10 Fabulous Quotes From The Rocky Horror Picture Show

The Rocky Horror Picture Show was released over 40 years ago but is now as popular as ever before. The film follows Brad Majors (Barry Bostwick) and Janet Weiss (Susan Sarandon) as they go on a road trip after getting engaged and get stranded at Dr. Frank-N-Furter’s mansion. The film received mixed reviews upon its release but quickly developed a cult following.

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With hidden meanings about the glam rock movement and gender expression, there is plenty to dissect in each viewing. The musical was rebooted as a TV movie in 2016 but received mainly negative reviews. The original, however, is still highly regarded due to the original musical from Richard O’Brien and the screenplay from O’Brien and Jim Sharman. Here are 10 fabulous quotes from The Rocky Horror Picture Show.


Since he is the narrator, the Criminologist wasn’t actually there at the time of the events at Dr. Frank-N-Furter’s mansion, but he still had some memorable lines in the film.

In his very first line, the Criminologist opens by saying, “I would like, if I may, to take you on a strange journey”, which is a great way to begin the story that is about to unfold. His opening line is unforgettable, but so is his final line of the film, “And crawling on the planet’s face, some insects called the human race. Lost in time. And lost in space… and meaning.”


One of the more memorable songs comes near the middle of the movie when Dr. Frank-N-Furter kills Eddie. The scene itself can be taken as a metaphor for Glam Rock taking over rock ’n’ roll and the song “Hot Patootie-Bless My Soul” is one of the catchier songs of the film. Eventually, Dr. Everett von Scott comes looking for his nephew Eddie and sits down for supper at Dr. Frank-N-Furter’s mansion.

RELATED: 20 Crazy Details Behind The Making Of The Rocky Horror Picture Show

When he asks about Eddie, Columbia exclaims, “Eddie!” before Frank-N-Furter’ revs an electric knife at her and says, “That’s a rather tender subject. Another slice, anyone?”. The line is witty since it is soon after revealed that the guests are actually eating slices of Eddie, whose body is underneath the glass table.


Towards the end of the film, the song “Planet Schmanet, Janet” is sung by Dr. Frank-N-Furter. It’s no secret that the Doctor is a jealous person, so when Janet runs to Rocky when she gets scared from seeing Eddie’s dead body, Frank-N-Furter has an issue.

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He chases after her and starts singing, “I’ll tell you once, I won’t tell you twice. you better wise up Janet Weiss.” Frank-N-Furter chases her to his lab where he then says “The transducer will seduce ya” before he flips the switch and Brad, Janet, and Dr. Scott are all stuck in their place.


After the Criminologist introduces the story, Brad and Janet are seen driving through a storm in the middle of the night. After their car gets a flat, they have no choice but to trek through the storm to try to find help. As they are walking through the rain, they see a light in the distance coming from Dr. Frank-N-Furter’s mansion.

They break into song and sing, “There’s a light” as the Transylvanians sing back, “Over at the Frankenstein’s place.” Needless to say, Brad and Janet wouldn’t have been so thankful if they knew what was in store for them.


Peter Hinwood had a very short-lived acting career, but his most famous role by far was Rocky in The Rocky Horror Picture Show. Rocky was the muscular creation from Dr. Frank-N-Furter who was rather dimwitted. Shortly after Rocky is born, Dr. Frank-N-Furter gives him a set of weights and breaks out into song.

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Frank-N-Furter is mainly talking about how Rocky will keep his impeccable muscles in shape, but his most famous lyric in the song is, “In just seven days, I can make you a man. Dig it if you can!”. Unfortunately though, Rocky doesn’t stay as faithful to Dr. Frank-N-Furter as he had hoped.


Christopher Lloyd may have popularized that phrase “Great Scott!” in 1985 for Back to the Future, but The Rocky Horror Picture Show included the line ten years earlier. When Dr. Everett V. Scott (played by Jonathan Adams) first appears in the film, he makes quite an entrance.

He comes smashing through the wall of Frank-N-Furter’s lab and then rolls down the long ramp. Right when Scott smashes through the wall, Brad exclaims, “Great Scott!” since he wasn’t expecting to see him in Frank-N-Furter’s mansion. Dr. Scott is looking for his nephew Eddie, but unfortunately, he had just been killed a few scenes prior.


Frank-N-Furter cut out half of Eddie’s brain to give to Rocky but then ends up murdering Eddie with an ice pick. Before that, however, Eddie smashes through the freezer on his motorcycle and breaks into song and dance. The only song that the character Eddie (played by Meat Loaf) sang for the entire movie was called “What Ever Happened to Saturday Night?” also known as “Hot Patootie, Bless My Soul.” The entire song is catchy and even includes a saxophone solo from Eddie, but the best line in the song is the chorus, Hot patootie, bless my soul! I really love that rock n’ roll!”.


Brad and Janet are two characters that are forced to confront their homosexual and bisexual urges throughout the film. At first, however, they are seen as a cookie-cutter suburban couple. After they attend a wedding and Janet catches the flower bouquet, Brad proposes to her during a catchy musical number.

RELATED: Here Is The Only Known Audio Of Tim Curry’s Joker In Batman: TAS

The chorus of the song, “Damnit, Janet, I love you” is one of the most recognized lines from the film. That being said, Janet’s line, “Brad, I’m mad for you too” isn’t quite as catchy. After that, they begin their trip to see Dr. Scott, so the fun hadn’t really even begun at that point.


Soon after Brad and Janet are introduced to Riff Raff, Magenta, and the rest of the party-goers, they meet the host of the party, who introduces himself as a “sweet transvestite.” With Janice and Brad being innocent newlyweds, they are visibly uncomfortable with Dr. Frank-N-Furter’s appearance, but he is clearly very comfortable in his skin, despite him being an alien.

The song Sweet Transvestite” is probably the most famous song of the film behind “The Time Warp” and the line, “So come up to the lab and see what’s on the slab. I see you shiver with antici…….. PATION!” is delivered perfectly by Tim Curry.


The most popular song to come out of The Rocky Horror Picture Show is arguably “The Time Warp.” When Brad and Janet first arrive to Dr. Frank-N-Furter’s mansion, they are greeted by Riff Raff. Riff Raff begins the song by singing, “It’s astounding, time is fleeting. Madness takes its toll,” but the tempo of the song quickly picks up from there.

NEXT: The 10 Greatest Lines From Beetlejuice

After Riff Raff and Magenta rush through the doors to the main ballroom, Brad and Janet see all of the people attending the Annual Transylvanian Convention. The song continues with Riff Raff, Magenta, Columbia, and company singing the famous line, “Let’s do the time warp again.”

