Editorials
[It Came From the ’80s] Reverend Kane Still Terrifies in ‘Poltergeist II: The Other Side’
With horror industry heavy hitters already in place from the 1970s, the 1980s built upon that with the rise of brilliant minds in makeup and effects artists, as well as advances in technology. Artists like Rick Baker, Rob Bottin, Alec Gillis, Tom Woodruff Jr., Tom Savini, Stan Winston, and countless other artists that delivered groundbreaking, mind-blowing practical effects that ushered in the pre-CGI Golden Age of Cinema. Which meant a glorious glut of creatures in horror. More than just a technical marvel, the creatures on display in ‘80s horror meant tangible texture that still holds up decades later. Grotesque slimy skin to brutal transformation sequences, there wasn’t anything the artists couldn’t create. It Came From the ‘80s is a series that will pay homage to the monstrous, deadly, and often slimy creatures that made the ‘80s such a fantastic decade in horror.
Four years after the Freeling family fled their Cuesta Verde home, their story continued in the follow-up sequel Poltergeist II: The Other Side. Released theatrically on May 23, 1986, the Freelings relocated to Phoenix, Arizona, and the site of their former home was turned into an archaeological dig site. Enter Native American shaman Taylor (Will Sampson), who discovers hostile spirit Kane has escaped the cave to reclaim Carol Anne.
It’s this sequel that transitions the paranormal activity from the house and transfers it directly to the central characters of the original trilogy, young Carol Anne Freeling (Heather O’Rourke) and Reverend Henry Kane. Though the sequel was financially successful, it wasn’t nearly as successful as its predecessor in both box office gross and critical reception. The mythology behind the original poltergeist haunting takes a sharp turn into the realm of mystical in the sequel, further separating it from the original film. Whether you’re a fan of the more spiritual leanings or not, the sequel does nail its villain. In human form, Reverend Henry Kane is downright creepy, amplified by Julian Beck’s performance.
But when Steven Freeling (Craig T. Nelson) refuses Kane’s entrance back into Carol Anne’s life in human form, the sequel gets really weird. Kane possesses a Mezcal worm while Steven is getting drunk, which then possessed Steven. He then vomits out a Kane monster, that in turn grows into a tentacled monster. The final showdown between good and evil exists on another plane of existence, the Other Side, with Kane now a massive monstrosity still trying to run away with Carol Anne while Taylor and Steven fight it in the spiritual realm.
It was the visual and creature effects behind the various iterations of the Kane beast that earned the team, namely Richard Edlund, John Bruno, Garry Waller, and William Neil, a nomination for best visual effects at the 1987 Academy Awards (they lost to Aliens). Edlund had founded the visual effects company Boss Film Studios, the company hired to handle the film’s visual effects. It was a large crew involved with the production, and boasted artists like Screaming Mad George (Society).
Despite the acclaim and Oscar nod, there was one notable person unhappy with the final cut of the film in terms of creature effects; surrealist artist H.R. Giger. Giger was hired as a concept artist for the iterations of Kane’s monstrous form, but he wasn’t able to be present to oversee its creation. Additionally, director Brian Gibson didn’t really have any prior experience working with visual effects like this, which meant a lot of improvisation and adjustments that needed to be made during the shoot. By the time Giger did make it out to set, it was too late to make any changes. While his designs for the vomit monster and great beast did make it into the final film, he didn’t feel they really resembled his work.
Regardless, the team earned that nomination; the visual and creature effects made Poltergeist II: The Other Side memorable. Even if you don’t recall much about the sequel, you still likely remember the scene in which Nelson’s character vomits up a monster with vivid detail. It’s amazing. The Reverend Henry Kane is one of horror’s most unsung villains, and both Beck’s performance and the roster of talented artists from Boss Film Studios solidified his ranking.
Editorials
‘The Vampire Lestat’ Concert Event Launches New Season With The Ultimate Expression Of Fandom
There are thousands of passionate fans decked out in gothic chic and champing at the bit like feral creatures. They’re screaming for Lestat, a legendary vampire-turned-rock star, as if the entire crowd has been glamored into submission.
