been dying of cancer throughout the course of the film) she refers to Susie as “my sin I smeared on the world.” We get no further information about that, but the mother motif connects Susie’s mother to Mother Markos of the dance company. While Markos refers to herself as Mother Suspiriorum (the Mother of Sighs), both Markos and Susie’s mother can be heard at different moments breathing heavily, as if sighing in pain and anguish – Markos’s pain at having to live in an ancient, diseased body, and Susie’s mother’s pain enduring the end of her relatively young life in a body riddled by cancer. There’s more sighing afoot throughout the film – when the dance company performs, the girls all breathe and sigh heavily, almost in unison, and Susie’s breathing is dominant in her audition, which seems to draw Madame Blanc from the rehearsal room into the tiny studio where Susie is performing.

There are other sounds that recur as audible motifs throughout the film: the haunting sound of the music composition rewinding in the studio echoes the sound of Dr. Klemperer’s recordings of Patricia’s therapy sessions being rewound. The dancers, as well as the staff, often burst into laughter at the oddest moments, and for no apparent reason – when Olga calls the women who run the company witches, several of the women burst out laughing; gaggles of girls whisper and giggle together in corners, and there are several times throughout the film where one character or another simply bursts into laughter as they leave a room, again, for no apparent reason we can ascertain. I’ve given this element of the film a lot of thought over the years, and I think I finally came up with an explanation for it that I’m satisfied with: I think this constant giggling and whispering on the part of the young girls and the older women represents the mystical, unique bond they share as a functioning unit. Most of the time, this laughter comes off as if the amused are sharing a secret, one we are never privy to but that seems to be held by everyone in the company. Susie, however, seems removed from this gossipy giggling – not engaging with it, but not bothered by it either. From the moment she arrives at the company, Susie manages to both fit in and stay distant at the same time.

Much like Madame Blanc, who has challenged Mother Markos for control of the company, and is therefore at a remove from the other staff. Early on in the movie, we witness a vote being taken, although it is done entirely through telepathy, with the women moving about the building’s kitchen, preparing breakfast for their morning meal while their voices call out for either Markos or Blanc. It’s Markos who wins, which means another dancer’s body must be prepared for her to use as her own; it’s unclear how long she’s been existing in her current one, but when she appears in the movie’s climactic scene it’s clear there’s nothing left of it but tumors and rot. Madame Blanc rightly points out that if Markos really was who she claims to be – one of the Three Mothers, ancient witches who rule different parts of the globe – there would be no need to keep channeling her spirit into different dancers, but once the tally is taken, Blanc is forced to go along. As much as she dislikes the idea, she must choose another dancer for Mother Markos to use.

It’s this tension that propels the film forward as the company rehearses for their final performance of Blanc’s celebrated piece “Volk” (“folk”). We know that by volunteering herself to dance Patricia’s lead, Susie has unwittingly offered herself up as some sort of sacrifice for Mother Markos; we also know that Madame Blanc is increasingly unhappy about this but is either unable or unwilling to stop it from happening. In one scene near the climax of the film, Blanc visits Susie in her room at night, communicating with her telepathically that she wants to explain to Susie what she’s gotten herself into, but feels that she can’t – we can assume that is because of her loyalty to the coven, but it’s also clear that Blanc is out of her element with the whole situation; she knows what’s happening feels wrong, but the idea that it’s simply because she cares for Susie doesn’t quite explain her unease. It’s another situation where Susie takes on the mothering role, reassuring Blanc that everything is fine and there’s no need to worry. But does Susie really know what the company has in store for her? She never says anything to indicate that she does; she just exudes this confident certainty that reveals her willingness to accept whatever fate awaits her. She is truly Not Bothered.


