In the realm of horror cinema, where the boundaries of the macabre are constantly pushed, a peculiar trend has emerged, one that delves into the dark corners of parental figures and their offspring. The recent release of 'Lee Cronin's The Mummy' is a prime example of this disturbing and transgressive new horror trend, which has been gaining traction over the past two years. This trend, as the article suggests, is a fascinating exploration of the evil child and dark mother archetypes, but with a twist that subverts the traditional horror tropes.
The horror genre, as the article points out, has long been fascinated with the idea of transgression, and the easiest way to achieve this is by exploring the taboo. The notion of placing young, innocent children in mortal or moral peril is a classic horror trope, and the same can be said for subverting the role of parents. Evil step-parents and fathers are common, but the concept of a wicked mother is arguably the most taboo of all. The article argues that this new trend of mother figures in horror is a variation on the classic themes, where these women prey on other children rather than their own.
This trend can be linked to the archetypal witch, a figure often associated with fairy tales and folklore. The article uses the example of Hansel & Gretel and films like 'Snow White', 'The Witches', and 'The Witch' to illustrate this point. The witch archetype is often depicted as an older woman, which can be linked to the subgenre of hagsploitation. The characters of Laura in 'Bring Her Back' and Gladys in 'Weapons' can be seen as part of this subgenre, subverting their age and the expectations of responsibility and trust.
The article then delves into the children themselves, who are not inherently evil but are instead pawns of a larger, malicious force. This is a departure from the traditional horror trope where the evil child is a genuinely malicious being. The children in these films are replaced by evil rather than changed by it, which invites commentary on the effects of neighbors, community, and society as a whole.
The article speculates that this trend may have grown out of an abundance of millennial panic about the increasingly dire state of affairs at home and abroad. It allows these horror films to tackle the topic of raising a child in a dangerous, violent, perhaps even doomed environment obliquely, rather than head-on. However, it also suggests that this trend may be a shiny new line to cross, designed to shock and disturb desensitized audiences.
In conclusion, the article presents a compelling argument for the significance of this new horror trend, which delves into the dark corners of parental figures and their offspring. It is a fascinating exploration of the evil child and dark mother archetypes, with a twist that subverts the traditional horror tropes. The article invites further commentary and speculation on the implications of this trend, and its potential impact on the horror genre as a whole.
