#Night at the Marion Motel

[lonleydweller]

Well aware of requests, but I would love your favourite slasher yandere hcs!

🥀Yandere Norman Bates hcs🥀

THANK YOU THANK YOU ANON!! ^^ So excited to get a slasher request!! Sorry if this seems rushed I was just super excited to write it

!Warnings!: yandere trope, spoilers for pyscho, stalking, murder, kidnapping, mentions of reader possibly dying

Yanderes are OK to enjoy in fiction. They should stay fiction. They are not examples of healthy relationships. These behaviors are NOT okay in real life. They are horrid. This is for entertainment purposes

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● You're more than likely just another person passing through, staying the night, wanting nothing more than to sleep and be gone in the morning, off to your destination. Having gotten lost off the main road, after all, no one stops by anymore unless they've done that.

● He greets you with the same friendliness he gives most of his guests, ushering you in, offering you food. Quickly becoming enamored with you as soon as you walk in. Obsession festering from a simple small chat.

● At first your fate seemed like it would end up like the rest of the people Norman's shown interest in, dead by the hands of his "mother".

● However in this case by some miracle after bickering and pleading with himself, he manages to convince his other personality to not kill you. That you're different than the rest! Who knows, maybe even mother will start taking a liking to you.

● You're given room one, right next to the front desk if you need anything, walls so thin you can knock on the wall if you need anything. Thin enough to poke a peephole through. With you none the wiser.

● Then there's issue of you leaving.. he can't have that can he? It's unlikely he'd never see you again. The only person his mother approved of. The only chance at any kind of connection that wouldn't immediately end up as a body in the swamp. No, no, he can't let you leave.

● He'll make you stay, wether it be by begging, by slashing your tires, by locking you up in his home, or keeping what remains of you in his basement with the delusion that you're still there.

● If he dosen't take the most extreme option, you'll wake trapped up in the guest room of his home. With Norman doting over you, frantically trying explain and rationalize his actions to you as you scream and cry to be let go.

● He understands to a degree, but at the same time he dosen't. He dosen't understand entirely what he's doing is wrong, but he isn't oblivious either.

● As for example he's shown in the film to show some remorse about Marion's death, before quickly cleaning it up and hiding the evidence. He's aware it's wrong to some degree.

● He knows that the law and general populous would view what he's doing to you as wrong, but he excuses it in his mind. He needs you here. Its better for both of you this way. In his mind you just need time to adjust and you'll be fine. He just needs to be patient. That's what he tells himself.

● An escape wouldn't nesscarily be easy either. Not many people stop the motel, let alone Norman's house. There's no places nearby within walking or running distance. Then of course you have norman wacthing over you like a hawk, one that will swoop down and stop your plans, unlike the lifeless stuffed birds that decorate his parlor.

● You'll haft to walk on eggshells, while Norman tries his best, swearing he won't hurt you, who says his mother side won't get fed up with you? What stops him from killing you in a last dicth effort to make you stay? He wouldn't even see the difference. As long as he has your body, has the delusion in his head, you're still alive to him.

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[blueberrypancakesworld]

Norman Bates - First encounter

warning : Non consensual, drugging, creepy behavior, mental illness, dark theme, sleeping pills, no use of y/n

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°Since you set foot in his hotel on a rainy dark night. He looked up from his small reception and his eyes went to you, he was fascinated by you. The lightning in the sky seemed to illuminate you and you approached him with only the wood between you.

°It was like when Marion had come to him in the hotel and had aroused his interest. But she did not last long, his mother did not allow it. But now it seemed completely different. It all seemed so much stronger but he could not quite understand why. He could not understand why his mother did not say anything to the young woman who came in.

°,,Good evening Sir, what a terrible thunderstorm, do you have a room available?" she asked and pointed outside for a moment before shaking the rain from her umbrella. The dark-haired man could hardly take his eyes off her before he looked into his book. Well knowing that he had no guests, that he would not get any. But she greeted him with patience and kindness, leaning lightly against the wood and seeming pleased that he was there at all.

°That she was here only by chance and yet in his mind, next to his mother, something convinced him that she was here only because of him. That she had found her way here because of him. ,,Yes-yes, truly bad weather, one moment please," he replied, looking back at his book. He felt her gaze on him as he pretended to look for a free room. Knowing that it would be the room with the special extra.

°,,You're lucky, there's a room available with an adjoining bathroom and if you want something to eat I can make you something," he replied more hastily than intended and felt as if he were still giving her the whole plan. Saw how she seemed to think for a moment before deciding on the room. She took the room key from him and he had to hold back, her skin was so pleasantly soft and warm. Like a mother.

°She gave him one last grateful look before taking her suitcase in her hand again and walking towards the room with the key. She didn't see how he looked after her, demanding and yet reserved. His fingers closed tighter around his pen. She's perfect, Mother, it ran through his head as he set about eating.

°He hurried into the kitchen, knowing he wouldn't let her go. She had to stay with him. She mustn't go he heard her voice as he prepared the soup and paused. ,,But what if it happens again?" he asked and his arm moved twitching towards the locked cupboard. He involuntarily pulled out the key.

°He was afraid that it would go too far again, but the sight of her made him think that he could finally be perfect. Prove it to his mother and not have to leave her. So she stays with you said his mother, her voice so familiar as he took the small ampoule. He saw the wise powder that he carefully mixed in the soup dissolve.

°Walking from his house back to the motel, he recognized the soft rush of the shower and felt a thrill of curiosity and excitement run through his body. The thought of seeing her like this, without clothes he went into the room next to hers. He put the tray down carefully, trying to be as quiet as possible as he took the picture off the wall.

°Pressing himself closer to the wall and looking through it, he saw to his excitement that she had not closed the shower curtain. The water fell on her naked body and the foam of the soap was spreading over her body. She was beautiful the most beautiful woman he had ever seen more beautiful and almost more loving than his mother would even be to say and think it. He had to touch her.

°Only moments later he came to her room with the food and felt his heart beating fast. He had waited until the shower had gone out, she had finished and it wasn't too hard. He was afraid that she would leave, that it wouldn't work and that she would call the police. That his mother would end up in an institution. Shaking his head to banish the thoughts from his mind, he knocked on her door.

°,,I have your food," he said more quietly than necessary, almost afraid that she would not hear him. But only a moment later the door opened in front of him and wrapped in a bathrobe she stood there. Smiled at him before she said, ,,Thank you for the trouble, of course I'll pay extra for it" and took the food from him before she closed the door with a grateful wink.

°His heart never seemed to beat so fast. Her body in the bathrobe well knowing how she looked underneath. He stopped in front of the door and put his hand on the doorknob, he would not let her go.Tonight be patient he heard her voice and involuntarily detached himself from the door. He didn't want to leave, but he knew that he would have to wait a little.

