Editorials
Quaint & Badass: A List of the Bestest Witches
Witches – gotta love ‘em! Throughout our time on this plane of existence, they’ve remained the embodiment of female power and sexuality. Their spiritual ties to nature, and the darkness looming within or without have long attracted the gaze of fearful men and intrigued parties. Their stories are in the annals of history and comics alike. Burgeoning witches conjure spells in charming coming-of-age tales, while myths of elusive enchantresses capture the hearts and minds of men and their empires. And lest you not forget the old crones who lure naive souls into their woodland abodes. These witchy archetypes and their offspring have provided countless stories for us to admire and admonish, and our thorny horror-loving hearts hold a special place for many of them. As spooky season has officially commenced, let us take some time to celebrate the women of the hour. From quirky to unholy, these are some of the most beloved and feared – the bestest – witches in film and television.
In the spirit of whimsical listicles, I’ve attempted to arrange our witchy wonders from the quaintest of all to the biggest badass. You might have opinions, but play nice, or it’s in the cauldron for you!
Quaint & Lovely:
Kiki (Kiki’s Delivery Service): Before Uber Eats, there was Kiki. In Hayao Miyazaki’s 1989 classic, teen witch Kiki moves to a bustling port city with Jiji, her cat familiar, to grow as a young woman. She shablams her way down hundreds of feet in the air and eventually stumbles into a job at a bakery. It’s here that she’s inspired to use her magical talents to develop a business of her own. What could be quainter than a lil’ witch delivering goods around town on a flying broom? Typical of many youths, self-doubt overshadows her self-worth, and so her magical abilities and delivery business are temporarily stunted. Yet, as most stories of blossoming adolescence go, a harrowing incident leads her to rediscover her powers and yes, dear reader, herself.
Sakura Kinomoto (Cardcaptor Sakura): The Mega-Man of witches, young Sakura stars in the anime series based on the popular manga in which she accidentally unleashes a set of mystical cards and discovers magical abilities of her own. Each card grants its wielder a different power, and Sakura is tasked with reclaiming them before less wholesome individuals do. With themes of inner strength and legacy, the story unfolds much like the JRPGs of yesteryear. In a word, unique!
Mary Poppins: The Crown Mother of Quaint, some might question whether Mary Poppins is a witch. To which I say, look at the evidence. Her flying broom? An umbrella. Manipulation of space and time? Check! And like mimosas at brunch, her enchanted bag is bottomless. Miss Mary Poppins flies in from some unknown dimension of etiquette and laughs, and she changes lives. Her approach to child rearing is stern yet welcoming, and her infectious whimsy unwinds even the most uptight of adults. She’s the white witch of London’s middle class.
Willow Rosenberg (Buffy the Vampire Slayer): Somewhat of a live-action Kiki, Willow is the resident witch of Slayer Buffy’s Scooby Gang. A meek soul expertly portrayed with nervous curiosity by Alyson Hannigan before she met your mother, Willow represents the quiet kids and outcasts looking for a tribe. Throughout the series, she came out of the closet both as a powerful witch and a queer woman during the decidedly less socially progressive time of the late 90s. Despite a speedbump as the Big Bad of Season 6, Willow Rosenberg is a beacon of light for misfits looking to find their way.
Sally & Gillian Owens (Practical Magic): Sally (Sandra Bullock) and Gillian (Nicole Kidman) serve up midnight margaritas and murder in this 1998 mood. Bullock’s dorky charm and Kidman’s electric sexuality are lightning in a bottle as the unlucky in love and polar opposite Owens sisters. Descendants of a long line of witches, the duo must contend with the repercussions of a 300-year-old family curse in which any man they love meets a tragic end. Gilly’s longing for this forbidden love leads her down a dark and wild path, which ends in the accidental murder of her abusive boyfriend via belladonna poisoning. Their story highlights critical themes of female persecution and resiliency, and nothing screams feminism more than sending your resurrected ex back to hell with your newfound coven.
Light & Dark:
Sabrina Spellman: Perhaps the most famous teenage witch, Sabrina’s two very different TV iterations toe the line between heaven and hell, and appropriately place her right in the middle of this list. As the star of the family-friendly Sabrina the Teenage Witch, Melissa Joan Hart inspired the resourcefulness in kids everywhere as she navigated classic sitcom hijinks with a magical twist. However, Netflix had other, less quaint, plans for Sabrina, and in 2018 adapted Archie Comic’s take on the character with The Chilling Adventures of Sabrina. They flipped the script, and this devilish take on our headstrong heroine examined dogma and morality’s grey areas along with your typical teenage woes. These witches worship at the altar of the Dark Lord himself, for Satan’s sake. Less fluffy, more Buffy!
