All the white boys accusing each other as if two of them don’t know they’re the killers just to rule up the innocent third because “it’s the millennium, motives are incidental” is maybe the most accidentally perfect commentary on internet trolls I’ve ever seen.
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when your murderboyfriend tells you he just had sex with the girl you're going to killpic.twitter.com/suCZXmfQEK
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it's perfect on so many levels that these fucking IDIOT KILLERS decide to stab each other BEFORE they do away with sid and her dad like come the fuck ON you painkinky incompetents
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god this film is so EERILY FUCKING PRESCIENT in the most accidental (or at best incidental) ways. while stu sobs about being "sensitive" because his motive is "peer pressure", billy starts screaming that she's a bitch and tearing the couch up. they're the yin/yang of 4chan trolls
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OK, film is now done! Verdict: I think Wes Craven accidentally chronicled the genesis of sexist nerdboy toxicity as a byproduct of being meta about horror tropes - specifically, by asking which characters in a setting would a) have that knowledge and b) act upon it.
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I think it's really telling, for instance, that at the moment of Big Reveal where we learn that Billy killed Sid's mother, the fact that she was also raped (or had sex) isn't revisited. Had she really just been with the dude they framed, or did Billy rape her, too?
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The fact that Sid doesn't ask this, even though her own issues with sexual intimacy stem from her reaction to the crime, tell me that Craven wasn't cognisant of or especially interested in the misogyny underlying the tropes he was otherwise trying to play with.
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Craven's failure to see how drenched in sexism his killers are and how it informs their anger, even though he wrote them that way, reminds me of that famous
@danielortberg piece about Women Listening To Men In Art History http://the-toast.net/2014/06/23/women-listening-men-art-history/ … - specifically:Show this thread -
Like the painters recreating bored women without apparent insight into *why* they were bored, Craven is recreating nerd misogyny without apparent insight into the fact that it is an actual, bitter hatred of women and not just using bitches and sluts as handy insults.
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When Sid tells Stu and Billy that they've seen too many movies, they retaliate with the line that movies don't make serial killers - the whole thing a deliberate invocation of the 80s/90s paranoia that video games, films, DnD etc were Turning The Youths To Evil.
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Arguably the biggest sign that Craven misses the misogyny inherent in his own killers? SID DOESN'T CONFRONT STU ABOUT TATUM'S DEATH. They were dating! Was it Stu who killed her? Did Billy strike out on his own? Her death was the only needless one, a red herring on Craven's part.
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The principal is killed because, well, they're angry teens who hate school; even three years before Columbine, that's not a psychological stretch. But Tatum? You could maybe argue they were taunting Sid by taking her friend, but the plan was to survive. What's Stu's motive?
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They don't remember to taunt her about Tatum; Sid only finds her dead by accident, after fleeing. If their plan had worked and they'd gotten away with killing Sid and her dad, looking like heroic survivors, why wouldn't Stu want Tatum there to comfort him?
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Tatum's death, I would argue, is proof that Craven is playing with horror tropes without being fully aware of or invested in their misogyny: you can take that scene out of the film and absolutely nothing changes. It's there for shock and to throw us off Stu's trail: nothing more.
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ANYWAY. That was fun! I might have to watch the sequel soon and livetweet it in turn. Some nights, you've just gotta watch a horror film and crush an obscene amount of mint choc chip ice cream while spouting commentary, y'know? FIN.
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OH WAIT, FINAL POINT: I am COMPLETELY FREAKED OUT by how closely Murderboy Skeet Ulrich, aka Billy, resembles an evil, bizarro world version of absolute sweetheart hockey player Tyson Barrie. JUST LOOK AT THEM.pic.twitter.com/t3xEUGFCwP
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FINAL FINAL ADDENDUM: It's been pointed out to me by multiple helpful persons that Craven was only the director, not the writer, so much of what I've attributed to Craven here is really down to Kevin Williamson. My bad! I stand by what I've said - I've just used the wrong name.
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End of conversation
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