2019-07-16 01:07:10

Christopher Fiduccia

American Horror Story Season 9 Full Cast & Premiere Date Revealed

The full cast of American Horror Story: 1984 has finally been revealed by Ryan Murphy, teasing the usual blend of new and familiar faces. Created by Murphy and Brad Fulchuk, American Horror Story is an anthology series where each season featuring a new – though sometimes overlapping – story and collection of characters. Across the already-aired eight seasons, the show has tackled such settings as an asylum, a freak show, and most recently, an apocalypse. Garnering a number of awards for its varied cast members – including a Golden Globe for Lady Gaga – American Horror Story have already been renewed through season 10.

Though the overall plot tends to be a closely-guarded secret in the run-up to the premiere, it was previously announced that American Horror Story season 9 would be officially subtitled ‘1984’ and have a slasher theme. Since then, details regarding the ever-shifting cast has emerged. AHS stalwart Emma Roberts was the first to be confirmed as returning. The actress made her AHS debut in American Horror Story: Coven, before returning for Freak Show, Cult, and last season’s Apocalypse. It was also revealed, for the first time in the show’s history, that Evan Peters would not be starring.  Equally, Sarah Paulson will not return. Instead, it was announced that Angelica Ross had been cast. Ross is currently the star of another Murphy production: FX’s Pose.

Related: American Horror Story: 1984 Needs A Slasher Scream Queen – Who Could It Be?

Posting on his personal Instagram, Murphy opted to celebrate the first day of filming with an official cast announcement. He then proceeded to post a series of videos that, in true American Horror Story fashion, eschewed the usual tradition of such announcements. Instead, each snippet was done as though part of a camera test, blending the equal parts ominous and campy tones with which the show has become synonymous. Alongside Roberts, the returning cast also includes Billie Lourd, Leslie Grossman, and Cody Fern. John Carroll Lynch, who played Twisty the Clown in American Horror Story season 4, also makes a return. Check out the videos – in all their hilariously 80’s glory – below:

The new faces joining the cast (and donning their short shorts) include DeRon Horton, Zach Villa, and Glee’s Matthew Morrison. This isn’t the only project Murphy has in the works. The super-producer recently signed a deal with Netflix. As part of that deal, he is producing a film adaptation of The Prom, starring Nicole Kidman and Meryl Streep. He will also re-team with Paulson on a One Flew Over the Cuckoo’s Nest prequel series, Ratched.

In terms of American Horror Story: 1984, the video doesn’t reveal the characters’ names. It does, however, convey each of their defining characteristics – right down to a recurring penis gag for one. Ross’ character, meanwhile, can be seen with a stethoscope, clearly setting her up as the camp’s resident medic. Equally, Lynch’s character looks every bit as intense and creepy as Twisty himself was. It also has a very Friday the 13th vibe, living up to its retro-slasher film intentions. And potentially having even more 80s homages than Stranger Things.

For each detail revealed by the videos, however, they pose an equal amount of questions that are sure to fuel much speculation from fans. Most notably, is the style of the videos. Could it be that what audiences will see later this year will actually be a film within a series, with the confirmed actors themselves playing actors on the set of a horror production?  It would be certainly in keeping with such previously meta seasons as American Horror Story: Roanoke. Whatever the case, fans will find out for sure when the series finally airs.

More: What to Expect from American Horror Story Season 9

American Horror Story: 1984 premieres Sept. 18 on FX.

Source: Ryan Murphy/Instagram

2019-07-13 09:07:11

John Atkinson

10 Must-Play Board Games For Horror Fans

Whether you like navigating your way through haunted mansions, outsmarting serial murderers, matching wits with Count Dracula, or trying to prevent zombie outbreaks, horror board games offer a wide variety of ways to test your bravery and your smarts. Players can work alone or cooperatively to succeed in their goals, often with individual side objectives adding to the complexity of the gameplay.

Horror board games can take as long or as little time as you like, with interchangeable pieces that make the thrills and chills extend for hours. Every game is new when the board game can be shifted, the characters exchanged, and the difficulty level increased. Here are the must play horror board games that offer a chance to tackle your greatest fears without any danger to you or your friends!



Prepare for Lovecraftian horror and thrills with the Mansions of Madness game, which takes players on a labyrinthian quest through an extensive haunted mansion in search of a way to escape the horrors within its walls. With four separate campaigns, intermediate to advanced players will have hours of chilling gameplay.

With the help of the accompanying app, immerse yourself in a world come alive with 500 detailed components as well as over 32 high-quality figurines. Wander beyond the mansion to the ghostly town of Arkham, and several other maps complete with monsters around every corner!



Based on the action-packed horror blockbuster The Thing by acclaimed horror director John Carpenter, Infection at Outpost 31 brings all the frights of the 1982 classic horror film to chilling life in this multiplayer board game. Only by deducing who “The Thing” has infected can you make it out alive!

Follow the narrative of the film by completing missions, locating potentially infected hosts, and escape Outpost 31 without falling victim to one of the imitations. Playable by up to 12 people, take on the identities of iconic characters like Palmer and Blair, while uncovering the identity of the imitations and winning the game.



Horror movies have long managed to use the disarming innocence of children to frighten adults, and this board game is no exception! Children: The Horror Game has you play as a ghost hunter endeavoring to capture the most child ghosts (up to 13) by discovering their toys and confronting them.

To heighten the mood, play with the official “Children: The Horror Game” soundtrack in the background. With a variety of room cards, the Thornhill Mansion game board can be set up differently every time, offering new twists and turns each time you play.



Have you ever wanted to solve the mystery of the infamous killer Jack the Ripper? Stalk the streets of London’s Whitechapel district in this alluring game of intrigue and danger as either the historical slasher Jack the Ripper or one of four detectives assigned to his case. This game of mystery requires your expert skills in deduction, as well as your ability to bluff, depending on your part in the storyline.

With beautiful artwork, special engraved wooden pawns, and engrossing true facts about the Jack the Ripper killing spree, hunt the hunter or become the prey in this horror board game that perfectly replicates the fear that gripped 19th century London at the time of the murders.



Fans of classic survival strategy games like Clue and Dungeons and Dragons will relish the challenge of Betrayal at House on the Hill, a cooperative horror board game that lets you set up a new customized game board each time you play it. Use interchangeable floorplan pieces to expand the haunted house far beyond your wildest expectations, creating a new gaming experience with each set up.