°It seemed to take an eternity until she had finished eating and the light in her room went out. Before he dared to approach her room again and the time had come. He opened the door with his universal key and entered the dark room. The room was lit only by the moonlight that fell through the curtains as he walked to her bed.

°Saw her desirable body under the covers as he reached out his trembling hand to her. Saw in the dim light that she had completely eaten the soup. See the sleeping pills are working he heard her voice as he swallowed and put the blanket aside and saw her in her nightgown. The white thin fabric clung to her body and yet had shifted slightly.

°Embarrassed and yet full of excitement, he let his hand run over her body. Slightly pushed up the fabric of the nightgown and finally touched her warm soft skin. Drove up to her face and gently stroked the soft lips. His thoughts ran wild as he imagined having something like a family of his own for the first time.

°But as he ran his fingers through her hair, looking at the fabric, he finally understood why he liked her so much, why she wouldn't let him go, why he was so obsessed with her. She reminded him of his mother, she seemed to be her image in younger and yet she was not. But she was slightly different, was nice and friendly not controlling him like his mother.

°A fact that shocked him and yet in his mind it seemed normal that he found her so attractive. ,,She's pretty and helpless," he murmured, ignoring for a moment his mother's voice telling him to take her with him and drag her into the house. Instead, he took a moment to observe her. Leading over her body, he listened excitedly to each of her soft sounds and almost overdid himself.

°If his mother had not intervened and pulled him away from the woman, he would have truly overdone it. There'll be time for that later! she hissed and Norman took care of her car knowing she didn't need it anymore. Would perhaps rather sell it to buy her nice new clothes. Before he went back to her he slowly and carefully lifted her out of bed. Pressed her gently against her before he went with her into the main house.

°He knew she would not wake up for a few hours. Hours in which he prepared her room and made it as comfortable as possible before he laid her on the soft bed. Gently tucked her in and sat with her on the bed. ,,I'll be there when you're awake" he murmured and gently reached for her hand. But the softness of her skin, the warmth and love let him know that it was only a matter of time until he finally had her. Until his mother was with him again and she would love him. She had no choice.

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@icarus-star

[wahzoop]

Miscellaneous Creepypasta / Marble Hornets hcs because he JSNSJSNSK

- The Operator and the Creeps don’t live in a big ass mansion in the middle of buttfuck nowhere. They live in an abandoned hospital in buttfuck nowhere.

- I shouldn’t use the word “live,” though. No one ever sticks around the hospital.

- They kind of just use the hospital as a like meeting place, I guess. The Creeps will all gather at the hospital, they’ll shoot the shit, and then they all skedaddle and get to work.

- Everyone pretty much does their own thing. No one really works together unless The Operator tells them to do so.

- Toby, Brian, and Tim will work together at times, but even that’s rare.

- No one’s really friends with each other, either. Everyone keeps to themselves for the most part.

- Nina is definitely the most social out of the Creeps.

- She’s also the most outgoing.

- They are literally obsessed with Jeff.

- Nina lives in a house with a bunch of punks. She’s rarely ever there, but they still live there for free.

- Despite her… looks and their…. antics… she’s rarely ever judged by their roommates or anyone else who enters the punk house.

- She often gets asked how they got her facial scars, and they always answer honestly. She’s gotten a few shocked looks, but Nina’s otherwise accepted with open arms.

- She had a hot punk girlfriend named Marion for a while, but they ultimately broke up because “she wasn’t Jeff.”

- Eyeless Jack inhabits a small, abandoned cabin a few miles from the hospital.

- Jack stays in solitude almost all of the time.

- No one fucks with him, not even Jeff, and Jeff fucks with everyone.

- I wish I could call him a gentle giant, but that man is only one of those things.

- Jack is definitely the strong and stoic type.

- He rarely talks and when he does it’s in a whisper. He’s a demon. He can’t let anything above hear him. (I’ve always found the idea of demons whispering when they speak so God can’t hear them super cool. That’s what I’m referencing teheheh. 🤓)

- Tim wasn’t a Proxy when we saw him in Marble Hornets. After Jay’s death, he didn’t have any incidents with The Operator for quite some time. Even his cough started to go away. He even started to come off the pills.

- And then, one night, Tim had stepped out of his motel room for a smoke. He returned back to his room, and there He was.

- At this point, Tim was just exhausted. He had no energy to fight it. After that, Tim was under The Operator’s control.

- Or something like that.

- (Also, disregard the fact that Brian is like dead or whatever, we’re just gonna ignore that.)

- Tim still moves from hotel to hotel, but for no particular reason. It’s force of habit at this point, I guess.

- By no means does Tim like Brian. He barely tolerates him.

- He still blames him for Jay’s death.

- Brian never apologized for that, nor does he say anything. The mf doesn’t speak.

- Tim keeps his distance from everyone for a couple reasons.

- He doesn’t want to pass his misfortune onto those around him.

- He also doesn’t trust himself around anybody. He tried to kill Jay, Jessica, and Alex multiple times while he wore the mask. He prevents himself from getting too close with anyone, so that if he were to kill them, he wouldn’t have to feel guilty.

- Jeff spends the most time at the hospital. He kind of just fucks around and does what he wants.

- Jeff is an asshole. He’s an angsty teenager,

- He’s also gross.. he doesn’t clean… like at all. He doesn’t clean his clothes, his area, nor himself. His hair is horrifically greasy.

- Despite all that, Jeff truly believes he is hot shit.

- Nina’s feelings towards Jeff only makes this delusion worse.

- In no way does Jeff return Nina’s feelings, but boy does he love hearing her talk about him.

- His ego is actually insane, he’s lowkey embarrassing.

- Jeff and Ben are best friends. They, along with Jane and Nina, are the only Creeps that are actually friends with each other.

- Ben has an idgaf attitude.

- He could not give a single shit about anything at any given time at all.

- Ben also has an insane ego and also thinks he’s hot shit, but it’s sort of valid???

- Ben actually maintains himself.

- Comedic asf.

- Ben doesn’t really like anyone. He hangs out with Jeff and Nina, but he doesn’t care much for them. If they were to suddenly switch up on him or something, he wouldn’t care in the slightest.

- Someone who also doesn’t gaf about anything ever is Brian (or Hoodie or ToTheArk if you’re feeling fancy.)

- Brian’s main goal in life was to get rid of Alex and The Operator, but now that he’s under The Operator’s control and now that Jay is dead, he doesn’t really know what to do with himself anymore.

- He kind of just says “fuck it” and does what The Operator wants. He’s given up. There’s no use fighting it anymore.

- Yeah, he could go after Tim, since he was the source of it all, but what would that do?

- The Operator would still exist and Brian would still be under His control.

- Brian, like EJ, keeps to himself 99% of the time unless The Operator bids otherwise.

- He hasn’t spoken once since he was initially infected with “Operator Sickness,” and he never plans to.

- No one knows why he doesn’t speak. I’m not even sure he knows why he doesn’t speak. He just doesn’t.

