Dook dook

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More compelling to my mind is to consider the figure of the Babadook himself and how he perfectly activates a network of queer cultural impulses that run deep in our collective psyche. A clear place to start is with camp sensibility, which I think of as viewing the “wrong” details and nuances of a given cultural object as more pleasing than the ones the creator meant to foreground. The Babadook is meant to be a child’s imagining of menace and terror; after all, he eventually forces a mother to attempt to murder her own son. But what if, instead of all that, we were just really into his shift dress/trench coat moment? And his bendy, sort of mincing comportment, especially in the illustrated portraits? A top-hat is a sure, if somewhat easy, route to a cute outfit, and all that “dook-dook-dook”-ing while resembling a particularly scruffy Mr. Hyde is sort of weird-sexy, right? Surprise, bitch! Your picture book is possessed! A post shared by Jun 8, 2017 at 3:09pm PDT With the help of camp, queers have long made a habit of appropriating and adapting straight cultural products (which historically excluded us) for our own enjoyment. This is especially true of works involving darkness, pain, and horror: See, for example, Black Swan (which has become part of the midnight screening repertoire), or, my personal favorite, the Hellraiser series. This connection arises from a perverse sort of simpatico: Queer people have long been demonized by Anita Bryant-types as horrific aberrations,...

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Lately, I ‘ve been bitten by the horror bug. You know when you start realizing that something you at first only found entertaining is transcending into obsession? Well I know at least Randy does with that crippling Scorsese addiction of his. But it’s just one of those phases when I can’t get enough, and it’s all I want to talk about. I want to briefly shed some light on a film that I think is excellent and that everyone should see, if you’re a fan of horror or not. The reason I say this is because this particular film, The Babadook (Kent, 2014), is an example of a horror that explores one of the deepest, truest anxieties that exists in the world: motherhood. The story follows a woman named Amelia (Essie Davis) and her son Samuel (Noah Wiseman). Amelia is a single mother, widowed in the most tragic of circumstances. On the day she gave birth to Samuel, around 6-10 years prior to when the film takes place, her husband was killed in a car accident while driving her to the hospital. Amelia faces single parenthood with crippling depression, as she struggles to find a reason to move forward raising her child every day since she was forced to sacrifice the love of her life for a huge burden of responsibility. She is unable to let go of her husband, and keeps a shrine of memorabilia in her basement to constantly convince herself that he isn’t gone from her life. It is clear that at the time the film takes place, she is just about fed up. Samuel is rather strange and introspective,...