There are other characters here who factor greatly into the overall story; Mia Goth plays Sarah, the dancer who befriends Susie the day she arrives at the company. Sarah was also good friends with Patricia, and her worry over her disappearance propels her into the heart of the darkness that lies beneath the dance troupe’s surface. She tries to track Patricia down at the same time Dr. Klemperer, Patricia’s therapist, is also trying to find her; once the two meet and compare notes Patricia’s disappearance becomes more ominous. Sarah takes to sneaking around the building at night, looking for clues, which leads her to the home of the coven hidden underground, beneath the studio. She has to sneak away quickly in order to remain undetected, but Sarah sees enough to convince herself that Olga wasn’t playing when she called Madame Blanc and the others witches.

So Sarah becomes the second person to be concerned about Susie’s position in the company. She begins to connect Patricia’s experiences as the principal dancer to Susie’s – the way Blanc seemed to groom her for something beyond a dance performance, the way Patricia’s dancing seemed to improve magically and exponentially once Blanc’s attention shone down on her, and of course, the way Patricia, in the end, disappeared without a trace. She fears the same for Susie, but when approached Susie replies with the same sense of calm and confidence that she shows Madame Blanc. She’s not worried about anything, and she knows it’s all going to be fine. Sarah disagrees.

As it turns out, “Volk,” the dance the troupe has been rehearsing, is much more than a complex and beautiful performance piece. It’s a ritual that will cast Susie’s soul out of her body and replace it with that of Mother Markos, who is literally rotting under the floorboards of the studio. All Susie has to do is lead the troupe through the moves as choreographed, and Mama Markos is good to go. But Susie has other ideas. She argues against some of Blanc’s moves, arguing that she should stay grounded, closer to the floor instead of leaping into the air as early on in the performance as Blanc has staged it. Won’t it make the leaps more effective if they come later in the piece? she asks, leading Blanc to criticize her lack of understanding about the conditions under which the piece was originally created. It was written at a time when Germany wanted women to submit to their men, shut their mouths, create good German babies, and support the war. Leaving the earthly plane of an oppressive reality and leaping into the ether was a necessity back then, for women, to survive. We need to get you into the air, Blanc says, but Susie’s not convinced. The war is over, and the company is living in the past. Susie’s pushback against Blanc’s signature piece reveals another division within the company: those who are still stuck in the past, and those who want to move forward. Susie doesn’t feel the need to escape from the world or leap into some other, ethereal realm; she wants to stay grounded in the world as is.

Blanc, of course, also represents this division as the person who challenges Markos’s authority, as are those who vote for her over the decrepit MM (which is its own representation of a past that has hung around too long). But the strength of these women – or witches, let’s just say it – falters as soon as their challenge is defeated. They’re too loyal, too connected to the history of the coven to break free of it and forge a new direction. There are hints of it, such as when Blanc starts choreographing a new piece for the company, but even then, she allows Susie to improvise her part rather than directing her movements. It’s possible the company cannot move forward without Susie, that Blanc needs her to help guide them in a new direction, but as the audience knows, the presence of Markos makes this impossible. As long as she is in the picture, Susie’s doomed, and the company appears destined to stay stuck in the past.

Mama Markos. There’s no doubt Susie’s body would be an improvement.

Cut to the day of the “Volk” performance. Susie preps with a seriousness and calm which indicates she knows something’s at stake, but how much she knows is still a mystery. It’s hard to believe she would actually be okay with having her soul cast out of her body, but it’s clear her instincts are elsewhere, and she’s too opaque to decipher at this point. Unfortunately, Sarah has decided to take advantage of the company’s distraction with the show to go back into the depths of the building and try to find Patricia, whom she is convinced is being held captive somewhere down below. When it’s time for the show to go on, Sarah is nowhere to be found – something Susie definitely makes note of – but go on the show must, and the dancers take the stage without her.

Sarah probably would have been better off sticking with the performance, though – she finds Patricia all right, but she’s zombified in some state of undead, suspended animation. She tells Sarah that Mama Markos visits her every night, feeding off of her energy (and quite possibly her body; it’s unclear), and soon other bodies in various states of decomposition and mutilation start to crawl out of the shadows, calling Sarah’s name, begging for help. It’s pretty awful.