Considered one of the best horror survival games available, work together in a group or as a lone survivor in the musty corridors of a haunted house. Discover treasures, weapons, or curses in each room, each of which will affect if you get out alive!



Can you survive in the dead of winter with limited supplies, in a frozen colony, with only a few members of your party you can trust? Play Dead of Winter and find out how long you make it. A multiplayer game of cooperative skill and strategy, your group will work towards its own goal of survival as well as their own individual side stories.

Of particular intrigue are the side objectives, which take the form of pursuing psychological traits that can plunge the colony into danger with their emergence. Each player leads a group of survivors in an apocalyptic world where these traits could mean life or death if they take over.



For fans of gothic horror and classic monster villains, look no further than Fury of Dracula, now in its fourth edition. Play as either the infamous vampire Count Dracula, or one of several vampire hunters looking to drive a silver stake through his undead heart.

As Dracula, you’ll be able to create an army of vampires, lay traps for your enemies, or utilize your supernatural powers to kill them off one by one. As the hunters, you will have to use your resourcefulness, cunning, and an array of vampire-killing weapons in this cat-and-mouse game to make sure the Count stays dead once and for all.



Fans of classic slasher films like Friday the Thirteenth and Halloween will get hours of enjoyment out of the survival horror strategy game Camp Grizzly. Taking inspiration from the slasher films of the ‘70s and ‘80s, immerse yourself in the darkly humorous environment at Camp Grizzly, a summer camp for teens that turns into a slaughterhouse when “Otis” goes on a killing spree.

Not for children under 14, up to 6 players will outsmart Otis amidst the tawdry backdrop of sex, drugs, and other common vices found when teens get together for the summer. The cheesy spirit of the game combined with its easy rules will make it a hit for any level of player.



Fans of zombie outbreaks and survival horror will embrace City of Horror, a horror board game that places them right in the middle of a chaotic zombie apocalypse. Work together to survive a zombie invasion, but be careful to concentrate on your own health, as you may find yourself becoming one of the horde if you don’t!

A strategic game, the challenge lies in working cooperatively with your fellow players, but ultimately having to betray them to survive against the undead. It’s survival of the fittest and most cunning with this game, as the player with the most antidote and rations triumphs.



Stop the world-ending outbreak of a zombie apocalypse by exploring the house of Doctor Mortimer, unlocking the security system to his laboratory, and locating the antidote somewhere in its innards to stop the sickness from spreading.

Work cooperatively with other players to locate the antidote, with the laboratory security system working against your team at every turn. Unlike some other horror games, players can “level up” and gain new abilities after each round. House tiles allow for different game board setups of the Doctor’s mansion, allowing for hours of tense replay.

NEXT: The 10 Best Board Games for Adults, Ranked

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2019-04-25 08:04:50

Kayleena Pierce-Bohen

Chambers Review: A Muddled Horror Story Stumbles Through Identity & Grief

Netflix’s Chambers is essentially a teen horror drama that skirts around notions of identity, race, and grief. It centers on Sasha Yazzie (Sivan Alyra Rose) who in the series’ opening moments suffers a freak, near-fatal heart attack at the age of 17. After receiving a life-saving heart transplant, Sasha begins to experience visions and takes on new personality traits ascribed to the young woman whose untimely death gave her a second lease on life. Sasha soon begins to investigate the life of her donor, Becky Lefevre (Lillya Scarlett Reid), an act that’s made entirely too easy after she’s invited into the affluent lifestyle of Becky’s family. That family, Ben (Tony Goldwyn), Nancy (Uma Thurman), and Elliott (Nicholas Galitzine), and their radically different class and social standing in the small Arizona town of Crystal Valley, becomes one of the series’ many potentially engaging but ultimately underdeveloped concepts.

A lack of clarity on what the central mystery actually is — contenders include Becky’s backstory, the circumstances of her death, the weird, cult-like atmosphere surrounding her parents, and what it means for Sasha to take on more of her donor’s personality — muddles the series from the outset, leaving the viewer with only a vague idea of what’s going on and what, ultimately, is at stake. The series is partly a ghost story and partly a possession drama, one that plays openly with notions of race and class and the divisions that emerge along those lines. Sasha lives with her uncle Frank (Marcus Lavoi), the proprietor of a fish store, in close proximity to a Diné reservation where Sasha’s semi-estranged grandfather still lives. In that same town exists the moneyed friends and acquaintances of the Lefevre family, including Lilly Taylor (The Nun) and Matthew Rauch (Banshee).

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The obvious dissimilarities between Sasha and the Lefevres drive much of the early tension in the series, as Becky’s parents begin to take a greater interest in Sasha’s well-being and her future. They go so far as to offer her a scholarship in their daughter’s name, one that sends her to a predominantly white, well-to-do, seemingly progressive high school, and later, by gifting Sasha Becky’s old Prius, much to the chagrin of their son, Elliott. On the surface, Ben and Nancy’s altruism appears to be born of their grief over having lost a child and desire to see her live on in an oblique way through another young woman. But it’s not long before their supposed selflessness begins to take on more sinister implications, ones that begin to threaten Sasha’s identity and eventually her soul. 

The series plays with the latter elements in frustrating fashion, often appearing indecisive over whether or not the mystery of Becky’s death is intended to offer insight or open the door to more terror. At first, Sasha begins to relive moments of Becky’s past, seeing, feeling, and fully experiencing parts of her life, up to and including the moments right before her death. The visions are only part of the package, however, as Sasha gradually begins to see changes in her personality and even her physical body, with her naturally dark hair turning blonde and even her skin whitening as the threat of possession becomes more evident. 

Even as the series foregrounds ideas of racial and cultural erasure and forced assimilation, it struggles to turn them into the compelling, propulsive narrative they deserve. It comes down to intent versus execution, and although the intent of Chambers allows it to deliver a subversive take on horror and its many tropes, the manner in which those ideas are carried out — or laid out for the audience — often feels (oddly) of two minds, the seeming uncertainty of which ultimately proves unable to give the story the energy it needs to sustain itself through 10 (almost) hour-long episodes. 

The series attempts to balance the terrifying subsumption of Sasha’s identity with the palpable grief of Becky’s family. In doing so, it briefly flirts with humanizing an ostensible Great Other that is more or less the boogyman of this story. But, like everything else in Chambers, the road to discovering who the Lefevres are and what they want is long and ponderous. And that’s saying nothing of how labored Becky’s possession of Sasha proves to be. Instead, Chambers seems uncertain how best to utilize the presence of Thurman and Goldwyn and too often settles on repetitive scenes in which their unguarded emotions result in various interactions with Sasha, Frank, or even the privileged Elliott becoming overwhelmingly awkward. 