Endora (Bewitched): A monster-in-law to some, and mother monster to others, Agnes Moorhead commanded the soundstage as Endora in the 1960s sitcom Bewitched. Quintessentially elegant and eccentric, she only wanted what was best for her daughter Samantha (the fabulous Elizabeth Montgomery), which certainly did not include Sam’s marriage to the forever befuddled mortal, Darrin. Her timing as a troll was impeccable, tormenting her son-in-law at the most inconvenient moments and always getting the last laugh. A mother’s love knows no bounds, and for Endora, neither does her trickery.
Lafayette Reynolds (True Blood): The lone male on this list, Lafayette is the ultimate icon of HBO’s southern vampire drama. He’s a gay, vampire-blood-dealing short order cook revealed to be a powerful medium with innate magical abilities during Season 4, which is a lot to unpack. It was refreshing to watch the late, great Nelsan Ellis peel back the layers of a gay character like Lafayette and embody him with such ferocious humanity. His performance kept Lafayette off the chopping block through all seven seasons despite meeting an early end in the novels the show adapts. And anyway, who else on this list can make calling someone a hooker endearing?
The Coven (AHS: Coven): “Who’s the baddest witch in town?” This brazen line, uttered by reigning Supreme Fiona Goode (Jessica Lange) as she admires herself in the mirror, says it all. American Horror Story’s third season thrust us into the witchy underworld of present-day New Orleans and includes far too many outstanding characters and performances to single out just one or two. Within the walls of Miss Robichaux’s Academy, we have the previously mentioned Fiona Goode, a (literally) soulless and power-hungry baddie, her ruthless understudy Madison Montgomery (Emma Roberts), human voodoo doll Queenie (Gabourey Sidibe), theremin virtuoso Myrtle Snow (Frances Conroy), and even Stevie Nicks herself. Coven has a little something for everyone, and watching these women battle it out for Supremacy is wicked fun. The ladies also starred in the only AHS sequel season, so you know they’ve earned a spot among the greats.
Vanessa Ives (Penny Dreadful): She’s the antihero of the hauntingly beautiful Showtime series Penny Dreadfulwho spins a web of both good and evil. A witch – and possibly something more – of this mortal coil who never fully understands her powers or herself, Miss Ives is plagued with deep guilt and sorrow for simply existing. This force within Vanessa makes her a magnet for the evils of Dracula and Lucifer, and, ironically, it’s through them that she finally knows her true self and sees God. It is a profoundly tragic character arc, and while hopefully most of us can’t relate to having Dracula and Lucifer vie for our soul, we all wrestle with our versions of the darkness within.
The Badasses:
Rita Repulsa (Mighty Morphin Power Rangers): She may be more of a joke than a terrifying force of evil, but Rita Repulsa is the most entertaining space witch you’ll ever meet. She emerges in full glam from a space dumpster after 10,000 years locked away and is ready for her closeup as the OG antagonist of the Power Rangers series. She’s got a killer fit complete with a Madonna-inspired cone bra, a sickening scepter that can transform her minions into threats of kaiju proportions, and bagged the ultimate space zaddy, Lord Zedd. All that’s missing is sponsorship from Advil, given her frequent headaches. Rita’s attempts at ruling Earth may fail time and time again, but it’s the thought that counts.
Winifred Sanderson (Hocus Pocus): Mirror mirror on the wall, who has the shadiest lips of all? Bette Midler’s performance as a resurrected centuries-old witch is a spooky season favorite– even if the movie received an untimely release date of July. It may be family-friendly Disney fare, but Winifred is a sadistic individual who tortures her victims and is hellbent on stealing children’s souls to reclaim her forgotten youth. She’s vain and petty with lips that would put Kim Kardashian to shame, and come to think of it; she also tyrannizes her siblings. Perhaps after Hocus Pocus 2, she’ll land a series on E!