- Toby also likes to keep to himself.

- Toby distances himself from everyone because he feels like he can’t trust anyone.

- He also genuinely hates everyone.

- He honestly thinks that the whole world is out to get him.

- Whenever someone tries to talk to him, he’s automatically hostile.

- Toby can be sweet and charming when he wants something.

- This kid is a master manipulator. Like big time.

- He has / had holes in his walls.

- He gets so overwhelmed sometimes. It’s scary if you have the misfortune of witnessing the boiling point.

- A small part of him knows that he’s scum, but he never truly admits it to himself.

- An even smaller part of him knows he’s like his father, but he will never admit that to himself.

- He was definitely a mama’s boy back in the day. He still misses her sometimes, despite not remembering much about her.

[anonameisadditions]

Norm or Norma: PSYCHO, and how Hitchcock saved the film from studio interference

In the last 7 minutes of Psycho, the film shifts from psychokinetic thriller to dead-in-the-water procedural criminal theater. Gone are the inventive visuals informing the everyday life of Norman Bates- the clothes he wears, the spaces he occupies, the food he eats, the life he lives. He is completely absent from the scene, yet his vanishment from the film makes it feel impersonal, and archaic- Justice has been served, and the uneasy build of tension and insanity has been cut with a sharp razor prepped by Occam himself- “Norman is mad”, the sponsored therapist says, “But he’s not a “Transgender”, but rather, something altogether different.” 

The scene was an addition by the studio, last minute, who feared that audiences would be unable to understand the plot twist- Hitchcock himself thought it to be altogether unnecessary, a sentiment many critics have agreed to. But it is not just a poor scene- It’s a scene that showcases the complexities of identity in Psycho, all through the studio trying to wring it’s hands of controversy or confusion. It is the film stooping down on one knee, to look it’s patrons in the eyes and remind them that the bad man in the film is not real, and that all the horrible, empathic emotions you felt towards Norma and Norman Bates were just a trick of the mind- that bad people do bad things because other bad people did bad things to them- and, despite what Norman said, not all of us go a little mad sometimes.

Charming. But not true.

Hello, My Name’s ANoN. I’m a film school graduate who’s been writing, reading, and watching film all my life, with a particular love of horror, and in particular, exploitation horror. I’ve seen plenty of “cheap trash” in my lifetime, and I’m known among my peers for having an eye for detail when it comes to writing and storytelling. But all of that barely matters to you, the random person who clicked onto this blog post- what matters here is Norman- and explaining to you why the world needed to be told that Norman was mad.

Let’s talk about Norman Bates a little. 

He’s young- a bit odd looking, but handsome in a plain, affectionate way. He’s tall, neat, quiet, and he’s ran the Bates Motel for quite some time with his mother. He seems like a known figure in the local community in the area, for how the police chief’s wife reacts to his families name- but curiously, there’s no hint of suspicion or discomfort for most in his name. He’s definitely an odd duck, given his obsession with taxidermy, and his lack of emotional skills in navigating his feelings around women, and he has a vice- He peeps on women in their hotel rooms, and had a bad habit in his youth of “hanging around” whenever a woman guest would check in. Norman lacks an awareness of social skills, not picking up the discomfort that our runaway fraudster Marion hints at the entire time that he watches her have dinner- an interesting formality that Norman doesn’t seem to understand the purpose of- and he speaks about his life.

Marion is drawn in, shockingly- Norman ends up being unexpectedly charming, despite his clear issues- He’s affable, a bit lonely, the dutiful son who seems glad just to have company around again. He ends the night with a firm goodbye, only offended at the observation by Marion that, in his unhappiness, he should consider leaving his mother. In that moment, you can see something come out of Norman- the pain of his relationship with his mother, his sense of duty and expectation, and- most importantly- the terminal grip of his mother around his psyche. “A man’s best friend is his mother”, he asserts- a common phrase in the 1960s, that takes on a sinister air as we see the murderous behaviors of Norma Bates. 

As Norman tries desperately to cover up the attacks of Norma Bates (a death toll including 2 other women, Marion, and a private Investigator), Marion’s sister, and Marion’s fillandring lover is left to investigate the Bates manor. Marion creeps along it’s corridors and rooms- We see the daily life of Norman in the detritus and mess of the household- the clothes he wears, the places he’s slept, the way he lives on a day-to-day basis, and what we find is not the house of a madman, but of someone altogether familiar. There is no horrific effegy to a fallen god- There is no decapitated cats locked in a fridge- there is no nipple belt, no skin lampshade, no woman suit (as we’d relate to Ed Gein, the murderer that Norman was based on.) We find the tense ordinary- We keep expecting that this door, when opened, will find the proof in the pudding, the sign that would have let Marion know that Norman was nuts- and we keep coming up with dust in the windowsill and tar in the attic.

Except for one detail. We come to the basement, as Norman investigates the house- and discover the taxidermed, preserved body of Norma Bates- firing off the Chekov’s gun of the insane amount of Taxidermied birds in the Bates Household- and launch into, what was intended to be the chilling, final image of the film- Norma Bates, revealed- a man in a powdery wig and a woman’s size 10, knife held in hand. Here is your breakawy moment- the moment that the audience is to be left with, the strange, queer detail that is meant to make us see the latent madness in Norman. 

But strangely, It’s hollow. If you were to take this as the film’s original ending, it would still be a smash hit, do not misunderstand me. But we’ve spent a lot of time with Norman at this point- we’ve seen his inner demons, but even in this strange, messed-up basement, You can’t stop seeing Norman in Norma. Their identities are spiritually interlinked- They oscillate, back and forth, and in that complexity, the story feels altogether incomplete, in only the way that true, good suspense fiction can be. 

This is one of the most cunning tricks of the film- We cannot divine who was the one with the mental illness in the Bates household. The Psychatrist seems to think that Norman, driven mad by the highly controlling behaviors of his mother, is the one whose mind broke once she chose another man over him. However, Norman’s own perspective seems quite different- He seems to regard his mother as a madwoman, cooped up in her bedroom, who would spend her days insulting Norman and guilting him into a relationship of deadly emotional incest instead of giving him the ability to decide his own future. Even in death, Norma passes the buck to Norman, implying it to all be his responsibility, whilst demonstrating the same bloodthrist that Norman tries to repress, in her fly speech. 

They'll put him away now, as I should have years ago. He was always bad, and in the end he intended to tell them I killed those girls and that man... as if I could do anything but just sit and stare, like one of his stuffed birds. They know I can't move a finger, and I won't. I'll just sit here and be quiet, just in case they do... suspect me. They're probably watching me. Well, let them. Let them see what kind of a person I am. I'm not even going to swat that fly. I hope they are watching... they'll see. They'll see and they'll know, and they'll say, "Why, she wouldn't even harm a fly..."