Although it offers a thought-provoking ideas, a socially relevant premise, and a clear desire to subvert horror tropes, the series’ execution fails to match the ambition of its conceit. Filled with dialogue that is often stilted and dull, and plagued by a meandering pace that frustrates in its refusal to commit to the concept, Chambers settles for intriguing when it could have been outstanding.   

Next: Cobra Kai Review: Karate Kid Sequel Series Continue To Defy Expectation In Season 2

Chambers will stream exclusively on Netflix beginning Friday, April 26.

2019-04-25 04:04:03

Kevin Yeoman

5 Recent Horror Movies That We Hope Will Be The Start Of A Franchise (& 5 We Don’t)

The most lucrative movies to be turned into franchises right now are comic book movies. But there’s always been a place for horror franchises at the multiplex, either an endless slew of slasher rehashes like Friday the 13th or an interconnected universe like Cloverfield. No moderately successful horror movie is safe from being forced into a franchise.

RELATED: The Best Horror Movies of 2018

Even Happy Death Day got a sequel that turned it into a Back to the Future Part II homage. So, with many burgeoning horror franchises on the horizon, here are 5 Recent Horror Movies That We Hope Will Be The Start Of A Franchise (And 5 We Don’t).

10 We hope will: Us

Jordan Peele’s latest horror-fest Us, a dark tale of doppelgangers, is one of the most inventive horror movies in recent years. It’s been a hit with audiences and critics alike, and the ambiguous ending left the door open to sequels. The film set up an underlying mythology that involved government experiments and a violent nationwide invasion, so there are plenty of directions to take a sequel.

Peele has announced that he does have ideas for sequels to the movie: “There’s a lot of different ways to approach continuing in this universe that are at the very least fun in my mind and computer.” However, he’s not telling us any of the ideas just yet, because he’s not sure which one he’ll go with – or if he’ll do a sequel at all.

9 We hope won’t: The Witch

Robert Eggers’ chilling historical movie The Witch works as a horror film due to its basis in reality. There actually were witch trials and people actually did get banished from their villages and everyone actually did believe in witches and feared them.

RELATED: The Witch Director Confirms Nosferatu Remake Is His Next Film

Eggers’ haunting use of imagery like a flickering campfire in the stark black of the night to keep his audience unnerved throughout the whole movie. However, the whole mythology of witchcraft and its devastatingly cyclical nature is fully explored in the movie. Everything there is to be said about witches is said in the movie. A sequel would just be a retread.

8 We hope will: Evil Dead

Fede Álvarez’s recent remake of Sam Raimi’s indie horror classic The Evil Dead was one of the few horror remakes to actually add something to the original. Alvarez had a bigger studio budget and CGI effects that Raimi didn’t have when he was making the original.

Rather than use them as a crutch, he used them to increase the impact of every jump scare or gory moment to make them even more gut-wrenching. Jane Levy’s Mia was a more compelling and less silly protagonist than Bruce Campbell’s Ash, so it would be great to follow her through a trilogy like Ash.

7 We hope won’t: Truth or Dare

Slasher movies are ripe for franchises. Any horror movie with a mysterious killer who picks off teenagers one by one – whether they’re an escaped mental patient in a boiler suit or a demon running an evil supernatural game of “Truth or Dare” – is inevitably made into a seemingly endless franchise: Halloween, Friday the 13th, A Nightmare on Elm Street etc.

But please don’t let Truth or Dare become one of them. The original left the door open for a sequel by (SPOILER ALERT!) drawing millions of people across the world into the demonic game via YouTube. But the movie sucked, so there doesn’t need to be anymore.

6 We hope will: Lights Out

Lighting is among the most important elements of horror filmmaking. The way a horror film is lit can make or break it. That’s what made David F. Sandberg’s Lights Out, a scary movie in which darkness is the enemy, such a delight for horror buffs.

In this case, the franchise potential is more than just mere speculation as a sequel has actually been put into development. Eric Heisserer, the writer of the first movie, is back on board to pen the script for a potential sequel, while Sandberg has pledged to return to the director’s chair if a sequel is made – and hopefully it will.

5 We hope won’t: The Nun

As a spin-off from The Conjuring universe, this one is technically already a part of a franchise – in fact, to the tune of a $365 million worldwide box office gross, it became the highest grossing installment in that franchise. But it shouldn’t be given sequels, like fellow Conjuring spin-off Annabelle (although it certainly will), because it just wasn’t that good.

The writing was sloppy, the set pieces weren’t properly executed, and the movie relied almost solely on jump scares, which are the laziest way to scare an audience. Unfortunately, this is pointless, because a screenwriter named Akela Cooper has already been hired to write a sequel.

4 We hope will: It Follows

David Robert Mitchell’s It Follows was a frightening movie, made in the old-school style of Carpenter-era ‘70s horror cinema, and it has a rich concept that could be explored deeper in sequels. We can all relate to the fear of being followed and that’s what made the movie work so well.

According to distributor Radius-TWC’s co-president Tom Quinn, a sequel has been discussed, and it could follow Maika Monroe’s Jay, or some other unrelated protagonist, as they try to figure out where the paranormal entity came from. The first movie laid some interesting groundwork, but a franchise could really build on that.

3 We hope won’t: Get Out

The second Jordan Peele-directed entry on this list, Get Out was a monster hit with both critics and audiences, even going on to win an Academy Award for Best Original Screenplay. There’s been vague talks of a sequel in the years since its release, but it shouldn’t be a franchise. Get Out works brilliantly on its own as a standalone work of cinema.

RELATED: How Us Is A Very Different Film To Get Out

It was all about the twist – the sinister reason why Rose brought Chris to her parents’ house – and now that we know that, a sequel won’t be able to lull us into the same false sense of security a second time around. And there’s no need to continue Chris’ story, because we saw everything we needed to see in the first one – we can fill in the blanks ourselves.

2 We hope will: Don’t Breathe

The home invasion thriller is a horror subgenre that has been done to death, but Fede Álvarez managed to beat some fresh life out of it in 2016 with his movie Don’t Breathe. It flipped the script on the usual home invasion template by having the people breaking in as the protagonists and the guy whose house is broken into as the villain.

The most exciting thing about a sequel to Don’t Breathe, which had a somewhat ambiguous ending, is that producer Sam Raimi said of the rudimentary talks, “It’s only the greatest idea for a sequel I’ve ever heard. I’m not kidding.” That’s something we want to see.

