When we tend to talk about women in horror, it’s very easy to conjure up the age-old trope and imagery of the female slasher victim, because of their promiscuity and body positivity. Female antagonists however have been more than just the gory, tantalising titillation aimed at bringing hordes of men to the cinema.
Candyman: Farewell to the Flesh is one of the highest achievements in nineties horror sequel-dom. We dare you to say his name five times… 🐝
Paying respectful homage to the abjection and atmospherics of its ground-breaking femme-on-fire predecessor, The Rage: Carrie 2 arrived to remind a whole new generation that it’s best not to bully the school outcast – you never know the terrifying power she might possess. 🔥
“What if you had the power to move objects with your mind? What if everyone around you gave you a reason to use that power?”
They’re all gonna laugh at you… If only they knew you had the power. 🔥 Cavity Colors have released their most highly ambitious, officially licensed collections to date, by force of the mind! If you’ve got a taste for terror… take Carrie to the prom.
“Take Carrie to the prom. I dare you!”
Even as children, most of us have a perverse interest in the gruesome. This is not something new to modern culture, no matter how shocked we might be regarding the explicit nature of current video games and movies. Classic myths and fairy tales were tapping into human nature’s odd fascination with the macabre and grotesque since stories began. No contemporary writer has been more attuned to this strange proclivity than Stephen King, and the popularity of his work is a testament to his insight.