Granted, this could just be projection on Norman’s part- He’s hardly a reliable source- but that’s why Psycho works. It’s creeping dread reaches beyond the film, and into your own mind. Can one safely blame their bad impulses on the way they were raised? We profess ourselves capable of being moral, aware of the consequences of our choices, unlike the bad people we know- but is Marion a bad person for stealing the money of a creep to elope with a man who’s in a demonstratively unfair marriage? The film recognizes Marion as a criminal, who is worn down by society to return to honesty- but before she can decide, a madman with a knife takes that from her. Similarly, the line of deviancy runs through Norman, with the implications of his odd behavior around women and his peeping being traits inherent to his fractured feelings about sexuality- but does peeping at women begit murderous intent? 

Who is Norman Bates- Is he his mother, or his own man? We spent a lot of time with him, and yet we come up with frustratingly few answers. We can sit here and psychoanalyze him all we want, but, we are unfortunately stuck with him, from the inside out. And can we really trust ourselves to know when we’ve gone a little mad, sometimes? Let me know what you think in the comments.

Yours Falsely,

AN0N

[scary-movies-on-netflix]

PSYCHO (1960)

Marion and Sam have just finished having sex in a hotel.  They apparently love each other and would like to get married, but they are poor.  Marion returns to her office, where a client drops off $40,000 in cash.  Marion’s boss tells her to take the cash to the bank, but Marion steals the money and skips town instead!

She drives from Phoenix up toward Fairvale, California.  She sleeps in the car, and a cop wakes her up.  She acts suspiciously innocent, but he lets her go.  She decides to buy a new car, but the very same cop spots her at the used car lot and watches her!  Marion manages to drive off, and she imagines various conversations among her family and co-workers as her crime is discovered.  As night falls it begins to rain heavily, and she pulls over to the Bates Motel. 

The proprietor is one Norman Bates.  Marion checks into a room, hiding the stolen money in a newspaper, and he offers to bring her some sandwiches, but then Marion hears Norman’s mother berating him from their house behind the motel: “I refuse to think of disgusting things because they disgust me!”  Norman brings the sandwiches anyway, and they eat in the parlor, which is filled with stuffed birds.  The two have a long conversation.  Norman explains that his mother is ill, and maybe a little mad.  Marion suggests that she be put in a home, and he bristles at the suggestion.  At the end of the conversation Marion says that she’s returning to Phoenix because she “stepped into a private trap back there and I’d like to go back and try to pull myself out of it.”  She returns to her room, and Norman removes a painting so he can peep at her through a hole in the wall!  He then returns to the house with a determined look on his face, but he ends up sitting by himself in the kitchen.

In her room, Marion scribbles down some notes on how much of the stolen money she’s spent, and she tears up that paper and flushes it down the toilet.  This is literally the first time in America that anyone saw a flushing toilet in a movie.  Marion then disrobes and walks into the shower, smiling, perhaps at the liberating thought of going home and owning up to her mistake.  However, the door to the bathroom opens and someone walks inside!  A shadowy figure in a woman’s dress, with gray hair, stabs Marion repeatedly!  Marion falls out of the shower and we focus in on her eye as she dies.

Norman runs into the room!  He cleans up the mess, puts Marion’s body into the trunk of her car, and gathers up her belongings, including the newspaper with the money (after an initial fake-out where it looks like maybe he forgot it).  Norman dumps the car into a swampy hole behind the hotel.  So Marion, our protagonist, is dead, not even halfway into the movie.

However, we now jump to Marion’s lover, Sam!  In Fairvale!  (Marion was only about 15 miles from the town.)  Sam is visited by Viv, Marion’s sister, who is looking for her missing sibling.  They are soon joined by Arbogast, who has been hired by dude Marion robbed.  Arbogast naturally suspects that they are hiding Marion.  We follow him as he visits various hotels, motels, boarding houses, and flophouses.  He eventually ends up at the Bates Motel.  Under Arbogast’s precise questioning, Normal quickly admits that Marion was there, but she only stayed a night and left early the next morning.  Norman is acting “suss,” as the kids say, and Arbogast spots the outline of a person up in the house.  Norman says that it's his mother, but he won’t allow Arbogast to talk to her.  He asks Arbogast to leave.

Arbogast finds a phone booth and calls Viv, Marion’s sister.  He no longer suspects her or Sam of being involve with Marion’s disappearance.  He states that he’s going to return to the Bates Motel to try to talk to Norman’s mother.  At the motel, Norman hides before Arbogast can see him.  Arbogast enter the house and begins to climb the stairs, but then a figure dressed as an old woman rushes out and stabs him!  Arbogast very dramatically falls down the stairs, and the figure rushes at him and stabs him!

Sam and Viv have been waiting for Arbogast, who doesn’t show up.  They go the Bates Hotel, but there is no sign of him so they leave.  Meanwhile, Norman is dumping Arbogast’s car into the very same swamp from earlier. 

More stuff happens.  Viv and Sam go the local sheriff’s house.  They explain that Arbogast went to the Bates Motel to talk to Norman’s mother, but the sheriff tells them that Norman’s mother died ten years ago.  At the Bates house, we hear Norman talking to his mother, saying that he has to hide her for a few days.  She protests, but he carries her down to the “fruit cellar.”  Sam and Viv harass the sheriff at his church, and he says that he went to the motel and Norman didn’t offer any new information.  However, Viv and Sam decide to investigate on their own!  They drive to the motel and pretend to be a married couple.  Norman very awkwardly provides a room.

Sam and Viv sneak into the room where Marion was staying and find a piece of paper in the toilet, showing part of Marion’s calculations about the stolen money.  Viv decides to try to talk to Norman’s mother while Sam says he’ll distract Norman.  Viv sneaks into the house.  She finds a big empty bedroom, but there are signs that it’s been used recently.  She wanders into a child’s bedroom and looks at an unlabeled book.  We don’t see what it is, but she makes a weird face.  Meanwhile, Sam and Norman are having an awkward conversation.  Sam not-so-subtly accuses Norman of killing Marion for her money.  Norman realizes that Viv is missing.  He bonks Sam on the head and runs toward the house.

Viv hides from Norman as he enters the house.  She has a chance to escape, but instead she goes down the basement.  She enters the fruit cellar, where a female figure is sitting, facing away from her.  “Mrs. Bates,” Viv says, touching her shoulder, and the figure rotates about in her chair to reveal a corpse!  Norman runs into the room, wearing a wig and a dress.  Sam appears just in time to subdue Norman.

We arrive at the county courthouse.  A psychiatrist has interviewed Norman and explains that Norman possessed both a “Norman” personality and a “Mother” personality, and now the Mother personality has taken over entirely and essentially confessed to the crimes.  (Oh, Norman also killed his mother and her last companion and maybe two other missing girls.)  The Mother personality was jealous of the attention Norman paid to Marion when she was there, and that’s why she was killed.  Sam asks, “Why was he dressed like that?”  Someone says, “He’s a transvestite,” but the psychiatrist disputes this and says that Norman dressed like his mother because “he was simply doing everything possible to keep alive the illusion of his mother being alive.” 