1 We hope won’t: Hereditary

Hereditary might just be the greatest horror movie of the 21st century so far, but it’s not a movie that needs any sequels or continuation. Ari Aster’s directorial debut was acclaimed by critics and beloved by audiences, and a big part of their enjoyment of it was that it told its story neatly.

Within half an hour, moviegoers realized they’d been completely misled by the trailers about what kind of movie it would be and, from the edge of their seats, they strapped in for a frightening cinematic experience. At the end of the movie, (SPOILER ALERT!) everyone in the Graham family had died, Paimon was given a host body, and he was being worshipped by a coven of followers. We don’t need to see what happened after that, because our imagination of Paimon’s reign is far scarier than any movie could live up to.

NEXT: 15 Best Horror Movies According To Rotten Tomatoes (And 15 Stuck At 0%)

2019-04-19 03:04:47

Ben Sherlock

10 Reasons Why The Shining Is The Greatest Horror Movie Ever Made

When it comes to horror classics, Stanley Kubrick’s The Shining is bound to be mentioned within the first sentence. It’s a creepy, unnerving, deeply engaging cinematic adaptation of Stephen King’s beloved novel. And, while King himself was not a fan of Kubrick’s film, feeling that it failed to capture the spirit of the book (even comparing the difference between the two works to fire and ice), it is a brilliantly crafted movie. It might not be a faithful adaptation of King’s book, but it just might be the finest horror movie of all time on its own merits. Here are 10 Reasons Why The Shining Is The Greatest Horror Movie Ever Made.

Related: Doctor Sleep: Everything You Need To Know About The Shining Sequel

10 Using Fictional Horrors To Explore Real Horrors

Scary things in movies can be split into two categories: fictional, like werewolves and zombies, and real, like death and violence. The Shining uses fictional horrors (the supernatural ghostly presence in the Overlook Hotel) to explore real horrors like murder and child abuse. The real-world horrors are hidden in the subtext. Jack tells a conflicting story to the imaginary bartender about the time he hit Danny, while the more sensual scenes appear as they would in a child’s mind, suggesting a history of further mistreatment. There are some very grim hidden meanings in the movie that make it more truly horrific than any other scary movie.

9 There’s No Fat On Its Bones

Every scene in The Shining needs to be there. It’s not a slim movie with a running time of around two and a half hours, but not a second is wasted by Kubrick’s unscrupulous filmmaking eye. As great as fellow horror classics like Halloween and Rosemary’s Baby might be, they do have scenes that drag on a little bit or don’t necessarily need to be in the final cut. The Shining has nothing like that. This is partly due to the studio cutting down the movie to make it more marketable, but either way, we ended up with a streamlined horror masterpiece that may well be the genre’s finest work.

8 Beautiful Visual Style

Most horror directors don’t take their movie’s color palette or framing or the sequencing of their shots into consideration, but that’s not Stanley Kubrick’s style. All of his unforgettable haunting imagery, like the elevator doors letting out a tidal wave of blood, is now considered iconographic.

Related: The Shining Gets Awesome Funko Pop Figures

This is a result of Kubrick making The Shining like a real movie, not “just a horror movie.” As soon as a filmmaker rests on the crutch of horror cinema’s low expectations, the movie fails. But Kubrick planned and designed The Shining just like he would any other movie, and the result is a masterwork.

7 Ominous Score

A horror movie is nothing without a good score. Images alone aren’t as scary without a foreboding soundtrack to create the tense atmosphere and keep viewers on the edge of their seat. That’s exactly what Wendy Carlos and Rachel Elkind did with their score for The Shining. They wrote far more music than what ended up in the final cut because Kubrick had them score dozens of scenes that he didn’t know he was going to exclude, but this gave the composers more time to find the movie’s distinctive sound, and the rewards of that are obvious. The soundtrack also includes some non-original tracks; a bunch of freaky modernist takes on classical music styles.

6 The Perfect Pace

The pacing of The Shining is slow, which some viewers might find off-putting, but that was the perfect way to tell this story. It’s a movie about an isolated and frustrated man’s sanity slowly slipping away. A fast pace would’ve botched that. A lesser filmmaker would think, wrongly, that the faster a horror movie races through its plot, the better it will be. But Kubrick—just like Ridley Scott working on Alien—realized that the best way to unsettle an audience and tell a spooky story is to eek through the terror at a snail’s pace. Kubrick reels in the audience slowly, and it makes the climax much more effective.

5 Meticulous Attention to Detail

This was Stanley Kubrick’s M.O. throughout his whole career. Nothing was in his shots that he didn’t want to be there. Every small detail in the set design, the costumes, the actors’ facial expressions, the camera movements – it was all very carefully planned out across reams of notes to achieve Kubrick’s very singular vision for each of his films. The Shining may be a horror movie, but it’s no different. Kubrick gave every cut the same care and thought that he did for 2001 and Barry Lyndon. There’s a lot to unpack in the movie, essentially, which makes it endlessly rewatchable.

4 It Has Influenced Many Of Today’s Great Horror Filmmakers

The Shining is unquestionably one of the most influential horror films ever made, with almost every horror filmmaker working today citing it as one of their inspirations. Many allusions to The Shining’s techniques can be seen in Jordan Peele’s movies, Get Out and particularly Us.

RELATED: All The Horror Movies That Inspired Jordan Peele, Ranked

Tim Burton has acknowledged the movie as a visual influence and even referenced it in his Alice in Wonderland movie. Additionally, the movie’s influence can be spotted in the works of Paul Thomas Anderson, David Lynch, and Ben Wheatley. Even Martin Scorsese included The Shining on his list of the scariest movies of all time.

3 Jack Nicholson’s Incredible Performance

The whole cast of The Shining gives terrific performances, from Shelley Duvall’s frightened wife/mother character to the sounds of Scatman Crothers’ soothing voice in his performance as Dick Hallorann. Even Danny Lloyd, who was just eight years old at the time, is captivating in his role. But it’s Jack Nicholson’s portrayal of Jack Torrance’s slow descent into madness that really sells the film. The villain isn’t a masked, machete-wielding serial killer or a horde of zombies. It’s just a guy, so the whole success of the movie rests on Nicholson’s performance, and with only his facial expressions and line delivery, he creates a monster scarier than any amount of makeup or costume design ever could.

