Connect with us

Reviews

[TV Review] “Scream” Episode 1.05: ‘Exposed’

Published

on

Scream

Scream gave us its weakest episode yet with “Exposed.” In a week that was full of boring subplots, not a single person was killed off. Look, I’m not saying that I need to see someone die on every episode of Scream, but let’s not kid ourselves here: it’s ScreamScream is a slasher series, and we have now gone two episodes without any slashing. To top it all off, Ghostface hasn’t killed off a single annoying/useless character yet. Let’s just dive right in, shall we?

I mentioned back in my review of the season’s third episode that it was refreshing to see the show take a risk and kill off Riley, who was arguably the only likable and relatable character on the show, but here we are two episodes later and Scream hasn’t done us a solid and killed off Mr. Branson, Jake, Will or even Brooke’s Mayor Dad (I don’t even know his name and I refuse to look it up). I get that Scream is trying to give us more time with its characters to get to know them and feel for them, but when you have 3 or 4 characters that no one likes (and never will), you could kill one or two of them off as a show of good faith. Maybe I’m reaching for the stars, here, but I don’t think it’s too much to ask.

Scream also seems to really be trying to convince us that the killer is either Piper the Podcaster (who finally got a bit more screen time this week), Mayor Maddox or Mr. Branson the Pedophile. There is a chance Will & Jake could have a Billy & Stu thing going on, but I doubt it (and how unoriginal would that be?). It would be in Scream’s best interest to not make the killer any of those characters. Also, it would be in everyone’s best interest if this whole blackmailing subplot had a point. I’m sure it does, but it’s just not that compelling.

Speaking of not being compelling, let’s talk about Emma. Many of you in the comments have come to her defense in the past, and I just don’t understand it. This episode sealed the deal for me in that she just is not an interesting protagonist for this series. Even when Brooke confessed to her that Will only started dating her as part of a bet (she was a fucking bet!), it was difficult to feel anything for her because Emma, like some of the other less developed characters on the show, is just there. She had a sex tape leak, and while that was supremely creepy (that is child porn, people!), she didn’t really seem that upset by it. We can’t respond to Emma’s reactions if she doesn’t have any. What made Sydney Prescott such a great Final Girl is that she felt like a real person. Emma does not.

Scream

For some of the things that worked this episode (and there were quite a few things), I have to rewind a bit back to Piper. Up until now, she’s had absolutely nothing to do. She stirred up some mischief this week, telling Emma that Rachel’s parents thought that Audrey intimidated her, giving Emma booze and telling Emma that her dad was murdered and it was never solved. None of it really means anything yet (and it would have been nice to have Piper be this involved an episode or two ago), but at least Scream seems to be establishing her as a main character a bit more.

Noah and Audrey proved yet again that they are the most entertaining character pairing on the show. While the entire issue with Mr. Branson having videos of his students having sex is icky, at least our dynamic duo are making some progress (which is more than I can say for Emma).

Scream stumbled quite a bit with this latest episode. While it did move certain plots forward, none of it was all that interesting. This marks the midway point of the season, so hopefully it can improve in the back half (or at least match the quality set by the season’s third episode).

Random Notes

  • I don’t think there was a single pop culture reference in this episode. Did I miss one?
  • All of the male characters on this show barely have any presence, but Kieran is the greatest offender. Man, he’s dull. On a separate note, he and Emma have sex, so there’s that.
  • “We really appreciate all the extra manpower.” -Sheriff Hudson is a sexist. Good to know.
  • “We are still reeling from Riley’s death but we still have learning to do.” -Really, Mr. Branson? That’s how you want to motivate your students?
  • “Tell that cop about me and you’ll get your mom’s heart in a box!” -I find it doubtful that Ghostface would actually follow through on this promise, since clearly Emma and her mother are part of his endgame plan.
  • So there has to be 2 killers since they pretty much show everyone at the candlelight vigil, right? Unless her seeing Ghostface was a hallucination.
  • “What part of skinny iced macchiato don’t you understand???” -Brooke, back to being a bitch.
  • “I like torturing the ice” -Jake, speaking one of the dumbest lines ever when he orders hot coffee and ice, rather than just an iced coffee.
  • “Before I say what I have to say….how hot is your coffee?” -This actually made me laugh. Yay Brooke!
  • Was it supposed to be a big secret that Will and Jake were the blackmailers? It seemed pretty obvious to me.
  • “Daddy, what happened to your nose?” “I’m having work done.”
  • Mr. Branson using the word “threesome” to describe Noah’s scene project is creepy. There have to be better words than that Mr. Teacher!
  • “Damn. No wonder this girl’s dead.” -Detective Brock sounds like a terrible cop. She’s no Detective Tanner, though.