We cut to Norman, sitting in a cell.  His “mother” is speaking, blaming Norman for everything.  He looks crazily at us and she insists that “she wouldn’t even harm a fly.” 

By today’s standards this would probably be considered more of a “thriller” than a “horror” movie.  Books and movies have been written about the shower scene alone.  I’ve seen complaints that it doesn’t quite hold up to today’s standards, but I still think it’s a masterful and stylish sequence.  It’s not meant to be a literal representation of what’s happening to "Marion" (Janet Leigh), or else we would have seen the killer’s face.  The scene, like every scene is every movie, is artifice, playing on the natural anxieties of being vulnerable and alone in a shower.  (You can watch an earlier, tamer, version of this same fear played out in "The Seventh Victim" (1943).) The shower murder was transgressive in its time, along with the scenes of Leigh in her bra and lounging about on a bed with her lover.  They showed a flushing toilet!  A man wore a woman’s dress!  Apart from those little details (no big deal, right?) this movie offers an entire curriculum on filmmaking, in building tension and inducing anxiety.  Even our bad guy, Norman Bates, has become iconic, both through his acting and the writing.  He’s just a dude who loves his mother.

[mov1efanatic]

Psycho - 1960

Marion, frustrated with her job and her lover, decides to follow a sudden impulse to steal $40,000 and leave town. She stops for the night at the ramshackle Bates Motel and meets the proprietor Norman Bates, a young man with an interest in taxidermy and a difficult relationship with his mother.

[starmotelflorencesc]

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[batesmotelofficial]

Phoenix real estate secretary Marion Crane steals $40,000 cash from her employer after hearing her boyfriend, Sam, complain that his debts are delaying their marriage. Marion sets off to drive to Sam's home in Fairvale, California, and switches cars after she encounters a suspicious policeman. A heavy rainstorm forces Marion to stop at the Bates Motel just a few miles from Fairvale. Norman Bates, the proprietor, whose Second Empire style house overlooks the motel, registers Marion (who uses an alias), and invites her to eat a light meal with him in the motel's office. When Norman returns to his house to retrieve the food, Marion hears him arguing with his mother about his desire to dine with Marion. After Norman returns, he discusses his hobby as a taxidermist, his mother's "illness", and how people have a "private trap" they want to escape. When Marion suggests that Norman should have his mother institutionalized, he becomes greatly offended. Marion decides to drive back to Phoenix in the morning to return the stolen money. As she showers, a shadowy figure enters the bathroom and stabs her to death. Shortly afterward, Norman comes to check on Marion, only to discover her dead body. Horrified, he hurriedly cleans up the murder scene. Norman then puts Marion's body, her belongings, and the hidden cash in her car, then sinks the car in a swamp.Marion's sister Lila arrives in Fairvale a week later, tells Sam about the theft, and demands to know where Marion is. He denies knowing anything about her disappearance. A private investigator named Arbogast approaches them, saying that he has been hired to retrieve the money. He stops at the Bates Motel and questions Norman, whose nervous behavior and inconsistent answers arouse his suspicion. He examines the guest register and discovers from her handwriting that Marion spent a night in the motel. When Arbogast infers from Norman that Marion had spoken to his mother, he asks to speak to her, but Norman refuses to allow it. After he enters the Bates home to search for Norman's mother, the shadowy figure emerges from the bedroom and stabs him to death.When Sam and Lila do not hear back from Arbogast, Sam goes to the motel to look for him. He sees a figure in the house who he assumes is Norman's mother. Lila and Sam alert the local sheriff, who tells them Norman's mother died in a murder–suicide, by strychnine poisoning, ten years earlier. The sheriff suggests that Arbogast lied to Sam and Lila so he could pursue Marion and the money. Convinced that something happened to Arbogast, Lila and Sam drive to the motel. Sam distracts Norman in the office while Lila sneaks into the house. Suspicious, Norman becomes agitated and knocks Sam unconscious. As he goes to the house, Lila hides in the fruit cellar, where she discovers the mummified body of Norman's mother. Lila screams in horror, and Norman, wearing women's clothes and a wig, enters the cellar and tries to stab her. Sam appears and subdues him.At the police station, a psychiatrist explains that Norman killed his mother and her lover ten years earlier out of jealousy. Unable to bear the guilt, he mummified his mother's corpse and began treating it as if she were still alive. He recreated his mother as an alternate personality, as jealous and possessive towards Norman as he felt about his mother. When Norman is attracted to a woman, "Mother" takes over. He had killed two women before he killed Marion and Arbogast. The psychiatrist concludes that "Mother" has now submerged Norman's personality. Norman sits in a jail cell and hears his mother's voice saying the murders were all his doing. Marion's car, which contains her remains and the stolen money, is retrieved from the swamp

You've said too much.

-Ms. Bates

[mediamixs]

10 psychological horror movies you must watch before you die

Psychological horror movies offer a unique and chilling experience by delving into the depths of the human mind, exploring themes of fear, paranoia, and madness. Here are 10 exceptional psychological horror films that have captivated audiences with their masterful storytelling and haunting imagery:

"Psycho" (1960): Directed by the legendary Alfred Hitchcock, "Psycho" is a landmark in psychological horror cinema. The film follows Marion Crane, who encounters the enigmatic Norman Bates and his eerie motel while on the run. What unfolds is a gripping tale of suspense, mystery, and psychological terror, culminating in one of the most iconic twists in film history.

"Rosemary's Baby" (1968): Directed by Roman Polanski, "Rosemary's Baby" is a slow-burning psychological horror masterpiece. The film follows Rosemary Woodhouse, a young woman who becomes increasingly paranoid when she suspects that her neighbors are members of a Satanic cult with sinister intentions for her unborn child. The atmosphere of creeping dread and uncertainty makes this film a standout in the genre.

"The Shining" (1980): Directed by Stanley Kubrick and based on the novel by Stephen King, "The Shining" is a visually stunning and psychologically chilling film. Jack Torrance, played by Jack Nicholson, takes his family to an isolated hotel for the winter, where supernatural forces begin to unravel his sanity. Kubrick's meticulous direction and Nicholson's iconic performance make this a must-watch for horror fans.

"Jacob's Ladder" (1990): Directed by Adrian Lyne, "Jacob's Ladder" is a surreal and thought-provoking psychological horror film. The story follows Jacob Singer, a Vietnam War veteran plagued by hallucinations and disturbing visions. As Jacob delves deeper into the mystery of his own mind, he uncovers a terrifying truth that blurs the line between reality and nightmare.

