Vibe?

Fractured personality/clone/new life vs old/component characters that are at war with themselves/each other/literally themselves and destroys everything in the process.

This could be us, (other half of me who hates me and I hate them) but you grabbin the knife? :heart:

Do you think that the Came Back Wrong trope would be great to examine from the perspective of the person who came back?

And their memories never quite match what the person who brought them back described?

So now you're stuck trying to be someone that is described differently from who you really are and now you're stuck trying to figure out if you really came back wrong, if someone is trying to gaslight you, or worse... you never came back, or maybe you never left.

I love thinking about this, especially in the context of like a changeling.

Because when a person gets stolen by the fey and replaced with a fake--does the fake know its a fake? Or does it think it's the real deal?

And when a friend of the original who doesn't know the fetch is a fake for certain (its just a feeling) they comment about how the replacement is different now. They're stranger. Sometimes they don't even think they're themselves anymore. And now you've got a creature, who didn't even know they were fake, questioning if they are different. If they've changed. Were they always like this? Are they even who they think they are? A creature/monster becoming self aware of what they are and then choosing to become what they've replaced, only now they can do it better bc they've got people telling them how they should behave.

And then think about the original coming back with a vengence to take their life back, a life the replacement has worked so hard to make their own. And they're not going to give it back without a fight.

Just finished "Us."

I never, ever want to see that movie again. It is hands down one of the best films I've ever seen. Not just horror. Just. In general.

Jesus christ.

Look, I'm just glad I don't have a driveway.

Daniel Kaluuya in Get Out (2017)

Lupita Nyong'o in Us (2019)

Keke Palmer in Nope (2022)

GET OUT (2017) US (2019) NOPE (2022) dir. jordan peele

Out There Screaming: An Anthology of New Black Horror will be published on October 3 via Random House. It's curated by filmmaker Jordan Peele, who also provides an introduction and serves as editor with John Joseph Adams.

It features short stories by Erin E. Adams, Violet Allen, Lesley Nneka Arimah, Maurice Broaddus, Chesya Burke, P. Djèlí Clark, Ezra Claytan Daniels, Tananarive Due, Nalo Hopkinson, N.K. Jemisin, Justin C. Key, L.D. Lewis, Nnedi Okorafor, Tochi Onyebuchi, Rebecca Roanhorse, Nicole D. Sconiers, Rion Amilcar Scott, Terence Taylor, and Cadwell Turnbull.

The 400-page book will be available in hardcover, e-book, and audio book. The synopsis is below.

The visionary writer and director of Get Out, Us, and Nope, and founder of Monkeypaw Productions, curates this groundbreaking anthology of all-new stories of Black horror, exploring not only the terrors of the supernatural but the chilling reality of injustice that haunts our nation. A cop begins seeing huge, blinking eyes where the headlights of cars should be that tell him who to pull over. Two freedom riders take a bus ride that leaves them stranded on a lonely road in Alabama where several unsettling somethings await them. A young girl dives into the depths of the Earth in search of the demon that killed her parents. These are just a few of the worlds of Out There Screaming, Jordan Peele’s anthology of all-new horror stories by Black writers. Featuring an introduction by Peele and an all-star roster of beloved writers and new voices, Out There Screaming is a master class in horror, and—like his spine-chilling films—its stories prey on everything we think we know about our world... and redefine what it means to be afraid.

Pre-order Out There Screaming.

Get Out (2017) | Us (2019) | Nope (2022)

Filmography: Jordan Peele

↳ @creatorsofcolornet event 19: Black history month

work of jordan peele is BIG influence on chuck this is correct. there are quite a few similarities actually, especially when you consider both of us are coming to horror from place of comedy (i personally do not see tinglers as comedy but obviously this timeline has placed them there and i am perfectly okay with this trot).

we are both creating horror stories for our own historically marginalized groups and in particular, writing stories that are SPECIFIC to those groups.

for example when thinking about QUEER HORROR there is plenty of queer horror where the horror itself has nothing to do with queerness, or the queerness is subtext. for instance you could have a slasher where the main characters happen to be gay, but their queerness is not necessarily part of the fear.

on the other hand, CAMP DAMASCUS is directly commenting on a queer issue

BURY YOUR GAYS is directly commenting on a queer issue

by the same token GET OUT is directly commenting on a race issue

US is directly commenting on a class issue which is, of course, going to be wrapped up in topics of race and marginalization

it should be said that the other kinds of horror where issues of the marginalized groups is more in the SUBTEXT are not wrong. there is a time and a place for that. the book that will likely be chucks next horror novel is about bi erasure, but it is much more about the subtext and symbolism. there is a bi lead, but also a monster that does not seem to be about bi erasure AT FIRST. it is much less direct. so there is a time and a place for both kinds of approaches.

but i think the biggest thing that is similar about jordan and chucks approach (and what has been a big influence on me specifically) is that our goal is NOT: 'how HORRIFYING AND TRAUMATIC AND MESSED UP CAN WE MAKE THIS?'

we are doing something else

processing trauma by exposure can be a common goal for horror AND honestly i think it is also totally dang fine to make art like this. there are some incredible pieces where trauma and tragedy is the goal. however (and i will speak for myself here) when you are coming from a buckaroo community that has been through so much of this trauma in real life, i PERSONALLY find that goal to be a little too boring.

my goal is more like this: how can we use this genre of fear and tension that i love to comment and explore and say something new? how can i pull apart an issue and deconstruct it in a way that is cathartic and maybe even changes minds?

so i cannot speak for jordan but i feel like our approaches are similar in this way. i see a LOT of reviews that make comparisons between CAMP DAMASCUS and GET OUT and i am always very flattered

5/31 DAYS OF HALLOWEEN — Us (2019)

Us (2019)

keke palmer and daniel kaluuya 🥹

i wanna call out another genius aspect of nope, everyones been talking about the story aspects but i specifically want to mention the SETTING

the horror of being in the desert, out in the open where there’s nowhere to hide, and the dawning fear that comes with seeing the monster coming from miles away and knowing that it sees you too, and the only thing you can do is run for your life as it gets closer and closer, heart pounding from adrenaline and exertion and sheer terror, not knowing if you’re going to make it

like it’s such an underrated type of horror that gets so expertly used just like everything else in the movie FUCK i love jordan peele

LUPITA NYONG’O as ADELAIDE WILSON • Us (2019) dir. Jordan Peele

HALLOWEEN MARATHON 2023 ↳ day 10 🎃 US (2019) | dir. jordan peele

Jordan Peele movies

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31 Days of Horror | 4/31: Us (2019)

"When I was a kid, I went to that boardwalk with my parents. I wandered off. I don't why, I just did. I ended up in that hall of mirrors. There was another girl in there. She looked like me. Exactly like me. She wasn't a reflection. She was real."