Horror’s queerness has always been tied to the other. Whether we’re talking about literal monsters, as in the case of Bride of Frankenstein, or the queer-coded nature of Hays Code-era films like Cat People一or even decades-later queer vehicles Dr. Jekyll & Sister Hyde and Sleepaway Camp一there’s always been a queer pulse throbbing inside horror storytelling.
In recent years, the ability to tell LGBTQ+ tales and the boldness with which you could play around in that sandbox has shifted tremendously. Within the last 20 years, the horror lens has refocused on allowing actual unapologetically queer stories to be told, from 2004’s Hellbent to more recent fare like Freaky and The Perfection. Thankfully, we also live in a world where So Vam and Children of Sin can exist, two of last year’s most surprising releases that relish in queerness while deconstructing unchecked homophobia and religious trauma. In both, it’s...
In recent years, the ability to tell LGBTQ+ tales and the boldness with which you could play around in that sandbox has shifted tremendously. Within the last 20 years, the horror lens has refocused on allowing actual unapologetically queer stories to be told, from 2004’s Hellbent to more recent fare like Freaky and The Perfection. Thankfully, we also live in a world where So Vam and Children of Sin can exist, two of last year’s most surprising releases that relish in queerness while deconstructing unchecked homophobia and religious trauma. In both, it’s...
- 1/19/2023
- by Bee Delores
- bloody-disgusting.com
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