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A Preparatory Guide for a Rocky Horror Midnight Showing

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I first saw The Rocky Horror Picture Show (1975) when I was twelve years old. I hated it. I thought it was lewd and pointless. True, the musical is lewd, but I now see immense value in it. I fell in love with the movie about a year later, but I don’t remember what changed my mind. For my fourteenth birthday, I went into Chelsea, New York, to see my first shadow cast. I was far too young to fully understand, appreciate, and participate, but it remains one of my fondest memories. Through the years, I’ve held casual parties in my home where my friends and I do our own shadow casts, I’ve joined the shadow cast at my college (and was supposed to play Frank one year, until the production was canceled), I’ve gone to a dozen midnight showings, I’ve seen a stage production, and I’ve taken countless people’s virginity. Let’s just say this film is important to me.

The musical was monumental for the queer community when it debuted on stage in a tiny, 63-seat theater in London in 1973. At last, an overtly gay, bisexual story with unconventional gender expression that wasn’t swept under the rug! It then played in various theaters in London until closing in 1980. Although the movie was not too well-received when it was first released, it has, of course, amassed an enormous cult following since then. On April 2, 1976, less than a year after the film’s US release, it was first screened at midnight in New York, spawning the audience participation tradition.

Rocky Horror is still running strong, both in shadow casts at midnight screenings and in live stage productions. Even the COVID pandemic couldn’t tame this wild thing: a theater in Portland, Oregon, continued showing it to an empty house for 54 weeks of closure, and a huge team of celebrities joined forces to support the Democratic Party of Wisconsin’s election efforts on Halloween 2020 with a live-streamed reading. Now that shadow casts are back, the hordes of Regular Frankie Fans can do the Time Warp together once more.

But what can you expect from a midnight showing with a shadow cast? To avoid giving away too much, I’ll go over the basic goings-on and prepare you for a night you will remember for a very long time.

Before you go to the movie theater, you should check with them about their prop policy. Many shadow casts will sell prop bags with approved items, but people can also bring their own. The most common props are toilet paper, toast, water guns, newspaper, and rice. Not every theater is okay with patrons throwing rice and such because it’s annoying to clean up, so you shouldn’t just go in with everything and expect to use all of it.

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Dressing up as characters from the movie used to be a huge event, but I’ve noticed a significant decrease in that over the years, so don’t feel pressured to go in costume. A lot of casts will have events that encourage certain dress, like prom night or lingerie night.

Every show I’ve been to has had some sort of virgin initiation though, the specific ritual changes from cast to cast. You’ll have to see for yourself what your local cast does! You may be asking, What is a virgin? Besides a social construct that has no basis in fact, a Rocky Horror virgin is someone who has never been to a live show before. You may have seen the movie beforehand, but that experience is nothing like a midnight showing. It should be noted that the initiation is just for fun, and it is totally optional. Consent is key.

Once the movie starts, be prepared for a lot of yelling. There are tons of callbacks, or lines that the audience will shout at the screen and at each other. This is probably the biggest appeal of a live show. It’s a wild community effort to engage with the movie, the shadow players, and your fellow audience members. When watching at home, callbacks are fun, but it’s so much better in the theater. Don’t expect to hear much of the actual movie or the individual lines, though. It’s chaos. (As a side note, I was known as the queen of callbacks in my college cast because I knew so many for every scene.)

The Rocky Horror Picture Show is a cult and cultural phenomenon for good reason. Even if you haven’t seen the movie before going to a midnight showing, which is actually what I recommend for the full experience, you’re in for a wild time. It’s raucous, inappropriate, potentially offensive, and the best night out I can imagine.

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Amanda Nevada DeMel is a born-and-raised New Yorker, though she currently lives in New Jersey. Her favorite genre is horror, thanks to careful cultivation from her father. She especially appreciates media that can simultaneously scare her and make her cry. Amanda also loves reptiles, musicals, and breakfast foods.

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Misc

10 of the Most Important Women in Slasher History

While there are many, many runners-up on this list, and I’m certain there are just as many that I missed, in general I have focused on women whose work extends across multiple iconic entries in the genre, rather than more obscure titles or a single slasher work. Thus, we won’t be seeing directors like Home Sweet Home’s Nettie Peña and Rocktober Blood’s Beverly Sebastian, editors like The Texas Chain Saw Massacre’s Sallye Richardson, and so on. That would be its own separate list, which I would absolutely also like to compile someday. But one thing at a time.

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As part of our celebration of Women’s History Month here at Horror Press, I thought it was high time to celebrate the women who helped shape my most favorite of horror subgenres: the slasher movie. Both in front of and behind the camera, women have been essential in creating some of the most iconic and well-respected slasher movies, and I shall attempt to highlight 10 (well, 11, but I won’t tell if you won’t) who have had the most impact over the decades.