Sarah really struggled at first to believe that such a warm, loving place that has always felt like family to her could really be this horrid under the surface. It’s a struggle I experience when watching the movie, too. There’s no doubt that Blanc is a loving presence who cares for the girls (to a point, at least) and that the dancers themselves are a tight unit. The way they welcome Susie with open arms reinforces the impression of the company as a safe, supportive space for women, just as one of the matrons tells Susie once she’s accepted. It’s this warmth and welcoming that makes what’s later revealed feel like such a deep, disappointing betrayal; on the surface, this appears to be the perfect nurturing environment for these talented young women, and many of the matrons themselves are conflicted by their desire to provide that for them, but they’re unwilling to challenge the power structure that has protected them for so long, and ultimately they all choose their own security over that of the girls in their charge. It’s…the wrong decision.

Take Sarah, for example. She is kind, and caring, and she loves the dance company like her own family. But her foray into the bowels of the building crosses a line, and she must be punished. It’s significant that Blanc is the one to mete out the punishment here – as Markos’s former challenger, she’s the one most likely to protect Sarah over the coven’s secrets. But she does not. Even Blanc bows to the perceived power of old MM in the end, and she orchestrates the same sort of grisly fate for Sarah that the other undead bodies in the basement have endured. So long, Sarah. We barely knew ya.

But not before they send her zombified body back to the dance floor to complete the ritual. Every dancer must be present and perform their part if the ritual is going to work, and once Sarah returns it’s Susie’s turn to recognize that something is not right. What she knows is unclear – but everyone can see that Sarah’s not okay. Susie throws the performance off by improvising instead of sticking to the steps, which breaks the spell, and Sarah suddenly falls to the floor, screaming in pain. The matrons rush forward to carry her off (So long, Sarah. We barely knew ya) and bring up the lights. Ritual interrupted. Performance over.

Blanc tries to chastise Susie for breaking the spell, but what she really wants to do is prepare her for what’s coming. She wants to tell her everything, but she feels like it would be wrong. Susie comforts her, tells her she knows Blanc loves her, but the conversation ends on an ominous note: Why is everyone so quick to assume that the worst is over? Susie posits to Mme Blanc. It’s unclear who she’s talking about, unclear which one of them is making this incorrect assumption, but Susie’s not yet confident enough to express her own thoughts without looking to Blanc for validation. It’s all a mess, isn’t it? she asks Blanc. The world out there, the world in here. She’s right, of course, but Blanc is unwilling to spill the dancing beans. The most she can do is ensure Susie a night of sleep unbroken by disturbing dreams.

I’m not getting into the dreams here. Maybe I’ll do it in another post.

So OK, things are about to go off the rails, and keep in mind there’s a lot I’m not digging into here. I’ve barely mentioned the plight of Dr. Klemperer – and honestly did anybody miss him? – but he’s been searching for Patricia ever since her disappearance, to the point of contacting the police. The witches know he’s the one who’s tipped off the cops, and even though they pose no threat as the matrons simply cast a spell on them and send them away, they decide to up the stakes of the next ritual by including “a witness.” They have an idea that this will help seal the deal and make for a smooth transition from Markos to Susie – as if punishing the outside world for intruding will help. It won’t.

Turns out the girls are going to have to perform “Volk” again, and soon, because Mama M can’t wait much longer for a new body. The old one is looking ROUGH, y’all. So, the witches enchant the dancers at night, bringing them into the secret chambers of their coven where they will perform again while under their spell. The lack of a costume isn’t the only thing different about this performance; it’s decidedly more wild and animalistic in nature, and it indicates the level of desperation Markos has sunk to at this point. She needs this shit to go down, pronto.

One dancer has not been summoned though: Susie is still upstairs in her room. She dresses for the ceremony with intention and makes her way down the stairs into the chamber on her own – again, it’s as if she knows what’s coming, and she’s okay with it. Once she enters the chamber, though, the color palette of the film makes an immediate shift: everything, and everyone, is now bathed in a deep red the color of blood, and it will stay that way for the duration of the ceremony. I think it’s a nod to the garish colors of the original since elsewhere the film remains awash in muted, earthy tones.