2 It’s Wide Open To Interpretation

The Shining isn’t just open to interpretation; it’s way, way open to interpretation. It’s so open to interpretation that, after all this interpreting, we still don’t know what this movie is about. It’s been almost 40 years since The Shining was released, and in that time, countless essays and books have been written about it with the intent of deciphering the meaning, and we still haven’t fully figured out what it all means. That keeps us on edge while we watch it over and over again, because we still can’t ease into it, and because we’re still discovering things we didn’t spot the first hundred times.

1 It Does An Ambiguous Ending Right

The original cut of The Shining included a hospital scene at the end in which Danny and Wendy are told that Jack’s body was nowhere to be found. This is a typical horror movie ending where the rug is pulled out from under an audience that feels safe and has been done by every hackneyed horror director in the book. Kubrick realized this and had the scene physically removed from all prints after they’d been shipped to theaters, and the result is a much more satisfying ending. It’s still ambiguous, but it’s ambiguous in the best way. Has Jack always been at the Overlook? Was he sucked back in time after he died? Did the whole thing actually take place in Wendy’s head, or Danny’s? It asks way more questions than the standard “The killer is back on the loose” horror ending, and, as a result, it leaves more of an impression. It keeps viewers talking about it on the drive home from the theater and then keeps them up that night. That is effective horror at work.

Next: Every Stephen King Movie Ranked, From Worst To Best

2019-04-19 01:04:17

Ben Sherlock

Obsidian’s Aliens Game Was Like Mass Effect With More Horror

Obsidian is opening up about it’s canceled Alien role-playing game and describes the title as Mass Effect meets horror. Aliens: Crucible was set to be a third-person RPG that sent a doomed group of survivors into a Xenomorph-infested space colony.

As far back to 1972’s Atari 2600 Alien, the long-running horror franchise has branched out from the movie series of the same name. By contrast, Mass Effect was first released in 2007 and largely follows soldiers trying to rid the galaxy of a powerful race of powerful beings. Together, both worlds sound like they could’ve combined to make the perfect Alien game and pay homage to James Cameron’s Aliens from 1986.

Related: How H.R. Giger’s Disturbing Alien Concept Art Changed The Movie

Speaking to VG24/7, Obsidian co-founder Chris Avellone shed some light on the mysterious project and what Aliens: Crucible would’ve included. He explained that it was “basically Mass Effect but more terrifying” and that the goal was to give gamers a unique experience:

We wanted to make it. But by that point Sega, I think, was… the publisher/management relations had gotten to a point where they were just tired of dealing with [Obsidian]. Everyone working on Aliens: Crucible was really excited about it. It was shaping up to be a really cool game. The prototype was really cool. But then Sega’s like ‘nope!’”

While Avellone is candid about what happened between Obsidian and Sega, he said fans shouldn’t blame Sega for the collapse of Aliens: Crucible. Instead, he laments about what could’ve been. He hyped up the idea of keeping the fear going, which is a mechanic players have seen in later Alien games:

The biggest challenge we had was how to keep the fear going even in conversations. You can make conversations stressful and frightening. How do you do it so that an alien could be attacking you at any moment? You can’t take shelter in a conversation with two talking heads while you try to figure out what to do.

Around the announcement of Rebellion Developments’ Aliens vs. Predator in 2009, Sega shelved Aliens: Crucible without much explanation. It’s thought that the game was well into development, with plenty of footage and screenshots to prove this. Ironically, the idea of people being marooned on a strange planet and coming across a cavernous installation was also the plot of Ridley Scott’s Prometheus. Avellone admitted, “the weird thing is that when Prometheus came out, I saw some of the similarities, [and thought] ‘oh, we had a character like that.‘”

Of course, the idea of expanding Scott and Cameron’s first two movies into a larger mythology has had mixed success before. Gearbox’s Aliens: Colonial Marines promised so much but was panned for its downgraded graphics as the studio was accused of focusing on the likes of Duke Nukem Forever and Borderlands 2Since then, the Alien franchise has a resurgence in the world of gaming. After the atmospheric Alien: Isolation, the story of Amanda Ripley was continued in this year’s Alien: Blackout on mobile.

Disney has already promised that more Alien movies on their way, but there’s no news on where the franchise’s gaming properties could go next. Sadly, Aliens: Crucible is confined to the depths of development hell with the other failed Alien projects.

More: Disney’s Master Plan For Fox Reboots

Source: VG24/7

2019-04-17 01:04:07

Tom Chapman

The Perfection Trailer: Netflix’s Horror Film Looks Super Creepy

Netflix releases the trailer for The Perfection. Directed by Richard Shepard, the horror thriller stars Get Out actress Allison Williams. From 2012 to 2017, the pair collaborated on Lena Dunham’s Girls, as Shepard directed 12 episodes of the HBO series. Last September, The Perfection premiered at Fantastic Fest and was then acquired by Netflix. 

In The Perfection, Williams stars as a musical prodigy named Charlotte. The narrative takes a dark turn when Charlotte confronts the new star musician at her former school (Dear White People’s Logan Browning as Elizabeth). Co-written by Shepard, The Perfection features a score by Austrian musician Paul Haslinger (Resident Evil: The Final Chapter) and cinematography by Vanja Cernjul (Crazy Rich Asians, The Deuce). In supporting roles, The Perfection features Steven Weber (NCIS: New Orleans) and Alaina Huffman (Smallville). Netflix describes The Perfection as “overflowing with dizzying horror and sly dark humor.”

Related: Chambers Trailer: Uma Thurman Stars In Netflix Horror Series

Netflix released The Perfection’s chilling trailer. Early on, a sense of chaos is established as Charlotte and Elizabeth (“Lizzie”) walk outdoors, with the latter exclaiming “What is happening to me?” In the non-interrupted, 25-second opening shot, Elizabeth progressively breaks down as something pulsates within her right arm. From there, The Perfection trailer cuts to various violin shots, with brief snippets of music contrasting subsequent shots of a smiling Charlotte. Audio from the opening sequence plays throughout The Perfection trailer, and the additional layers of sound design suggest that Charlotte is behind the psychological warfare, especially when she wields a giant meat cleaver. Through slick editing transitions, rapid cuts, and frantic sound design, The Perfection trailer is purely Hitchcockian by mostly suggesting violence and gore. The clip ends with a shot of Charlotte looking vulnerable, followed by a blood red title card. Check out The Perfection trailer and poster below.

While Shepard is mostly known for directing classic Girls episodes, he’s also directed several feature films. Most recently, Shepard helmed the 2013 black comedy Dom Hemingway, starring Jude Law, Richard E. Grant, and Game of Thrones’ Emilia Clarke. As for Williams, The Perfection marks her second feature film after the aforementioned Get Out, in which she played the mysterious girlfriend of the film’s protagonist, portrayed by Daniel Kaluuya. Directed by Jordan Peele, Get Out became a cultural sensation for its sociopolitical themes and psychological horror, with Williams playing a crucial role in the narrative. 