A journalist for Bloody Disgusting since 2015, Trace writes film reviews and editorials, as well as co-hosts Bloody Disgusting's Horror Queers podcast, which looks at horror films through a queer lens. He has since become dedicated to amplifying queer voices in the horror community, while also injecting his own personal flair into film discourse. Trace lives in Austin, TX with his husband and their two dogs. Find him on Twitter @TracedThurman

Books

‘In Search of Darkness’ Book Review: A Must-Have for ’80s Horror Fans

Published

on

In 2019, the documentary of 80s horror In Search of Darkness became an instant hit with horror fans. Now, a beautiful coffee table style companion book is available and is a must-own for all fans of one of horror’s greatest eras. The book is a walk down the horror aisle of the best mom and pop video store in the heyday of VHS, featuring full color photos, poster art, insightful essays and more. More than just a nostalgic throwback, In Search of Darkness is the kind of book I wish I’d had back in my years as a burgeoning horror fan but is also satisfying for the film fanatic I have become in the years since.

The format is beautifully and simply laid out, with at least a dozen (usually more) movies from each year of the decade presented in order of release accompanied by informative and insightful essays by the authors Heather Wixson and Patrick Bromley. Both authors have been mainstays of film journalism, specializing in horror, for many years. Wixson began her career in 2007 with Dread Central and has spent the past ten years as the Managing Editor of Daily Dead, from which she recently retired to focus on books and other projects. She has devoted the past several years to interviewing and writing books about the Make-up and Special Effects wizards that have brought so much to film over the years, specifically the horror genre.

Bromley is a film journalist and critic whose work can be found all over the place including right here on Bloody Disgusting. He recently provided the commentary for the Vinegar Syndrome release of The Texas Chainsaw Massacre 2 and is known as something of a Tobe Hooper expert. He is also the founder and editor of F this Movie!, an eclectic film website, and host of its accompanying podcast. So, to be clear, the authors know their stuff.

Wixson and Bromley divide writing duties roughly in half and though each has a distinctive voice, their writing styles dovetail beautifully into a cohesive whole. Each author plays to their strengths. Being familiar with both their work I didn’t even have to look at the bylines to know that Heather covered Christine and Terror in the Aisles and Patrick took on The Funhouse and Hollywood Chainsaw Hookers. Wixson’s passion for make-up effects is clear and comes through in many of her contributions. In general, Wixson takes on the “big” titles, the movies that defined the decade the most, and Bromley covers what the more cynical among us might call schlock, but he would likely call pure cinematic bliss. There are exceptions and surprises, of course, as there should be (Patrick covers The Shining for example). Each essay dives into the history behind the film, the major players involved, the reception, and legacy with often surprising aspects drawn from interviews with the filmmakers from various sources and insights from the authors.

For all their in-depth explorations of each film, in general the authors keep their critics’ hats safely stowed, keeping in mind that every entry on the book has its fans. In fact, they may well have sold me on finally hitting play on some of the schlockier offerings of the decade like Evilspeak, Nightbeast, and Blood Diner. Hell, I may even give The Beast Within a spin for shits and giggles. The point is that this book is a celebration through and through. The authors are honest about the critical receptions of the films, which were often unkind, and sometimes let their own opinions shine through, but recognize how beloved even the schlockiest films can become given time and availability. And that is an ongoing theme of In Search of Darkness. What may have been dismissed in its day often becomes revered as the years pass. Variations on the phrase “the years have been kind to…” referring to various maligned projects like The Thing, Halloween III: Season of the Witch, The Blob and many, many others, can be found throughout the book for good reason.

Each chapter of the book also includes a rundown of the top horror movies at the box office for the year as well as the top movies of all genres for context. The final page for each year highlights some of the major news and pop culture events including the top songs, albums, and television shows. There is a large central section that pays tribute to the talent involved with the greatest horror films of the 80s including directors, actors, effects artists, and more. This section includes brief biographies of John Carpenter, Wes Craven, Stephen King, Tom Savini, Barbara Crampton, Robert Englund, and many others presented in a dynamic and engaging fashion.

One of the beauties of the book is that it covers so much ground. Sure, you’ll find Friday the 13th, A Nightmare on Elm Street, Hellraiser, and the Halloween sequels in it, but you’ll also find deeper cuts like The Changeling, The Being, and Tetsuo: The Iron Man. I was happy to find the same love given to Frank Henenlotter and Larry Cohen as to George A. Romero and David Cronenberg. In other words, In Search of Darkness is extraordinarily eclectic, highlighting the diversity that truly defined what is often viewed as a homogenous decade. The authors make the case that the 80s was horror’s greatest decade, and with what they lay out throughout this book, it’s tough to argue against that. I even came across a film or two I hadn’t even heard of before, which has become increasingly rare as the years go by.

At just shy of $85, the cover price may give some horror hounds pause, but believe me, it’s worth every penny. This is a beautiful volume that every fan of 80s horror will want on their shelf or prominently displayed on their coffee table. Filled with favorite titles, hundreds of full color photos, insightful and informative writing, this is simply a must own.

You can order your copy now.

Continue Reading