The Stargazer

As a giant entertainment company that prides itself on creating “safe” and “family-friendly” content that can suit everyone, Disney the company and Disney as a conglomerate of artists are as different as night and day.  When the news arose that the Disney executives gave money in support of the “Don’t Say Gay” bill, I thought, “well, that’s not surprising” since Disney as a company has never been in support of explicit LGBTQ+ representation (and the irrelevant side character’s in the articles titled “X Disney character is gay” do not count), yet so much of Disney's recent media is shrouded in queer allegory and have fostered so much talent from members of the LGBT community. So, how could Disney betray the community whose members contributed to the company’s success?

Remakes, live actions, and book adaptations seem to be the only current renditions of originality circulating within the film industry. Arguably, book adaptations are the most regurgitated platform of resources, making it less respectable to book lovers like I. Whether the film should adhere to the needs of book fanatics seeking verbatims or enter a new realm of novel-based ideas seems to be the question at hand. Childhood films like the Harry Potter series and The Chronicles of Narnia franchise hold influential stances on bibliophiles and the alike, which tend to cloud the current perception of book adaptations. Mind my saying, but they merely prance around the denotation without much-needed refinement. Some films that attempt both ends of audience demands but miss the mark by a single hair are American Psycho, Pride and Prejudice (the Keira Knightly version, obviously), and The Shining.

Being scared is its own kind of fun, and over the decades, many children’s animated television shows understood this. What separates comedic cartoons from most horror animation is monsters. For the purpose of this list, monsters are nonhuman creatures meant to scare the characters and ideally the audience, even if the scare is played off for laughs. Animated monsters are all horrifying in their own world, and as of late, in our world too.

David Kessler rampages down the streets in Piccadilly Circus, London, as a frightening werewolf. What if it was Paris, France, instead? Great Britain was very desperate to take credit for successful movies, but it started to cause implications with filming.

Do you ever sit down to watch a classic Disney movie you loved as a child only to find out it is not nearly as great as you remembered? Do the jokes no longer hit now that you’re above the age of thirteen? Do the life lessons now seem like common sense to you? Luckily, you will experience none of those kinds of feelings or somewhat upsetting sensations if you choose to rewatch Disney’s The Emperor’s New Groove.

The marvel cinematic universe is becoming largely female…but they are only female renditions of male characters. The pattern continues with the newest Black Panther: Wakanda Forever trailer that showcases an unnamed female taking on Chadwick Boseman’s role. Where are Marvel's stand-alone female superheroes?

For as long as there have been serial killers, there have been people obsessed with them. In recent history, there has been an explosion of media surrounding serial killers and their lives, from television shows and specials to movies and books. The newest installment in the ever-growing genre of serial killer media is Dahmer – Monster: The Jeffrey Dahmer Story from the mind of Ryan Murphy. Dahmer stars Evan Peters as Jeffrey Dahmer himself in a limited series following Dahmer’s life, mainly focusing on the years he committed murders. The series was marketed as the most accurate portrayal of the killer yet, while also being more about the perspective of the victims of Dahmer. While the acting from Peters is extremely disturbing, and the show remains mostly true to life, it’s yet another piece of media that disrespects the victims of these heinous crimes and their families, as well as has created a resurgence of Dahmer fan girls.

Join Buzzfeed Unsolved’s Ryan Bergara and Shane Madej on their new show Ghost Files. Together, they investigate different haunted locations using a range of ghost-hunting tech while regaling viewers with the history of the site. The two wile away the time (and the fear) by bickering and bantering, poking fun at each other and any ghouls in the vicinity. Each episode features haunting evidence as well as absolute hilarity, making it the perfect watch for the spooky season!

Marcel the Shell with Shoes On stars Marcel, a one-inch tall shell who is voiced by Jenny Slate and lives in a house with his grandma, Nanna Connie. The two are discovered when Dean, played by Dean Fleischer-Camp, books the home as an Airbnb. Inspired by the fantastical energy of Marcel, Dean begins to make documentary-style videos of the life of Marcel and Nanna Connie. As Dean films Marcel’s life, more and more is revealed about their past. The story uses the outlandish nature of a talking one-inch shell to craft a poignant message that almost anyone can relate to. They create a beautiful story about family and loss that is equal parts inspiring and melancholy, and it is done in such a way that, to me, makes it the perfect movie. Also, spoilers are ahead.

With its outlandish characters, satirical plot, and unapologetic queerness, The Rocky Horror Picture Show became a cult classic after its release in 1975. The musical film, which isn’t as scary as it is campy, was created as a spoof of B-horror movies that usually feature far-fetched plots, mediocre acting, and low budgets. The film stars Tim Curry in his breakout role as Frank N. Furter, a cross-dressing mad scientist who lives in a Victorian Gothic-style castle. The plot itself is reminiscent of Frankenstein; Frank N. Furter succeeds in creating a sentient yet incredibly airheaded man named Rocky, who is used mostly as a boy toy. However, the film’s inciting incident occurs when newly engaged Brad and Janet get a flat tire and stumble upon Frank N. Furter’s castle. Here, they are acquainted with the goofy characters inside and witness Rocky’s creation. Brad and Janet represent everything that Frank N. Furter does not: repression, chastity, and social conformity. As the plot progresses, Brad and Janet succumb to their deepest desires and give into the flagrant lifestyle of the castle’s residents.