Based on The Perfection’s trailer, there seems to be a touch of Get Out in Shephard’s film. The clip features themes of envy and competition, along with a white character trying to psychologically destroy a black character. In addition, the visual style is similar to Peele’s new film Us. But perhaps the similarities are merely a way to create some extra buzz for The Perfection, as it does indeed appear to be genuinely terrifying. If the film itself carries the same suspense as the trailer, then The Perfection will surely be a spring hit for Netflix.

More: Netflix In Talks To Buy Its First Brick & Mortar Movie Theater

The Perfection will release May 24 on Netflix.

Source: Netflix

2019-04-15 10:04:04

Q.V. Hough

10 Best Horror Anthologies

Horror, more so than any other genre, has always lent itself well to the anthology format. From the earliest days of such fright rags as Tales from The Crypt and Vault of Horror, bite-sized terrors have been widely consumed and enjoyed by a public hungry for a dose of the macabre in their everyday lives. The Twilight Zone helped popularize and bring a socio-political/philosophical bent to the format, and a bevy of films have continued the tradition on the big screen. With Shudder’s recently announced Creepshow TV series coming down the pike, it’s a great time to celebrate the horror anthology in its many different styles and incarnations. Below are ten of the best and most important horror anthologies of all time.

RELATED: Best Horror Movies Of 2018

10 Dead of Night (1945)

The UK’s Ealing Studios virtually invented the concept of the anthology horror film with this classy frightener from 1945. Though better known for their comedies, Ealing blended humor, terror, and the supernatural for a unique cinematic cocktail that served as the blueprint for every anthology to follow. Each segment was handled by a different director, which typically results in lapses in quality and fluctuations in tone, but Dead of Night remains well-regarded as one of the genre’s major influences, with the concluding story in which Michael Redgrave comes to believe that his ventriloquist dummy is alive remembered as a small classic in its own right.

9 Black Sabbath (1963)

This trio of gothic tales by Mario Bava is one of the Italian maestro’s earliest masterpieces and showcases the colorful sense of style that would come to define his cinema. The three vignettes (each introduced by Boris Karloff) are disconnected and vary in quality, but Bava’s directorial panache makes the material magnetic even when it fails to connect narratively.

RELATED: Uma Thurman Stars In Netflix Horror Series

The best of these, “The Wurdulak” is also the only to actually star Karloff as a man who returns to his family after having slain an undead creature who is said to attack those it had loved in life. Black Sabbath may not have aged quite as well as most of the films on this list, but as an exercise in pure style, it still shines.

8 Kwaidan (1964)

Masaki Kobayashi’s Kwaidan, which won the Special Jury Prize at the Cannes Film Festival, is a sumptuous three-hour retelling of a collection of Japanese folktales.  With exquisite production design, an evocative score, powerful camera work, and an epic scale, Kobayashi creates a stately masterpiece of mood in which the horrors of the past come wailing back to the present. Kwaidan isn’t a film to enjoy over brews and popcorn with friends on a Friday night, but it’s a masterpiece of world cinema that shows just how adaptable the anthology format can be for a wide variety of styles and thematic intentions.

7 Asylum (1972)

The UK’s other genre film studio after Hammer, Amicus became most well known for their portmanteau films, starting with Dr. Terror’s House of Horrors (1965). Though all are solidly entertaining, the best of these is this 1972 feature in which a psychiatrist interviews four inmates at an insane asylum to glean which of them is actually a former doctor who lost his or her marbles. The stories run the gamut from outright supernatural to more psychological in nature, and though it descends into camp on occasion, Asylum is a bewitching, bizarro chiller that seeks to drive its audience as insane as the denizens of the bughouse in which it’s set.

6 Creepshow (1982)

George A. Romero and Stephen King proved to be a match made in hell with this affectionate homage to the horror comics of their childhoods. Made up of five tales featuring a cavalcade of stars including Leslie Nielsen, Ted Danson, E.G. Marshall, Ed Harris, Adrienne Barbeau, and King himself in his first acting role, Creepshow was a box-office hit and became horror’s gateway drug for children of the ’80s much like the comics it’s based on were for its creators.

RELATED: 10 Hilariously Bad Horror Movies On Netflix

The film’s awesome effects by Tom Savini and lurid, comics-influenced visuals still hold up today, and it remains, as the tagline promises: “the most fun you’ll ever have being scared!”

5 Creepshow 2 (1987)

Those who overwhelmingly adore Creepshow often view its sequel in a negative light. Sure, Creepshow 2 is a bit scuzzy, but for fans of George Romero’s voice (he wrote, but didn’t direct the sequel) there’s a fascinating, socially-conscious undercurrent at work in these stories. Some viewers might consider “Old Chief Wooden Head” in which a cigar store Indian comes to life to punish a murderer troublesome, or “The Hitchhiker”, where a well-to-do white woman is harried by the undead corpse of the black man she ran over unsavory, and they would be right. But, is Creepshow 2 merely problematic? Or are there hidden depths (as there usually are) to Romero’s vision? Either way, it’s a fascinatingly flawed sequel to one of the best-loved horror films of all time, and is absolutely worth a second look.

4 Tales From The Hood (1995)

Not just a black horror cornerstone, but easily one of the most cohesive and satisfying films of its type, Rusty Cundieff’s Tales From The Hood is the total package on all fronts and uses its setup as a launching pad for exploring police corruption, urban gangs, abusive relationships, and more.

RELATED: 10 Black Horror Films To Watch Before Jordan Peele’s Us

The wraparound narrative about three urban youths on a mission to retrieve a bag of drugs from a body at the local morgue and the menacing funeral director who waylays them with four supernatural tales isn’t just clever, it’s essential to the piece in terms of storytelling and overall efficacy. Equal parts silly, scary, and serious-minded, Tales From The Hood is a near perfect example of what the anthology subgenre can do when there’s a strong viewpoint and narrative thrust behind the camera.

3 Three… Extremes (2004)

Assembling the work of three of Asia’s most talented directors, this brutal film melds the sick and twisted worlds of Japanese and Korean Horror into one unsettling experience.

RELATED: The 10 Best Asian Horror Movies

The three segments by national treasures Fruit Chan, Takashii Miike, and Park Chan-Wook have no framing device to help make sense of the mayhem, and the three highly individualistic directors each bring their own sense of style and pace to these tales of torture, madness, and flesh-eating. An intense experience for all but the most-seasoned viewers, Three… Extremes is an anthology film quite unlike those produced in The West, and that’s what makes it essential.