Ursula (The Little Mermaid): Sea witch. Drag queen. Bombshell. The tentacled and scheming Ursula is a woman of many talents and cares not for the poor unfortunate souls who fall under her spell. She wafts through the trenches of the deep plotting to usurp Atlantica’s throne and tricks naive princess Ariel into relinquishing her voice in more ways than one. Ursula defines gaslight, gatekeep, girl boss: She’ll steal your voice, man, and kingdom. A special thank you to Ursula’s voice actor, the talented Pat Carroll, who just recently passed away on July 30th, 2022.
Marie Laveau (AHS: Coven): While the witches of Coven were considered one unit due to the sheer number of their ranks, voodoo queen Marie Laveau is in a league of her own. Angela Bassett brings natural charisma and attitude to the oft-fictionalized historical figure, and typing Laveau’s name into your keyboard will provide a treasure trove of reaction gifs for when you’re feeling some sort of way. Watching her butt heads with Supreme witch Fiona Goode is the stuff of legend, and a sequence in which the pair effortlessly take down an organization of witch hunters is classic AHS. Dedication to her community sets her apart from the devilish Fiona. Still, nefarious conditions in the fine print of her immortality pact with the underworld suggest Marie may have more in common with her rival than she’d care to admit.
Nancy Downs (The Craft): Fairuza Balk shines as the antagonist and star (sorry, Robin Tunney) of the 1996 witch drama The Craft. Nancy is hard to hate and easy to understand. In an iconic beachside sequence, she and her fellow Wiccans perform the ritual of Invoking the Spirit to reclaim their power after being ostracized and taken advantage of throughout their lives. Caving to temptation, she monopolizes the dark magics imbued upon them, and a black sheep becomes a true nightmare. Nancy gets messy as hell in a prime example of the adage “be careful what you wish for” – and that’s why we love her. With an iconic goth-chic lewk, a striking face, and a maniacal laugh, Nancy Downs has it out for all the men and women who stand in her way. Especially the men. Seriously, she offs her abusive stepdad and flings Skeet Ulrich out a second-story window.
Lilith (The Chilling Adventures of Sabrina): The oldest historical figure on this list; Lilith is Adam’s first wife and was expelled from paradise after refusing to live in subordination with him. She’s the original feminist, described by men since ancient times as a demon, succubus, witch…you name it, she’s been called it. Why so scared, boys? Michelle Gomez’s portrayal of Lillith, named Madame Satan on The Chilling Adventures of Sabrina, is a delightfully twisted and comedic take on the mythological persona. As Lucifer’s second in command, she possesses Sabrina’s mousy teacher, Ms. Wardwell, to keep tabs on the prophesized young witch. Unaware of these circumstances, Sabrina sees her shy teacher suddenly transformed into a confident vixen, and the sexual innuendos she casually spouts will leave you laughing through tears. She’s evil, for sure, but in the end, this version of Lilith wants to dismantle Hell’s patriarchy and reign as its new queen.
The Incomparable Tilda Swinton: She is an ethereal presence, an androgynous figure who glides across the silver screen. She’s a changeling able to take on any form, be it the Angel Gabriel, Jadis the White Witch of Narnia, or an old man attempting to dismantle a coven masked as a school of dance. Tilda Swinton is probably not a witch and simply a talented actor, but that won’t stop her from topping this list as the most badass conjurer here. Her most vile role is that of Mother Helena Markos in Luca Guadagnino’s 2018 reimagining of Dario Argento’s Giallo classic, Suspiria. Markos is the self-proclaimed Mater Suspiriorum, an ancient witch and head of her coven who possesses the bodies of young women so that she may remain ageless. Depicted as a truly haggard old crone with the limbs of fetuses protruding from her own, she conspires underneath the film’s dance academy while waiting to strike at her next victim. You’d sooner vomit at the sight of her before you could let out a scream, and that’s a testament to Swinton’s power over the craft. We’re fortunate to experience the artistry of Tilda Swinton, and it’s always a pleasure to see what form she’ll take next.
That wraps up our homage to the wonderful witches of film and television. We’ve run the gamut from the quaintest Kiki to the transcendent Tilda and everyone in between. While often there for our entertainment, these magical beings represent more than a pointy hat. They remind us to break free from the shackles of society and find that inner power on our terms. So call the corners and march to the beat of your own cauldron because immortality eludes us all.
