Shudder remains one of the best smaller streaming services around. It has brought a great deal of incredible independent films to its immensely faithful audience.
While HIDIVE and other streaming services are vital, Shudder has become immeasurably important to horror fans.
@WriterVrai@Theozilla01 Now, now, Silence of the Lambs specifically says that the killer can't POSSIBLY be a trans woman because all trans people are passive and thus Gumb is just murderously confused, Jonathan Demme is an ally /sarcasm
@Theozilla01@WriterVrai Thus, the net impact of a film in which, yes, Jordan was attempting to be humanizing and empathetic was instead wildly hostile and dehumanizing.
@Theozilla01@WriterVrai --the narrative of trans deceptiveness and the normalization of disgust. Marketing and word-of-mouth discussion around the film was almost entirely not about the plot, but about the "twist," and urged people not to reveal it prematurely to maintain the shock.
Why would we subject ourselves to scrutiny, retraumatization, and days of unpaid labor every time Junot Diaz and his enablers attempt a comeback, if we weren’t telling the truth? What do we possibly have to gain? Does the Pulitzer Board understand this?
@WriterVrai (And yes, GET OUT is itself something of a take on Stepford, but as Vrai points out Peele is the one director willing to dig into the face of oppression as it exists in the present rather than relegating it to throwback aesthetics in his execution of the concept.)
@WriterVrai In terms of the references that abound, DWD's extremely obvious harvesting of specific moments from GET OUT does feel very "off" in a film so intensely determined to be exclusively About misogyny and Not About racism
Say what you will, but Don't Worry Darling is a film-loaf that really made me ask the big questions, like, "Why is PVP always-on?" and "Who coded this briefcase?"