"The Sixth Sense" (1999): Directed by M. Night Shyamalan, "The Sixth Sense" is a haunting supernatural thriller with a psychological twist. The film follows child psychologist Malcolm Crowe, played by Bruce Willis, as he tries to help a young boy who claims to see ghosts. The film's shocking twist ending has become iconic in cinema history.

"Mulholland Drive" (2001): Directed by David Lynch, "Mulholland Drive" is a surreal and enigmatic psychological thriller that defies easy explanation. The film follows an aspiring actress who becomes embroiled in a complex and twisted narrative involving identity, memory, and the dark underbelly of Hollywood. Lynch's dreamlike imagery and nonlinear storytelling make this film a mesmerizing and unsettling experience.

"Session 9" (2001): Directed by Brad Anderson, "Session 9" is a psychological horror film set in an abandoned mental asylum. A group of asbestos removal workers uncover disturbing evidence of the asylum's dark past as they work to clean out the building. As tensions rise and paranoia sets in, the characters are forced to confront their own demons in a harrowing descent into madness.

"The Others" (2001): Directed by Alejandro Amenábar, "The Others" is a chilling supernatural thriller with a psychological twist. Set in a secluded mansion on the island of Jersey after World War II, the film follows Grace Stewart, played by Nicole Kidman, as she cares for her two photosensitive children. Strange occurrences begin to unfold, leading Grace to question her sanity and the true nature of the events unfolding around her.

"Black Swan" (2010): Directed by Darren Aronofsky, "Black Swan" is a visceral and psychological horror film set in the world of professional ballet. The film follows Nina Sayers, a talented but fragile dancer who becomes consumed by her obsession with perfection and the pressure to embody the dual roles of the innocent White Swan and the seductive Black Swan in a production of "Swan Lake." Natalie Portman delivers a mesmerizing performance that blurs the lines between reality and delusion.

"Hereditary" (2018): Directed by Ari Aster, "Hereditary" is a disturbing and atmospheric horror film that explores the devastating effects of grief and trauma on a family. After the death of her secretive grandmother, Annie Graham, played by Toni Collette, begins to unravel dark and sinister secrets about her family's ancestry. As supernatural forces close in around them, the Graham family is plunged into a nightmare from which there may be no escape.

These psychological horror movies offer a diverse range of themes, styles, and storytelling techniques, but they all share a common ability to unsettle and disturb audiences long after the credits roll. Whether through supernatural elements, psychological twists, or visceral terror, these films are sure to leave a lasting impression on anyone brave enough to venture into their dark and twisted worlds.

[helloitshaley]

Haley's Horror Recs

Tomorrow is the day!!!! Ween is upon us!!!! Everyone celebrate!!!!! I need to think of a movie that lives up to this hype...

PSYCHO

Slasher/Mystery

After stealing money from her company and going on the run, Marion Crane finds herself spending the night at the Bates Motel. Since she's the only customer, the odd but friendly owner, Norman, strikes up a conversation with her. However, Norman's overbearing mother is not too happy about this.

You should watch if: You want to see the movie that sort of birthed the slasher genera, or at least helped shape it into what it is today. You like classic movies. You like suspense. You want to see what is Hitchcock's best movie, imo at least.

Available to watch on Peacock, AMC+

(If you like this try; Halloween, The Strangers, Barbarian, Scream, Silence of the Lambs, Black Christmas, Black Phone, Orphan)

[mrsdawg4908]

Phoenix secretary Marion Crane (Janet Leigh), on the lam after stealing $40,000 from her employer in order to run away with her boyfriend, Sam Loomis (John Gavin), is overcome by exhaustion during a heavy rainstorm. Traveling on the back roads to avoid the police, she stops for the night at the ramshackle Bates Motel and meets the polite but highly strung proprietor Norman Bates (Anthony Perkins), a young man with an interest in taxidermy and a difficult relationship with his mother.

https://youtu.be/dMiNa5PUvbw

[czech-pop-culture]

Jaromír Nosek, Barbora Jánová and Tomáš Bambušek in

Noc v motelu Marion (Night at the Marion Motel)

2019, dir. Radim Grzybek IMDB

[courtwizardsirdoctorclydesdale]

FILM REVIEW POWER HOUR MY DUDES

"Psycho" (1960) dir. Alfred Hitchcock

"2001: A Space Odyssey" (1968) dir. Stanley Kubrick

"The Shining" (1980) dir. Stanley Kubrick

Pardon for the absence of actual content for over a year, it will happen again.

"Psycho" (1960) dir. Alfred Hitchcock

"Phoenix secretary Marion Crane (Janet Leigh), on the lam after stealing $40,000 from her employer in order to run away with her boyfriend, Sam Loomis (John Gavin), is overcome by exhaustion during a heavy rainstorm. Traveling on the back roads to avoid the police, she stops for the night at the ramshackle Bates Motel and meets the polite but highly strung proprietor Norman Bates (Anthony Perkins), a young man with an interest in taxidermy and a difficult relationship with his mother."

Despite it being among the most stigmatizing films ever made in its effect on public perception of mental health it was much better than I had expected!

Mechanically the film was good for its time, the cinematography was striking at times, my only gripe would be how the deaths were handled but for the first film of its genre I'm willing to give it a pass. The acting and dialog are where the film shines, every actor, save one which I'll mention later, is excellent in their roles and sells the performance. Norman Bates is very realistically portrayed as an uncomfortable kid isolated from reality with genuine gripes in his situation. Each protagonist also has a realistic motivation and acts intelligently according to their goals. The acting was superb from everyone involved each behaving realistically and believably, if I were to name a star performance it would be Anthony Perkins as Norman Bates both for merit and pure screen time dedicated to him.

The soundtrack was delightfully unnerving and used sparingly so as to keep its drama, never underutilized or overstaying its dramatic highlights. My favorite aspect of it was how much restraint was shown in saving the iconic track which *made* the film for the very final reveal and confrontation, following harrowing silence.

A great film with something for everyone I only have light criticism beyond the meta handling of mental health. Each of the murders looks horrid, everything criticized today for its laziness and cheap quality is shown from a shaky camera, poor special effects, and several too many cuts from different angles. I am willing to be swayed of my opinion on this matter however given its revolutionary genre setting weight and the shoe string budget the film boasted. The very worst and most out of place scene was the "Parlor Scene" trope from mysteries which "Psycho" most certainly isn't. The psychiatrist delivers such a lively and pseudoscientific performance in his explanation for the killers actions. His explanation is something I would expect from Tim Currys Butler in "Clue" from a less experienced director. So full of passion and excitement we he as he narrated the tragic and harrowing events of the film that he had completely overshadowed the second final reveal.

In conclusion I often find myself returning to classics and trendsetters and am often surprised by how refreshingly unique they are from what was inspired by them. Some films which adhere to this observation are Casablanca, Night of the Living Dead, and now psycho each offer ingenuity in their decisions which are sadly lost to time from their bigger budgets or poor directing decisions. Despite the "Parlor Scene" I was surprised I liked it as much as I did and could happily reccomend it to anyone who likes films.