The entire experience is magic, but not because some supernatural thrall has been activated. What’s going on is even more special. It’s the power of the effusive fandom that’s been authentically assembled by AMC’s sublime Immortal Universe, namely Anne Rice’s Interview with the Vampire, now, The Vampire Lestat.
The Vampire Lestat is far from the first Anne Rice adaptation, and it’s not as if there’s been a lack of erotic vampire material for audiences to sink their teeth into. On June 2nd, during a one-night-only spectacle, New York City’s prestigious Beacon Theatre shook from Sam Reid’s bravado performance and an audience full of adoring fans who had already memorized Lestat’s songs.
It’s clear that The Vampire Lestat just hits differently than its predecessors. It’s become more than just a TV series at this point, and this opulent display of ego, swagger, and pure sex is the perfect way to premiere the new season and give back to the fans who helped make Interview with the Vampire/The Vampire Lestat such a breakout success. It’s exactly the sort of hyperbolized hedonism that would make Lestat cackle.
For all intents and purposes, AMC has successfully created the illusion that this concert/premiere is just one of the many destinations on Lestat and his band’s 54-stop tour that is simultaneously playing out on this season of television. It’s such a sophisticated and thorough level of interactive fan engagement that the audience doesn’t just understand, but also manages to accentuate through its involvement.
It’s a level of seamless synergy that’s not unlike the give-and-take relationship of vampire and victim.
Before the concert started, “LeStans” were sitting in the Beacon and flipping through a fake Rolling Stone issue with Lestat emblazoned on the cover, complete with interviews with the undead frontman inside. Other fans were admiring the vinyl pressing of Lestat’s EP as they walked past a section of undead band merch. Fandom and fantasy blur together, and it all becomes this elaborate, immersive experience. Fan celebration, erotic gothic fantasy, and a lavish rock concert transform into one beautiful thing.
To this point, AMC Global Media’s Chief Content Officer and President of AMC Studios, Dan McDermott, introduced the event by reiterating to fans, “You are the heartbeat of the series.” That’s abundantly clear on nights like this as that heartbeat collectively pulses to this performance. In terms of how AMC engages with The Vampire Lestat’s fans, it’s as bold a reinvention as the season itself.
This intuitive gamble speaks to AMC’s creativity in this department and a fandom that is eager to seize such opportunities. It’s the same innovation that led to zombie walks for The Walking Dead and real-life Los Pollos Hermanos restaurant pop-ups from Breaking Bad. It’s a great way to pump up the audience for The Vampire Lestat and then maintain that enthusiasm for the whole season.
For most series, a rock ‘n’ roll concert just doesn’t make any sense as a promotional tool. The Vampire Lestat finds itself in a very unique position where it can deliver an excellent concert at an iconic theater, but also use it to showcase The Vampire Lestat’s music by Daniel Hart (who was shredding on stage alongside Reid and the rest of their band) and, more than anything, Sam Reid’s endless charisma.
The way in which Reid feeds off of the crowd’s energy, modulating his performance and giving different sections of the Beacon life, is a perfect distillation of the series’ thoughtful relationship with its audience and how it’s become such a breakout success for AMC. AMC Studios President Dan McDermott emphasized that the fans are the reason that the show is still here and why an event like this is even possible. It’s rare to see a series in which every single cog in the machine is so perfectly attuned to its fans. Reid’s fans already cheer whenever they see him, so why not translate that to a concert setting?
It’s clear in this season of television that Reid was born to be a rock star, but it’s surreal to see him effortlessly command the stage — and the audience — at every step of the concert. He recites Shakespeare monologues and bitches out Armand between songs, all while the audience screams in support. For the duration of this concert, Reid is Lestat, and he’s given thousands of fans a memory that’s as immortal as any vampire.
Now bring on the encore and get this show on the road!
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