2 Trick ‘r Treat (2007)

Mystifyingly, Michael Dougherty’s Trick ’r Treat was deemed unworthy of a wide theatrical release when it dropped without fanfare on Blu-ray in 2009. Running a brisk 82 minutes and featuring a leap-frogging narrative that puckishly interweaves a handful of supernatural occurrences in a fictional Ohio burg on Halloween night, Dougherty’s film has since been embraced as mandatory seasonal viewing for fright fans every October, its reputation growing with each passing year. It’s not Dougherty’s fresh take on lycanthropes, zombie children, or serial-killers that make Trick ’r Treat so special: it’s the way that it just feels like Halloween, capturing the atmosphere of that night’s magic and mystery unlike any other film before or since.

1 XX (2017)

A constant problem with anthologies to which multiple filmmakers contribute is a lack of narrative or stylistic cohesion, an issue that XX almost succumbs to. A project devised to put women’s voices at the forefront of a genre that has so often ignored them, the film combines four shorts from well-known names like Karyn Kusama (The Invitation) and Annie Clark (aka recording artist St. Vincent) that center on complex female characters. Though united by a suitably creepy animated framing device, the four shorts share jarringly little in terms of thematic juice or style, and the viewer is likely to come away singing the praises of just one of them rather than the piece as a whole. Still, it’s a noble effort and an anthology for a new era–bringing diverse experiences and perspectives to a largely male-centric genre and providing lots of food for thought.

NEXT: 10 Must-See Horror Movies By Female Directors

2019-04-14 11:04:52

Rocco Thompson

Ranked: Sarah Paulson’s Roles In American Horror Story

Sarah Paulson has been a staple of American Horror Story and has been in every season since the show began. In many of the seasons, including Apocalypse, Roanoke, and Cult, she even played multiple characters at various points. Without Sarah Paulson, the series would be very different, and she has set herself apart as one of the favorite actors from the series. She has played many strong characters. But, some of her characters were more iconic than others.

Here are Sarah Paulson’s eight main roles from the series ranked from worst to best.


Cult was a bit of a mess of a season all around. The season tried hard to create an allegory to current political and social issues, but it wasn’t really all that successful. Ally was a mother, wife, and woman with a lot of issues surrounding fear. This is one of the weakest roles and characters that Paulson played in the show. This season reduced Paulson to mostly just a very impressive scream queen, but the character didn’t hold up like many of the others Paulson has played in the series. It’s worth noting that Paulson also briefly played Susan Atkins, one of the Manson sisters, in this season.


Freak Show was a season that had its ups and downs. While it was filled with some of the most star-studded members of the anthology cast, it wasn’t as successful as some of the other seasons.

RELATED: American Horror Story: 15 Storylines That Hurt The Show (And 15 That Saved It)

While Twisty the clown will live on in the memories of fans, this wasn’t the season were Paulson was playing her best role. Bette and Dot Tattler were conjoined twins the Freak Show with two very distinct personalities. It is a testament to Paulson that she was able to bring them both to life in the same season.


Roanoke is a season that many people forget about, but it’s better than many people realize. In this season, Paulson actually takes on three roles. The main character she plays is Shelby Miller in the My Roanoke Nightmare reenactment. She also plays Audrey Tindall, the actress who plays Shelby, and she reprises her role at the end of the season as Lana Winters from Asylum.

RELATED: Every American Horror Story Couple, Officially Ranked

While seeing Paulson bring all three of these characters to life was enjoyable, Shelby Miller wasn’t a standout role of Paulson’s. This character is more forgettable which is why this character is lower on the list.


Hotel had many memorable characters. In a season that featured Lady Gaga as a bisexual vampire, it’s definitely saying something that Sally McKenna is memorable at all. The character was an addict who died at the Hotel Cortez in the 90s, and her ghost became trapped in the hotel.

RELATED: The Myers-Briggs® Types Of American Horror Story Characters

While she was a rather tragic and dark character for most of the season, she gets a new start at the end just like most of the ghosts at the hotel. Paulson did a good job of bringing this rather unlikable character to life and making fans happy for a happy ending. Paulson also reprised her role as Billie Dean Howard briefly in this season.


Billie Dean Howard wasn’t a main character in Murder House, but it was the first season of the show and the first mark Paulson left on the series. Because of this, this role gets a middle spot on the list. Billie Dean Howard is a medium that Constance Langdon finds on Craigslist to try and get Tate Langdon to move on to the afterlife. This character also foretells of the antichrist child that will be born. This character also features later in the series in brief moments.


Cordelia Foxx is a fascinating character in Coven. While she is at first overshadowed by her mother, Fiona Goode, she comes into her true power when she steps into the role of Supreme at the end of the season. Cordelia Foxx is an inherently good character, which can sometimes be hard to play without being corny or annoying, but Paulson played the character super effectively.

RELATED: American Horror Story: All 8 Seasons Ranked (From Worst to Best)

Fans felt for Cordelia and the predicament she found herself in and the love she had for the girls in her charge. When it was revealed that Cordelia was actually the Supreme, many fans were excited as she deserved this more than anyone else. She was also an extremely powerful witch and getting to see her realize that herself over the course of the season was rewarding.


Lana Winters from Asylum is probably the toughest character that Paulson plays in the series or at least one of the toughest. Lana is a journalist who is committed to exposing the dark things going on at Briarcliff Manor. She disguises herself as Sister Jude to enter the asylum, and then her horror begins. She goes through horrible conversion therapy by Dr. Thredson and is also assaulted by him. This character is tough as nails and ends up escaping in the end. Lana becomes pregnant with Thredsen’s child, and, at the end of the season, has to kill her own son, Johny, to keep him from killing her. This character goes through a lot and the season is dark, but Sarah Paulson brings the character to life in complex, believable ways.


In Apocalypse, Paulson plays three characters again. The main new character she plays in Apocalypse is Wilhelmina Venable, and she also briefly plays Billie Dean Howard again. However, the real stand out character is her reprisal of Cordelia Goode(Foxx) from Coven. Seeing Cordelia at her full height as the Supreme was an exciting moment for many fans. While Cordelia was already an amazing character in Coven, it was especially rewarding to see the character’s development and to see her try to save the world from the antichrist.

NEXT: American Horror Story: Every Evan Peters Character, Ranked

2019-04-08 03:04:25

Amanda Steele