"2001: A Space Odyssey" (1968) dir. Stanley Kubrick

An imposing black structure provides a connection between the past and the future in this enigmatic adaptation of a short story by revered sci-fi author Arthur C. Clarke. When Dr. Dave Bowman (Keir Dullea) and other astronauts are sent on a mysterious mission, their ship's computer system, HAL, begins to display increasingly strange behavior, leading up to a tense showdown between man and machine that results in a mind-bending trek through space and time.

The sci-fi film ever made.

Mechanically among the best I've ever seen, I don't usually go out of my way to see the behind the scenes but the cinematography of this film is beyond beautiful, it's fascinating. The environmental stills of the pre-human landscape, the stark and bright reality of a near future space travel, an even the colorful primordial imagery of the nature of the universe and the Cosmic reality of space and time. There is so much to talk about with this film that's done exquisitely but the cinematography steals the show. The audio is weirdly quiet the whole film and the background noise and dialog are weirdly synced but the audio is a titan of quality still. The film dares to be quiet and to let the audience fully bask in the sounds of space. The grand classical pieces which would be used in every sci-fi to come are a bit grating in their repitition in other films but still sing a triumphant tune of the human race I'm sharp contrast to their ape ancestry. The chanting of the Obelisk is haunting and beautiful in its theme of Cosmic presence, both inhuman yet made entirely of human vocals.

The acting in this film is great but not perfect. There are only three important characters to the film that being Frank, Dave, and the HAL unit. While there are other characters their acting is merely good as well as short-lived. Frank and Dave both serve as reasonable protagonists and great contrasts as representatives for humanity's relationship with A.I. Dave played by Kier Dullea is the star of the show both as the primary protagonist and the king of non-vocal acting, the scenes of his silent thinking expressions or intense concentration rival any I've seen before. The choice of the HAL unit to speak without any fluctuation in cadence or emotion was haunting in its final moments as it begs for its life and quietly sings a song as its last act of sentience and first known command.

There isn't much to criticize technically or narrativally but I can point out some aspects of the film which might have estranged it from general audiences. The film is long and travels at a very slow pace through the whole thing, even with a theatrical intermission it feels long and takes its time throughout. Between its pace and a fractured, disjointed plot the film can easily bore or confuse someone who doesn't love every aspect of films or at least with a schedule to keep. The film also unfortunately never becomes very exciting or thrilling, nor is there any comedic relief; I don't think these things are flaws as such but they can easily make someone else's dull experience even more unsatisfying. The film at its best, and I've noticed Kubricks films in general follow this idea, is when it's asking for self reflection or trying to ask you existential questions. When you begin to drift from the audio and the visuals and engage with the questions it poses while still enjoying a feast for the eyes or ears as more a background.

In conclusion I loved "2001: A Space Odyssey" it was a fascinating and lovely film, the moments of quiet add both to the tension and impact of the scene; but also serve the dual purpose of setting a stage for introspection or questioning the actual filmmaking decisions themselves. The dialog feels very mellow and human compared to most sci-fi films where the alien is the point and highlight. The film is too long and slow to reccomend to a general audience in my opinion, but anyone with a love of sci-fi themes or Cosmic horror should find as much enjoyment as anyone obsessed with films in general, a delightful time. Also watch the space song music video for it, I didn't make it don't know the person who did but it's on YouTube and also lovely

"The Shining" (1980) dir. Stanley Kubrick

I've got very strong and mixed opinions on this film that I hope someone is willing to endure

Mechanically it's great, the cinematography is good throughout and gorgeous often, the color pallete might be among the best of Kubricks work, and the setting is believable and used to it's perfect heights. The audio was done well if again weirdly quiet like A Space Odyssey, the screams were the only time the audio really sounded strained. The acting was also excellent, both of the stars Shelley Duval and Jack Nicholson are giants of acting talent, even if Duval was horribly mistreated on set her performance is still immaculate.

The soundtrack was serviceable in points and yet again great. I find the string pieces excellent I'm general for building unsettling tension bu it never held the same weight as the pieces for A Space Odyssey. My issue with the soundtrack is that it didn't hold enough tension to be worth the focus put on it by the film, it seemed to struggle for attention over the acting instead of setting the tone for it.

I have several salient criticisms for The Shining and then a more vague personal assessment. Of my criticisms; any dialog out side of the Torrence family is very strange and stilted, even Jack himself can sometimes appear less (redacted) and more awkward which is likely a director choice given the rest of his work and even other parts of the film. The maze scene is fantastic but the final scenes with Mrs. Torrence make no thematic sense with her character until that point. Jack Torrence even with potential supernatural aid had no established means of leaving the food storage. Finally the small moment where the old-timey villain calls the only major Poc character in the film a slur was just distasteful, it was neither shocking, nor did it make the villain seem any more old-timey or villainous; even still since it's never brought up again it serves no character building purpose.

In conclusion despite everything good and great about the film, despite all of the acclaim and how influential it was the film didn't grip me in any meaningful way. I was left feeling surprisingly underwhelmed and neutral about the film as a whole, even worse without any real way to describe why even with all of this word vomit. I think I can reccomend The Shining to a general audience if for no other reason than the quality of the sum of its parts. As for my own opinion of the film it bears another watch, a read of the book and more thought.

Big Conclusion

More to come but these were three big films I hadn't seen before and it was fun to watch them all I'm rapid succession. I have more big films coming my way shortly and I have an unlimited supply of unhinged raving at the noir genre so I'll try to post again before the year is out but I won't try too hard. If you made it this far I reccomend watching one of the listed films, all are good with Space Oddesy being my personal favorite.

[msnormajeane]

🎃👻 31 Days of Halloween 🎃👻 Psycho (1960) Dir. Alfred Hitchcock Phoenix secretary Marion Crane, on the lam after stealing $40,000 from her employer in order to run away with her boyfriend, Sam Loomis, is overcome by exhaustion during a heavy rainstorm. Traveling on the back roads to avoid the police, she stops for the night at the ramshackle Bates Motel and meets the polite but highly strung proprietor Norman Bates, a young man with an interest in taxidermy and a difficult relationship with his mother.

[lostbetweenvampiresandmusic]

Long road trip I just did for work killlllled me- could I get some poly lost boys seeing there SO after their so went in a long trip 💛

I hope you like this! 💕

--------------

You had passed the last motel you could possibly stop at for the night about an hour ago. You'd stopped there, only to get serious Norman Bates vibes of the place. You were beyond tired, but you'd rather drive a couple more hours and sleep in your own bed, than stay here in this old motel and risk the chance of becoming the next Marion Crane. Flashen of your body falling in the shower had already crossed your mind - and that was when you drove away from the parking lot, re-entering the highway.

