mike flanagan’s hill house could have been the best show in the world and it would still be a profoundly misogynistic reimagining of its source. the process of adaptation simply cannot be ignored, regardless of the adaptation’s quality as a standalone work; to adapt anything is to converse with it, and mike flanagan’s conversation with shirley jackson looks like reminding her that her place is in the family. the show is not propaganda, but it is inarguable that as a man and a patriarch, mike flanagan does socially benefit from absolving the gendered family structure of its place in the horror. likewise, he benefits from a telling of carrie where margaret white is ultimately benevolent, if misguided, and any trauma she may have experienced has simply made her wiser about “this world and the dangers” of which her naïve young daughter lacks awareness. i am not suggesting consciously conservative beliefs; i am acknowledging that he is likely unconsciously drawn to “fix” stories in this way because it further reifies his social position.

wjen you say girl perverts can you include me in that if its not too much trouble. the girl perverts and bloodhound. if thats ok

does anyone want to play a fun game called You rip some teeth out of my head

all critics should be required to answer the question "if you don't usually like this medium/genre why should i respect your opinion on anything to do with it"

It's object of fascination summer

It's object of fascination summer

It's object of fascination summer