While there are many, many runners-up on this list, and I’m certain there are just as many that I missed, in general I have focused on women whose work extends across multiple iconic entries in the genre, rather than more obscure titles or a single slasher work. Thus, we won’t be seeing directors like Home Sweet Home’s Nettie Peña and Rocktober Blood’s Beverly Sebastian, editors like The Texas Chain Saw Massacre’s Sallye Richardson, and so on. That would be its own separate list, which I would absolutely also like to compile someday. But one thing at a time.

Ranking this list would be both impossible and disrespectful, so I’m presenting each entry in loose chronological order, based on when their contributions to the development and continuation of the genre were most prominent.

10 of the Most Important Women in Slasher History

Stage and Screen, Personalities, pic: circa 1961, American film actress Janet Leigh in a scene from the film “Psycho” from Alfred Hitchcock (Photo by Haynes Archive/Popperfoto/Getty Images)

#1 Janet Leigh (Actor)

Besides a cameo in Halloween H20, Janet Leigh never made another proper slasher after starring in 1960’s Psycho. And yet that one appearance gave us so much. Without her agreeing to use her star power to sell the movie, only to have the rug pulled out from under the audience when she is murdered halfway through in one of the most memorably shocking scenes of the century, it is very probable that Psycho would not have been the hit that it was. Sure, Hitchcock’s name would have put butts in seats, but even he knew what he had with Leigh, to the point of employing William Castle-esque gimmickry around hiding that particular surprise.

If Leigh hadn’t had the humility to say yes to being murdered onscreen in what was – at the time – a reasonably grubby little horror picture, this seminal work would have been very different, and the entire slasher genre might have died on the vine as a result.

#2 Edwige Fenech (Actor)

Before the idea of a “scream queen” had really even been floated, Edwige Fenech brought audiences back to the giallo genre time and time again with her roles in titles like Five Dolls for an August Moon, The Strange Vice of Mrs. Wardh, The Case of the Bloody Iris, Strip Nude for Your Killer, and Your Vice is a Locked Room, and Only I Have the Key. She played a key part in the Italian genre’s domination throughout the 1970s, leading directly into the North American slasher boom of the 1980s.

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#3 Debra Hill (Producer/Writer)

The unsung heroine of the Halloween franchise, Debra Hill co-wrote Halloween and Halloween II with John Carpenter, in addition to producing both films and the unrelated sequel Halloween III: Season of the Witch. In addition to being at the core of one of the most iconic slasher franchises, her work on the 1978 original cemented the rules of the slasher film in a way that early proto-slashers like Psycho, The Texas Chain Saw Massacre, and Black Christmas simply didn’t. She helped set the template for nearly every slasher movie to come, particularly every slasher movie worth its salt released between 1979 and 1984, before Nightmare on Elm Street added a new flavor to the mix.

#4 Jamie Lee Curtis (Actor)

Unless you stumbled on this site by accident, you know Jamie Lee Curtis. She cemented the idea of the scream queen and, frankly, in my humble opinion, no actor since her has really been able to carry that torch properly. After leading 1978’s Halloween, she went on to star in a variety of other slashers, helping add powder to the keg right at the beginning of the slasher boom with titles including Prom Night, Terror Train, Halloween II, and the hopelessly underrated Roadgames. Showing the same humility as her mother, who you may remember from three entries above, she has returned to her Halloween role multiple times, resurrecting the iconic franchise no less than twice, in addition to paying homage in other projects such as the Ryan Murphy horror-comedy series titled, what else, Scream Queens.

#5 Annette Benson (Casting Director)

I feel like casting directors get short shrift. Sure, directors and producers frequently have a hand in choosing who stars in what. However, even for roles where that is the case, casting directors are responsible for cutting the wheat from the chaff and putting those people in front of the directors and producers in the first place as well as – frequently – manipulating them into making the right decision and feeling like it was their own idea.

Thus, without the work of the great Annette Benson, whose best-known slasher project is the original A Nightmare on Elm Street, we wouldn’t have Robert England, Heather Langenkamp, or (for better or worse) Johnny Depp. She went on to cast the next four installments in the Elm Street franchise (hello, Patricia Arquette) as well as bringing us Viggo Mortensen in Leatherface: Texas Chainsaw Massacre III. And before all that, she cut her teeth as a casting assistant on the early parody National Lampoon’s Class Reunion.

#6 Rachel Talalay (Multi-Hyphenate)

Rachel Talalay is probably best known as the director of Freddy’s Dead: The Final Nightmare, making her the first woman to helm an installment in a major slasher franchise. And still one of the only women. But she didn’t get that job out of nowhere. She rose through the ranks on previous installments, going from being an assistant production manager on the original Elm Street to production manager on Freddy’s Revenge to line producer on Dream Warriors to producer on Dream Master. After (wisely) skipping out on Dream Child, though she did receive special thanks, Talalay returned with a vengeance to make slasher history.

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Her journey also extends into other iconic slashers far from Freddy’s reach. Her slow rise above the line included eclectic stints as a production accountant on New Line’s pre-Elm Street slasher Alone in the Dark, a script supervisor and apprentice editor on The House on Sorority Row, and a first assistant director on Return to Horror High.