Blanc is there, also swathed in red, and Mama Markos looks like the world’s biggest molehill with eyes. Blanc stops Susie as she enters the room, and implores Markos to wait. Something’s wrong, she says to MM, can’t you feel it? But at this point, Markos can’t feel anything except her own bones disintegrating, because faster than you can say “Volk” she’s hit Blanc with some kind of magic that almost decapitates her. Blood spurts everywhere. Consider that a preview, because something’s going on with Susie while Blanc’s being relieved of her head.

She’s standing at the top of the stairs, breathing heavily but peacefully. Actually, she’s not just breathing – she’s sighing. Slowly, in an extended moment of utter weirdness, she reaches down and digs into her own chest, prying it open to reveal – a mouth? A vagina? It’s unclear to me what it is, but it ain’t normal, and it seems clear that Susie is the real Mother of Sighs reborn, which portends dark things for the fake Mama who’s sitting in the corner. Sure enough, a literal manifestation of death emerges from some even deeper space within the chamber, like some grisly familiar of Susie’s, and proceeds to blow the heads off every matron who supported Markos instead of Blanc. Unfortunately, Blanc’s head is hanging on like the tip of a Pez dispenser at this point, so she’s far from spared.

According to the credits, the woman who played Susie’s Mennonite mother also plays Death here, which seems significant but I’m not gonna get into it because I’ve already gone on way too long.

Still bathed in red light, along with a LOT of blood, Susie makes her way down into the chamber where all the enchanted girls are still dancing feverishly. Sarah, Patricia, and the other sacrificed girls have been brought into the room, and Susie approaches each one, asking them what they want from her. One by one they all ask to die, which, I get it, but since she’s asking, why not ask to be brought back to life with an undamaged body? I guess that’s not an option, and Susie asking them what they want is just a formality. She takes particular care with Sarah, embracing her gently as she releases her to death. Susie then instructs the rest of the girls to keep dancing, as she finds them beautiful. It would appear that, as Mother Suspiriorum, Susie may just be a different kind of witch.

Mme Blanc. Don’t get too attached to her.

With the phony Mother disposed of, as well as her supporters, there’s not much more for Susie/MotherSuspiriorum to do but clean up – literally and figuratively. She leaves the actual cleanup of the disastrously bloody chamber to the matrons who were spared – Susie may have allowed them to live, but she hasn’t completely forgiven them their transgressions, either. After all, they all played a part in the deaths of Patricia, Olga, and Sarah, as well as who even knows how many others, so they’re not out of the cauldron yet. In fact, as they clean up the muck, one of them discovers that Mme Blanc, while almost completely decapitated, is still alive – just like the other dancers were after rituals that went awry. I guess it’s Blanc’s turn to rot away in the basement in a state of mutilation, while Susie does what with her, exactly? Who knows. It would seem she’s kept her in this state for a reason, but it’s also possible it’s some punishment exacted on her by Markos’s magic that can’t be undone.

The dancers, for their part, have no recollection of what happened the night before, so imagine their shock when they are told that Mme Blanc has left the company. One of the surviving matrons tells them this, not Susie, and it’s unclear how the troupe will function moving forward. There’s no doubt that losing Blanc is a huge loss, as she was the heart of the company, but we’ve already heard Susie say she wants to be the company’s hands, so my guess is she will guide them well. And as we’ve already seen, there’s a good chance she won’t be making the same mistakes – indeed, since she is the real Mother of Sighs, there will be no need for more dancer sacrifice. So alls well that ends well, I guess.

