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The Queer Horror of “Chucky”: Episode 2.08 – “Chucky Actually”

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Each week Joe Lipsett will highlight a key scene or interaction in S02 of Don Mancini’s Chucky series to consider how the show is engaging with and contributing to queer horror.

Happy holigays, Chucky viewers! Leave it to show runner Don Mancini to wrap the second season with a full-blown Christmas horror episode, complete with a slow-mo chainsaw death and a Home Alone-style sneak attack by teens Jake (Zackary Arthur), Devon (Björgvin Arnarson) and Lexy (Alyvia Alyn Lind) against intruder Jennifer Tilly.

As always, it’s good, gory stuff. But since this is the holiday episode, it only makes sense that we should focus on the real (queer) horror in “Chucky Actually”: the awkward family dinner sequence.

Throughout these season two editorials, we’ve unpacked lesbian intimate partner violence statistics, LGBTQIA foster care stats, and even how many gay priests are living celibate lives in the Catholic Church. For the final editorial of the year, it makes sense to tackle queer-related issues that arise during the holiday season.

December isn’t an easy month for most anybody. And while there is a common misconception that suicide rates spike during the holidays (the opposite is actually true), for queer people, who are already at higher risk for anxiety, stress and depression, the season has no shortage of triggers. As Dr. Logan Jones, head of NYC Therapy and Wellness, explains: “Common struggles [include] feelings of rejection for freely expressing their authentic selves. For [LGBTQ] clients, going home for the holidays is not always a time of bliss, but a painful reminder of moments of their ‘otherness’ within their families.”

Devon and Jake aren’t facing quite this level of stress, but they are clearly ‘Othered’ in the Cross household by their queerness and their status as orphans. They have no “traditional” family to return to after losing their respective parents in S01. And it’s clear that Mayor Cross (Barbara Alyn Woods) isn’t actually a welcoming presence; the only reason she allows Jake and Devon to stay at her palatial home is because Lexy is savvy enough to ask permission during her mother’s Insta livestreams when she can’t possibly refuse.

Lexy’s protectiveness of Jake and Devon’s relationship throughout season two, as well as her recognition that the pair need space to work out their issues and rekindle their intimacy, is the definition of an ally. Add in her acknowledgement of the boys as a found family and Lexy is basically playing Santa for the pair’s S02 relationship woes. (Ironically she’ll soon join the ranks of found family members when her mother is brutally murdered by Chucky and her misinformed younger sister abandons her for Tiffany).

That’s why the Christmas dinner sequence hits so hard. Not only is the writing on the wall for Mayor Cross the moment she and Lexy make amends, but the breaking of bread (or eating of Turkey, as it may be) forces Jake and Devon to sit and address the rift that’s been growing since Jake abandoned Devon on Halloween back in the season opener. Despite Mayor Cross’ protests that the dinner table is no place for such conversations, the opposite is actually true: that’s why so many iconic Christmas films feature a variation of the uncomfortable family dinner. It’s the one place that family – be it blood or found – can avoid each other, which makes it ripe for conflict and tension.

While holidays traditions, particularly meals, can be stifling and oppressive for queer audiences who aren’t comfortable with their family, who aren’t out, or who are negotiating bringing home a partner for the first time, they also provide an outlet to make amends, make peace and move on after the year’s trauma. And maybe you’ll even wind up in matching pyjamas on the floor under the mistletoe later, who knows?

It’s simultaneously the most wonderful and horrible time of the year, a fact that Chucky seamlessly highlights in this tense, uncomfortable, but ultimately cathartic dinner sequence.

So once again, happy holigays to audiences queer and otherwise. Here’s hoping we’ll reunite for S03 this time next year…

Joe is a TV addict with a background in Film Studies. He co-created TV/Film Fest blog QueerHorrorMovies and writes for Bloody Disgusting, Anatomy of a Scream, That Shelf, The Spool and Grim Magazine. He enjoys graphic novels, dark beer and plays multiple sports (adequately, never exceptionally). While he loves all horror, if given a choice, Joe always opts for slashers and creature features.

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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