People hate It: Chapter Two. Unlike many horror sequels or poorly reviewed releases that gain popularity in time, the film has seemingly gained more notoriety. Maybe it’s the occasionally goofy CGI, the heavy comedy, or just how overstuffed it is, but everyone is really down and out on it. Still, though, I will defend this movie like a member of the Losers Club defending their Ka-Tet (deep-cut King reference for you constant readers).
But why, though? Objectively, the movie can feel overstuffed. The CGI is a little goofy. Well, despite all this, I believe It: Chapter Two captures the pure essence of the book. It captures the heart, the terror, and metaphors about small town America excellently…even better than the first one.
It: Chapter Two Is the Ultimate Stephen King Movie
Listen…I am a simple man. If you have this much pure Stephen King energy in a movie, I am going to love it. Why King fans did not grasp onto this movie, I do not know, because it is probably the most “Stephen King” Stephen King movie ever.
We have the small, Maine town and characters from the book, yes, but also a fantastic cameo from the big man himself. Seriously, this movie is like Avengers: Endgame for constant readers (even though Castle Rock is technically more of a crossover). The movie has the heart, small-town summer feeling, and aesthetics for a King film to the max. Whether that is a positive or negative depends on the viewer, but constant readers can relish in how set the movie is on capturing King’s Americana.
It: Chapter Two Understands the Stephen King Novel
Yes, the movie is sillier than the first installment. It’s technically less proficient and cleaner than its predecessor. Still, this movie just generally captures both the message and energy of the book. Don’t get me wrong, It (2017) is excellent in that it feels like a haunted house walkthrough. There are lots of different entities Pennywise dresses up as to attack. It’s colorful, fun…but it takes a lot of liberties. This is fine, but It: Chapter 2 painstakingly portrays the deeper undercurrents and plot beats of the novel.
The Horror Beneath It: Chapter Two
It has always been a story about the darkness behind America’s suburban facade. Behind all of the killer clown and creature feature/cosmic fun, it is about how America’s past will always linger, and is always darker than any fictional entity. It: Chapter 2 does not shy away from its portrayal of bigotry, or its bigger messages about racism and America’s past. The first one has elements of it, but really, Chapter 2 feels like it peels back the kid’s-on-bikes stuff to get to the nitty-gritty of the story.
Additionally, the movie gets the casting down perfectly. Not saying It did not have some of the best child performances ever, but finding not only worthy adult counterparts, but book-accurate players would have to be an arduous task. Huge shout-out to the casting team for absolutely nailing this.
Bill Skarsgård Makes Pennywise Even Scarier
The whole cast blows this movie out of the water, but Pennywise in this one steals the show. Skarsgard is rarely anything less than excellent, but he gets his true horror laurel here. He plays the role as sinister as possible, landing some humor but never letting it weigh down the fear factor.
He is a force to be reckoned with. When making something like a killer clown movie in contemporary times, you have to be really careful not to make it just straight-up silly. Art the Clown is, of course, pure nightmare-fuel, but when approaching the horror big top, it can unintentionally end up feeling like a mismarketed Goosebumps episode.
This, though, is not a case like that. Pennywise is nightmarish in this. His voice is more sinister, and he reads as a predatory cosmic entity, and not just another slasher villain. Fun and frightening, Pennywise pulls no punches in bringing the horror in Chapter 2.
It’s not unreasonable to think most American horror fans can probably name only one Mexican horror filmmaker: Guillermo del Toro. Given how many fantastic films he’s made and how successful so many of them have been, it’s easy to see how he became a household name, but he’s far from the only Mexican filmmaker with a taste for the macabre. Rubén Galindo Jr. may be a major telenovela producer now, but in the 1980s he wrote and directed independent genre films in Mexico that likely influenced the kind of filmmaker del Toro would become. Galindo Jr. isn’t some obscure figure in Mexican entertainment, but he’s also not as widely known as he should be in horror circles, despite having many of his genre films available from Vinegar Syndrome.
In celebration of Latin Heritage Month, I wanted to shed a light on Galindo Jr.’s films not just because they are a lot of fun, but also because of how underseen they still are. Galindo Jr.’s early films mark a complete departure from the work he does now, so much so that you’d think it’s different people, but his early career genre films were important and part of a familial legacy of both the Galindos and the Cardonas (the royal families of Mexican genre films).