There’s also Klemperer to deal with – the psychiatrist who was forced to be a “witness” to all that madness in the blood-red chamber. He’s had one hell of a shock as you can imagine, so the final scene shows Susie, now fully grown into her role as Mother, visiting him at his home. She apologizes for what he was forced to watch – she was not yet in a position to control what happened in the coven, and she could not prevent it. As a sort of backhanded gift to him, she waves her hand over his eyes and erases not just all memory of that horrible night, but his memory of all the women he’s ever known, including his long-dead wife whose disappearance during the war he still mourns. We need guilt, doctor, she tells him, and shame. But not yours. Susie’s right about the dance company – a little guilt and shame would have prevented the coven from sacrificing their dancers and being misled by a phony Mother, lessons it appears Susie has learned and intends to correct. But the company is still an insular world by necessity, so Klemperer’s memories of it have got to go. And while she’s at it, Susie removes his memories of his lost wife too – dude’s been through a lot between losing his wife, searching for Patricia, and then watching a witchy ritual gone bloodily awry, so Susie clears the slate and moves on. Like everything else, there are two sides to this action – sure, he no longer will suffer painful memories from his past, but he won’t recall the good ones, either. There’s always a price, after all, and Susie will still have to make hard choices to keep the coven alive, but as long as she stays grounded (as she wanted to do with “Volk”) there’s hope that she can lead without causing too much damage.

But wait – as if there wasn’t enough packed into the movie’s three-hour runtime, we get a post-credits snippet showing Susie outside, in the bitter cold of a dark night. All we see is a tight shot of her face as she reaches out with one hand to do – something we don’t see. She reveals the slightest hint of a sly smile, before glancing to her right, looking back at whatever she’s just touched again, and then walking away. There’s no clear explanation out there as to what this means, but I like to think it’s Susie locking the doors of the dance company building one final time. With Blanc gone, and Susie’s desire to move the company forward, it would make sense for them to move elsewhere and start afresh. That may be more hopeful than other interpretations, but personally I like to think that the superficial warmth and kindness of the coven’s previous existence could be manifested in a more honest and real way. It also hints at sequels, something the director discussed when the film came out, but not having heard anything about that since 2018 doesn’t bode well, so for now my interpretation will have to do. Or come up with your own – after all, I’m not your Mother.

So long, Susie – the Mother we never had.

Goodwill Hunting

I couldn’t resist that title, sorry.

When I last went to the Nacogdoches Goodwill with Doug, I was explaining to him what makes a good portrait shirt, and it gave me the idea to write about it, so here we are. Obviously, I am drawn to color in my photos, and the color scheme of a set often comes from the wig or wigs I plan to wear, but it can come from clothing I find to wear too. So let’s focus on clothes for this post and leave wigs for later.

The first thing that came up when we were looking for tops (since I knew this would strictly be a portrait session, there was no need to look for full outfits) was that t-shirts are almost always a bad idea. They just do NOT photograph well. They look shabby, wrinkly, and unimpressive overall. I got away with it in the shot above because the focus is on the hair flower, but it still would have been way better with something else here. I just didn’t have anything at the time I wanted to shoot with this poinsettia so I threw on the green t-shirt and went with it. Any time you see me in a portrait with a plain old t-shirt on, believe me, that is exactly what happened. But there are a few exceptions:

Sometimes I come across a t-shirt with a great slogan on it, and in that case, I can make a t-shirt work. This one I found at the Goodwill in Houston, and man was it an awesome score. Problem was that it was freaking TINY, and I basically had to rip it at the seams to get it on and off, so it was no good after one photo session. It’s really too bad because this is still one of the more awesome t-shirts I’ve ever used.

All She Does Is...
Had this one made for me 😉
Disco's Dead

Believe it or not, this one was actually my husband’s. His mom made it for him back when he was a teenager, which is hilarious (this is, by the way, the back of the shirt, but I’ll talk more about that later). It’s a great example of the times when a t-shirt really works in a photo session, which is rare. In each case there’s something more interesting going on than just a plain tee- the first one was embroidered and had a tight cut, which kept it from looking too schlumpy, the middle one was a ringer tee, which helped, and the disco one was a football-style tee which gave the shoulders some interest and also added shape. But for the most part, t-shirts are meh at best, and ick at worst, even when they’re not the focus of the shot:

I learned how to knit, y'all
Meh.