You turned up the music, hoping it would keep you awake. It was loud, annoying - but it did it's job. You sighed as you finally saw the welcoming sign to Santa Carla. The boardwalk was brightening up the sky, and you were certain they were there. You'd missed them - how could you not? The five of you were practically glued together.

You'd gone on this roadtrip because one of your best friends had begged you to come along with them as they made a roadtrip from Santa Carla to New York. You'd hesitated, but when you told the boys about it, they told you to go. They said it would be fun, and that you would be more free than ever before. And they were right - of course they were. You could already see David's smirk - you knew he would never tell you "I told you so" since his smirk was efficient enough. Dwayne would just smile, wanting to hear everything that happened, while Paul would jokingly ask about gifts, and Marko would let you swear that you'd go on a roadtrip with them next.

You yawned as you stopped your car, sighing as you turned the engine and lights off. You'd begun to doze off, still in your car - when you heard something. A low, scratching noise. You froze, suddenly wide awake. There it was again, a creaking sound as if someone was walking on your roof. You frowned, slowly getting out of the car -

"You're back!" Paul tackled you to the ground, hugging you tightly. "Fucking hell babe, don't leave us alone for so long!"

You laughed, kissing him. "I missed you too," you stood up, hugging your other boys. "All of you. How- how did you know I was here?"

"We smelled you."

You pulled a face - as much as you knew and loved that they were vampires, they way David spoke of the 'human smell' was something that still grossed you out. You were waiting for him to go into detail, but he left it at that.

"I thought you wouldn't be back for another three days?"

"I- eh- I kind of may have gotten home sick," you blushed slightly, failing to ignore the warmth washing over you as Dwayne wrapped his arms around you.

"I'm glad you're home again, love," David smiled, giving you a soft kiss, before turning to the boys. "Marko, take Y/N's car to the cave, alright? We'll see you there."

Marko nodded, giving you a hug before taking the car keys from you. "Want to ride with me?"

Marko and you were the last to enter the cave. The barrels were lit, and it was surprisingly warm inside. Marko had been so kind to carry your two bags - refusing any help from you. He carefully put them down near the fountain, surprising you as he lifted you up. "You seem awfully tired."

You nodded in agreement, your head resting in his shoulder. "I am."

Marko grinned, giving you a soft kiss, before carrying you into your room. You smiled as you saw the others there, all laying in a half cuddle pile. As Marko put you down, you laid down between David and Dwayne, while Paul and Marko laid half atop of them, both cuddling your stomach. You smiled dreamily, getting a little more comfy.

"I'm glad to be home guys."

It was quiet for a while before Paul spoke up, a teasingness in his voice. "So, did you get us any gifts?"

"Tomorrow," you mumbled, already on the way of dozing off.

"So you did get us something?"

"Yeah."

"You didn't have to, sweet-," Dwayne brushed his hand through your hair, but stopped when you looked at him.

"I wanted to. You four always gift me things - now I want to do the same."

"Just not today," David chuckled, causing you to smile.

It was quiet for a while, and you began to doze off - but not before our felt each boy pressing a soft, loving kiss in your bare skin.

[justthegreat1]

The Legacy Of Horror

Before I start discussing the legacy of the horror genre, I would like to use a quote from English actor Mark Gatiss, “The cinema was made for horror films. No other kind of film offers that same mysterious anticipation as you head into a darkened auditorium. No other makes such powerful use of sound and image. The cinema is where we come to share a collective dream and horror films are the most dream-like of all. Perhaps because they engage with our nightmares.”

The horror genre had its start in 1765 when Horace Walpole published “Castle of Otranto”, and this is said to be the first piece of horror fiction in literary form. In 1818, Mary Shelley published “Frankenstein” which follows a doctor who creates a monster which leads to his own destruction.  

https://filmschoolrejects.com/why-horror-matters/

https://www.britannica.com/art/horror-story

There has been a point in cinema history that many people called “The Golden Age of Horror”.  “The Golden Age of Horror” occurred between 1931-1946 mostly due to Boris Karloff’s portrayal of Frankenstein’s monster in Universal Pictures 1931 adaptation of Mary Shelley’s novel “Frankenstein” and Bela Lugos portrayal of Dracula in the 1931 film adaptation of Bram Stokers novel of the same name.  

Pictured above is the movie poster for “Dracula” (1931) 

Image credit: Universal Pictures

Pictured above is the movie poster for “Frankenstein” (1931)

Image credit: Universal Pictures

https://www.classichorror.club/golden-age#:~:text=When%20you%20look%20at%20the,of%20literary%20and%20mythological%20monsters.

On September 8th,1960, a film that’s considered to be the first slasher film was released to the public and the film is called “Psycho” directed by Alfred Hitchcock. The cast includes Anthony Perkins as “Norman Bates”, Janet Leigh as “Marion Crane”, Vera Miles as “Lila Crane”, Virginia Gregg as “Norma Louise Bates”, and John Galvin as “Sam Loomis”. The plot revolves around “A Phoenix secretary embezzles $40,000 from her employer's client, goes on the run, and checks into a remote motel run by a young man under the domination of his mother.

Image credit: https://www.originalfilmart.com/products/psycho

https://www.imdb.com/title/tt0054215/?ref_=tt_pg 

When people discuss the legacy of horror, I believe it is important to talk about “The Exorcist” which came out on December 26th,1973. Now this film was controversial during the time it was released. Here are some of the reasons as to why this film was controversial were the subject matter which follows a young girl named “Regan” who was possessed by a demon which was played by Linda Blair. The premise alone upset religious institutions.  

Another reason this film was controversial was because of the reactions audiences had when they saw the movie which included fainting, vomiting, and having heart attacks in theaters. Despite these controversies the film received ten nominations at the 1974 academy awards, even being the first horror film to be nominated for best picture.

Image credit:https://moviesanywhere.com/movie/the-exorcist

https://www.imdb.com/title/tt0070047/?ref_=tt_mv_close

https://www.cbr.com/why-exorcist-film-and-trailer-banned

The horror genre is more than just movies and novels, this genre is an art form. This genre has expanded into the music genre with artists like Ice Nine Kills who made an album titled “The Silver Scream” and “Welcome to Horrorwood: The Silver Scream 2” which has songs about classic and modern horror films such as “Halloween”, “Scream”, “A Nightmare on Elm St.”, “The Fly”, “Child’s Play”, and many more that I can’t name on the top of my head.  

Image credit: https://open.spotify.com/album/7JHuopZAKDulAbpg61Yjzm https://open.spotify.com/album/4PyOq7kavqglGk3cexcygx 

On the topic of horror being more than just movies, novels, and even more than music, this genre can bring people together by creating horror themed events. Some of these events include “Spookala”, “Spooky Empire”, and “Universal Halloween Horror Nights.” These events give horror fans an opportunity to interact with their favorite actors in the horror genre and it gives them a sense of community.