The Galindo Family Legacy in Mexican Horror
Rubén Galindo Jr., as his name suggests, is the son of Mexican filmmaker Rubén Galindo Aguilar. He first entered the film industry as an actor, but joined his family’s production studio to take on a myriad of roles like set designer, accountant, purchasing manager, and more. His directorial debut in 1969 was for a comedy, Un Amante Anda Suelto, and was the first of 47 films he would direct. While his focus wasn’t explicitly horror, he did direct a couple of films starring Luchador and actor Santo, as well as many Mexican westerns before focusing more on distribution in the 1980s. Coincidentally, around the time his young son, Galindo Jr., would begin his own filmmaking career.
Rubén Galindo Jr.’s Journey Into Mexican Genre Cinema
Galindo Jr. began his filmmaking career by leaving his hometown of Mexico City to attend UCLA, only to return to CDMX in 1983 after graduating with a degree in Film and Television Arts & Sciences. His first film, Cementerio Del Terror, was a huge hit despite being a modest production, and it was the first of many independent horror films Galindo Jr. would take on. While his legacy won’t be built upon the work he did in genre, it certainly started there and evolved beyond the underground and into the mainstream over time.
Cementerio Del Terror (1985): Rubén Galindo Jr.’s Horror Debut
Galindo Jr.’s first film is by far one of his most uneven, but in the same vein, also one of the most entertaining. It starts like so many great horror flicks do: on Halloween, as a group of kids decides to steal a body from the morgue, only to disrupt the ghoulish ghost of a serial killer. While graverobbing isn’t exactly the kind of thing many do for fun, this particular endeavor is in service of a satanic ritual that will go awry, thus leading to all kinds of bloodshed and demonic appearances. There’s a sub-plot involving some premonitions of the killer returning from the dead that go ignored, reasonably so, and where things land is your standard house/cemetery of horrors where the kids are met with all kinds of devious and dastardly demons.
The Horror Influences Behind Cementerio del Terror
With a reported budget of 45-65 million pesos (roughly $275,000-$540,000 US dollars), filming started in 1984, and Galindo Jr. was able to wrangle in well-known Mexican actor Hugo Stiglitz to star in the production. The film was a huge success for Galindo Jr., even if it wasn’t well-received by critics at the time. Galindo Jr.’s influences are apparent in terms of both content and style, as he clearly draws inspiration from John Carpenter’s Halloween and Sam Raimi’s Evil Dead. There’s also a heavy helping of Romero’s Night of the Living Dead, even if the ghouls at play here aren’t the zombified kind. It’s truly a smorgasbord kind of horror film that never fully commits to one idea, but knows how to weave them together well enough to be entertaining.
The practical effects may seem ropey by today’s standards, but context and time would dictate that these are quite good considering the circumstances and how much of a trailblazer Galindo Jr. was for making this kind of film at this time in Mexico.
Time has been far kinder to this film than critics were, as it averages a 3.0 on Letterboxd and is the recipient of a now sold-out edition from Vinegar Syndrome. In terms of ranking, this is probably B-Tier for Galindo Jr., which is impressive for a debut feature regardless!
Dimensiones Ocultas (Don’t Panic) and Its Influence
Perhaps the best-known of Galindo Jr.’s early genre films, Don’t Panic is without a doubt his best horror effort, and his most derivative. If Cementerio del Terror was riffing on two horror classics, Dimensiones Ocultas riffs on another. This time, it’s Wes Craven’s A Nightmare on Elm Street. Following very similar story beats, we follow Michael, who, on his 17th birthday, uses a Ouija board with his friends and accidentally unleashes a demon. This demon isn’t your ordinary run-of-the-mill possession type; no, this demon haunts you in your dreams! Michael sees these murders before they happen and tries to warn his friends, to no avail.
Why Don’t Panic Remains a Mexican Horror Cult Favorite
There’s a lot to love about Dimensiones Ocultas, and it’s not hard to see why it has become Galindo Jr.’s most notable genre film. From the strange kid-print adult-sized pajamas that Michael wears to the incoherent plotting, it’s not a film that’s going to appeal to those who prefer tight technical filmmaking and single-threaded plot lines. The characters are hard to take seriously, in part because so many of the voices are dubbed, and if this all sounds like reasons not to like this film, you’re sorely mistaken.
