Sublime Horror

Celebrating the best in horror

Category: TV

How American Horror Story brought queer representation to the forefront of TV

American Horror Story has graced our screens for the better part of a decade. While the anthology series has been experimental in nature, it has been instrumental in bringing queer representation to the forefront of mainstream TV (Reynolds, D. 2016). However, while forward with the aforementioned queer representation through characterisation, American Horror Story also has an underlying metaphorical storyline for homosexuality that some may not recognise.

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BBC’s Dracula review – a disappointing & preposterous pastiche

(Editor’s note: this review contains spoilers)

When considering an adaptation of a novel, we must first remember that it is always exactly that – an adaptation. We cannot expect to see an exact rendering of our own analysis of any text onscreen; any adaptation requires careful editing, curating and collaborative interpretation from the actors, writers, directors, set designers and everyone else involved. Writers particularly should always feel free to be creative with a text; too much adherence to the original means you end up with Stephen King’s awful film rendering of The Shining, instead of Stanley Kubrick’s masterpiece.

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Marianne review – a truly terrifying witch in one of the decade’s best new TV horrors

TV has had no shortage of witches these past few years, from The Chilling Adventures of Sabrina to the Charmed reboot. While I love the witch archetype as a metaphor for powerful, radical women, one thing these witch TV shows are lacking is a legitimately frightening witch. Lucky for me, when Netflix announced the French series Marianne I was not disappointed. Written and directed by Samuel Bodin and Quoc Dang Tran, this series is decisively one of Netflix’s most frightening series yet, next to Mike Flanagan’s The Haunting of Hill House.

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In the Tall Grass review – this Netflix horror loses its way

Coming to this new Netflix horror over a week after its launch and, being a user of Twitter, I was subjected to a range of diverse opinions. And some strong emotions too. At first I thought, “what’s all the fuss about?” In the Tall Grass got off to a promising start – the production was slick and stylish, the idea was novel and, at first glance, quite neat and concise. But as the running time dragged on, In the Tall Grass progressively lost its way.

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