So, with a few exceptions, say no to t-shirts. But anything can work if it has an interesting neckline. It could be a scalloped neck, or it could have some cutouts, or, if you’re really lucky, you’ll find a top with feathers around the neck – and you can never go wrong with feathers! An asymmetrical top can also be cool, as can super-huge shoulder pads, lace, or ruffles. Anything that adds interest to the part of the top that is going to show can work, but for me, I am drawn more toward texture than loud prints. I’ve chosen plenty of tops with interesting prints that still work, and they’re easier to find, but anything with interesting textures or embellishments is a definite yes.

Meh.
Day 3
Yay for asymmetry
The print is okay, I guess, but it’s the wig that saves this shot. On its own, it’s another meh.
Even though it’s not the focus, the mesh top adds something extra
Texture!
2018
A cute neckline detail

But don’t just look at the neckline; sometimes a top will have interesting detail elsewhere that you can utilize. I have several tops with unusual unique sleeves that I’ve made work – but unique sleeves do involve some weird posing, as you want to be sure you get them into the shots.

This red one has it all – ruffles at the neck, a nice satin material, AND lace inserts at the shoulders. To get the full benefit of all that, I did have to smush my shoulders together or pose while looking over one of them, but it worked great!

Another thing to consider is how else you can wear the top aside from the normal tag-in-the-back. If there’s an interesting detail on the back of the top, can you wear it backward to show it off? I do this quite often. In fact, that hotrod angel shot above had an interesting back to it as well, also with text, so in a case like that, it’s as if you get two shirts for the price of one:

The back, with a different logo
The front of the “Disco’s Dead” tee (I don’t like this picture, though – it’s overprocessed, which is a bad habit of mine)
This is supposed to be the back of the top

Many times, the front of a top is too low to make it into the frame of a portrait in a significant way, so I will often turn a top around and wear it backward if there’s something about it I want to feature.

You can really tell I have this on backwards but oh well
Rainbow Eyes
You can also wear a fascinator in weird ways, too

In other words, don’t be afraid to wear a top in some abnormal way to get the effect you want. In fact, you don’t have to wear it at all. Sometimes, I’ll take a top that never worked well for me and wrap it around my head, or my neck, or layer it under/over something else – anything that works to create an interesting shot. Take the first picture in this post – that’s actually a green floral shirt that I threw over my head at one point.

I’m not even sure what I did here
This is me poking my head through a sleeve
Netwit 1
Wearing a hooded lace kimono backwards

I think you get the idea. Another thing I look for in tops for portraits – movement. If it’s light and flowy, I’m all for it. I love to use fans to blow hair and clothes around as it creates interesting shapes, so a flowy top is always going to be high up on my list. Light fabrics in generous cuts that can be flung around, especially if they’re in an interesting print, are gold, because there’s so much you can get out of flinging them about in different ways.

260_Snapseed

But let’s say you’re bored with all of this. Why not take yourself down to Pier 1, or Home Goods, or hell, a sporting goods store, and buy shit to wear that was never meant to go on the human body? You’d be surprised how much fun you’ll have choosing items to wear from the automotive aisle at your local Target.

Fashion courtesy of Pier 1
hey
This was some sort of weird decoration I found at Michael’s
I actually bought those old doll parts off eBay
A little popcorn-style gift bag someone gave me at some point
An oldie.
A Valentine’s Day decoration I found at Target

The last thing I’ll mention is sweaters. In my opinion, there’s nothing better than a thick chunky sweater for taking interesting pictures. And fuzzy sweaters? Yes, please. Unfortunately, they’re also hot as hell, and posing while wearing them is ROUGH unless you’re outside in the cold. Who knows – now that I live on a property with an interesting landscape maybe I’ll take advantage of that this coming winter and take lots of outdoor portraits wearing crazy sweaters, because they really do add interest to a shot. But you’ll probably sweat to get them.

I knit a sweater.
Bonus if you made the sweater yourself
Sparkles!
Happy Halloween
Fuzzy vest worn backward
Feathers, crystals, pom-poms, and stripes? Best. Sweater. Ever.

Whew! I think that’s all I have to say about portrait tops. Next time, my favorite subject: WIGS!