The Elm Street influence is endearing in how sloppily it is transcribed here, but it’s also distinct enough to not feel like a complete rip-off. The demon, Virgil, doesn’t really look like Freddy, but if you squint your eyes after a few drinks, you’d probably not be able to tell the difference. The death scenes are creative and at the same time comedic, so it’s not a film that is easy to take seriously, which is a good thing.
While there are no budgetary numbers that are verifiable, Dimensiones Ocultas shows more ambition in terms of effects and ideas than Cementerio, while not really showing much evolution in terms of screenwriting. Galindo Jr. does have better command of the pacing here, and this too has received the amazing Vinegar Syndrome treatment like Cementerio, but is also sadly out of print. A-Tier Galindo Jr.
Ladrones de Tumbas (1989) A Unique Mexican Slasher
Shortly after Dimensiones Ocultas, Galindo Jr. was back at it, directing his third horror feature, Ladrones de Tumbas. Learning a bit from both of his former features, Ladrones feels far more consistent both in terms of plotting and execution. It does tread familiar ground that harkens back to Cementerio, as a group of teenage treasure hunters unknowingly awaken a malevolent entity hell-bent (literally) on bringing forth the spawn of Satan. The spirit systematically takes out the teens one by one in clever, slasher-centric ways, and while it does feel familiar, it’s never repeating the same stuff seen in earlier Galindo Jr. joints. The effects feel far more accomplished, and the story is much easier to follow, all things considered.
The Forgotten History of Mexican Horror Filmmakers
There’s even less information about this film’s production out there, which is more of a reminder that there is still a woeful lack of study around Mexican horror filmmakers that has penetrated the mainstream. Even in preparing for this article, it’s quite difficult to find trusted sources- hell, any sources besides Wikipedia and IMDb. What we do know happens after Ladrones is that Galindo Jr. would begin his distinction from horror and start making his way West to more dramatic and widely accepted fare. There is one more film that Galindo Jr. would helm for horror, possibly two if you consider Resucitaré Para Matarlos in 1991, before making his big pivot. And you guessed it: the Vinegar Syndrome release of Ladrones is very much out of print. S-Tier Galindo Jr.
Mutantes Del Año 2000 (1992) Rubén Galindo Jr.’s Sci-Fi Horror Experiment
Mutantes del Año 2000 is easily the worst of Galindo Jr.’s genre efforts, and it’s largely because it’s kind of a silly premise. It’s a story about a teacher going through an ugly divorce during a time in the future where pollution is so bad that everyone wears gas masks, and an ex-husband who has been dumping nuclear waste behind the house, mutating the local rodent population. When a giant mutated rat enters the home, the teacher must fight it to stay alive while she’s warding off both the rat and her ex, who wants to keep his nuclear secret. It’s absurd, and it almost feels like Galindo Jr.’s first foray into the more dramatic side of storytelling.
Not only is this one a bit of a slog to get through, but it also loses some of the fun and charm that Galindo Jr.’s previous films exhibited. While the story is a bit more concise and clear, a positive, the delivery leaves a lot to be desired, even if the world-building is somewhat interesting. It’s hard to know, at least without further research or speaking to Galindo Jr. directly, what caused him to fall out of love with genre, but his lack of conviction is apparent here. You can’t fault someone for wanting a change, but I would be remiss not to wonder what it would’ve been like if Galindo Jr. kept refining his abilities for the sake of scares.
Why Rubén Galindo Jr.’s Mexican Horror Films Deserve More Attention
One of the most challenging parts of writing this kind of article is not having enough sources to tell a fully holistic story. Part of this is due to time, as one can only watch so many special features in such a time, but also that there simply aren’t as many primary sources for Mexican horror history and the filmmakers that contributed to it. The fact that so many can’t name more than one Mexican filmmaker says a lot about the lack of information out there, and so if you’re a filmmaker seeking a new topic for a genre documentary, consider Mexican horror. Not only is it fertile ground, but it’s also got a lineage of talent that is still alive to talk about what it was like, something we are reminded of weekly as announcements of deceased horror stars come across our news feeds.
Rubén Galindo Jr. is just one of many who have made their mark on horror in Mexico, and selfishly, I would love to know more about this than what is available. Running a website and working full-time doesn’t leave a lot of time for much else, but it’s important to both remember and celebrate the legacies of those who came before as trailblazers who are just as worthy of our praise as those who become household names.
For more of Matt Orozco’s work, along with many other great horror articles, head on over to Macabre Daily!