#7 Fern Champion and Pamela Basker (Casting Directors)

This dynamic duo is to Friday the 13th, what Annette Benson is to A Nightmare on Elm Street. In addition to casting slashers including Fade to Black, Tobe Hooper’s The Funhouse, and April Fool’s Day, they collaborated on Friday the 13th: The Final Chapter, A New Beginning, and Jason Lives, bringing us every version of Tommy Jarvis (therefore, Corey Feldman) as well as handing out early roles to Crispin Glover and Tony Goldwyn.

They also handled the L.A. casting for Friday the 13th: The Series, which isn’t really a slasher project, but helped beef up the franchise, which counts! And Pet Sematary, which also isn’t a slasher, but brought Miko Hughes to the horror genre five years before New Nightmare.

#8 Carol J. Clover (Academic)

In her 1987 essay “Her Body, Himself: Gender in the Slasher Film,” which was later published as part of her 1992 compilation Men, Women, and Chainsaws: Gender in the Modern Horror Film, Carol J. Clover coined the term “final girl,” and discussion of the slasher genre was forever changed. I think it is entirely fair to say that, without her keen analysis of the slasher, a genre which few academics had the gumption to take on at the time, we wouldn’t have had 1996’s Scream and its further dissection of the final girl trope. And without Scream, we wouldn’t have I Know What You Did Last Summer, Urban Legend, Bride of Chucky, the latter-era Chucky franchise in general, and an untold number of post-millennium slasher works.

#9 Marianne Maddalena (Producer)

Wes Craven called this woman his “guardian angel,” what more evidence could you possibly need? Just to be thorough, though, I’ll share a little bit about iconic producer Marianne Maddalena, who founded the company Craven/Maddalena Films with the master of horror. After producing Craven’s unique but ultimately unsuccessful Shocker, she went on to collaborate with him on New Nightmare and the entire Scream franchise, which she continues to steward to this day.

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#10 Jennifer Tilly (Actor)

Without Jennifer Tilly, we simply wouldn’t have one of the best late-period slasher franchises in the business. Her character Tiffany Valentine, who was introduced in the fourth Child’s Play installment, Bride of Chucky, is a crackling inferno of charisma without whom the franchise would be hopelessly bereft. She has also been a fierce advocate for Chucky off-camera, unashamedly parading her association with the franchise around in other properties (including new promos for her appearance on Real Housewives). This fierce loyalty to Tiffany is likely the reason that half of the Chucky projects that followed were even allowed to be made in the first place. For that, and for everything, we must thank Jennifer Tilly from the bottom of our hearts.

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Misc

Bring Billy Zane Into Your Home With Our ‘Demon Knight’ Giveaway!

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We’re back with another killer giveaway! A few simple steps can bring Billy Zane right to your front door. Tales from the Crypt: Demon Knight was the first standalone Tales film, even though it was written long before the series came to be. Panned at the time, Demon Knight gained a cult following that has followed it far into the second decade of our 21st century.

Enter Our Demon Knight Giveaway!

HOW TO ENTER

Not too bad, huh? So how do you enter? Just follow these three simple steps, and you’re in the running!

Step 1. Make sure to FOLLOW US ON INSTAGRAM!

Step 2. LIKE the giveaway post!

Step 3. Go to your podcast app of choice and rate/review the Horror Press Podcast, screenshot your review, and email it to contact@horrorpress.com and use the subject line: Demon Knight!

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If the winner does not respond on Instagram within 24 hours, we will randomly select another winner.

It’s so easy that even the Crypt Keeper could do it.

What You’ll Win

This isn’t just a run-of-the-mill Blu-ray that can easily be yours, it’s the beautiful Scream Factory release. If you are familiar with Scream Factory, then you should be familiar with their emphasis on special features.

This copy of Demon Knight includes the following extras:

-Audio Commentary with Director Ernest Dickerson

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-Audio Commentary with Special Make-up Effects Creator Todd Masters, Visual Effects Supervisor John Van Vliet, Special Effects Coordinator Thomas Bellissimo, and Demon Performer Walter Phelan

-Under Siege: The Making of “Tales From The Crypt presents Demon Knight” – Featuring interviews with Director Ernest Dickerson, Co-producer A.L. Katz, Screenwriters Ethan Reiff, Cyrus Voris, and Mark Bishop, Stars Billy Zane, William Sadler, Brenda Bakke, Charles Fleischer, John Schuck and Dick Miller, Editor Stephen Lovejoy, Special Make-Up Effects Creator Todd Masters, Special Make-Up Effects Artists Scott Coulter and Scott Wheeler, and Demon Performer Walter Phelan (40 minutes)

-Panel Discussion from the American Cinematheque featuring director Ernest Dickerson, actor Dick Miller, and Special Effects maestro Rick Baker

-Still Gallery

-Theatrical Trailer

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This giveaway has now ENDED!

Now that’s entertainment!

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