Misc
[INTERVIEW] Can AI Consent? An Interview With the Crew Behind ‘Black Eyed Susan’
Black Eyed Susan was a stand-out hit at Brooklyn Horror Film Fest this year. In the film, the down-on-his-luck Derek (Damian Maffei) is coerced into product testing Susan (Yvonne Emilie Thälker), a life-like sex doll meant to be able to take a beating and bleed and bruise like a real person. Susan’s complex AI leads to conflicted feelings from Derek. The audience at the fest was open to the challenge of Black Eyed Susan’s taboo and transgressive subject matter. To gain a little more insight into the film, I talked with writer and director Scooter McCrae and lead actor Yvonne Emilie Thälker.
Black Eyed Susan was a stand-out hit at Brooklyn Horror Film Fest this year. In the film, the down-on-his-luck Derek (Damian Maffei) is coerced into product testing Susan (Yvonne Emilie Thälker), a life-like sex doll meant to be able to take a beating and bleed and bruise like a real person. Susan’s complex AI leads to conflicted feelings from Derek. The audience at the fest was open to the challenge of Black Eyed Susan’s taboo and transgressive subject matter. To gain a little more insight into the film, I talked with writer and director Scooter McCrae and lead actor Yvonne Emilie Thälker.
[Ed. note: This interview has been edited for length and clarity.]
An Interview with Scooter McCrae and Yvonne Emilie Thälker
Horror Press: Where did the inspiration for the film come from?
Scooter McCrae: It came from the deepest darkest recesses of my usually very sunny, open, and fun mind. There was no inciting incident that led to the screenplay being written. I was very much thinking about being a guy, and getting older, and thinking “Everything’s been really good” but even with that there’s certain things that we think about that tend to just go dark. I find that a great place to play. It helps give the lighter moments their weight.
HP: Chuck Palahniuk’s short story Exodus has similar themes and mentions “turning people into objects and objects into people. How does that idea apply to Black Eyed Susan?
Yvonne Emilie Thälker: We’re asking ourselves the question of “what is a person?”, and that goes back to Frankenstein. That’s one of the wonderful things I love about sci-fi movies and, to an extent, horror movies. Black Eyed Susan is a mash up. It is kind of asking a lot of those same questions: Is how you treat objects a reflection of how you treat people? How do we treat an AI that mimics a human, and how does it reflect on us? We write sci-fi and horror to examine our fears around humanity.
SM: To Yvonne’s point, really good science fiction is about sociology. It’s not about the technology itself. You know, that’s a bit of, as I like to say it’s the cheese and the mouse trap.
We live in a world where corporations are people, and real people don’t even get the same respect or tax breaks that fucking corporations get. There’s just so much inequality between objects and people. And sometimes I think objects get the better deal and people get the raw deal, and sometimes it works the other way around as well. But in science fiction especially, there’s going to be a point at which people and technology are just simply going to meet, and there’s going to be some kind of sociological showdown trying to figure out who gets what rights and who gets to say what, and which one has more validity.
Photograph by Marlon S. Row
HP: Yvonne, What was it like to play a role that is highly gendered and objectified as a nonbinary person?
YET: It’s probably impossible to put all of my ideas about my own gender and the role into a succinct couple of words, because I think aspects of my gender can be very fluid. They can also be kind of agnostic- I’ve got other things to worry about. Every nonbinary person is different. As a model too, there are times where being in a very feminine dress or role for the camera feels like drag. It feels like a thing I’m putting on, but it’s not a full reflection of who I am. But that’s what acting is.
I really like the ability to shape shift. That’s one thing that people would sometimes tell me as a model throughout the years. To me, that’s a big compliment. I like the ability to be chameleon-like and look one way in one shot and then very different in another.
So I really relish the opportunity to play roles that are very much not me, even if there probably is a twinge of feeling slightly uncomfortable being in this kind of very specific, objectified feminine space. I’d love the opportunity to play other types of characters and other types of genders that I’m not.
HP: It’s also empowering to see another nonbinary person in a lead role!
YET: That’s so wonderful to hear! That is the main reason why I decided to be assertive about my pronouns and my identity early on. I think it is important to be myself and an example for others. Seeing yourself represented is so important and can help people not just to come into their own, but also let them know that they belong in this world.
SM: I like what you’re saying too because the representation isn’t the point of the character or the story.
HP: I think a lot of times, people who might not know a trans person only think of us as our identity and don’t realize that we have full lives outside of that.
HP: What does it mean to have a sexual relationship with someone or something who can’t consent? Especially when they might not be a person, but look like one.
SM: That goes to like vibrators or dildos or fake pussies to an extent. Are they willing participants? You just don’t think of it that way. The fact that the doll in the movie has an AI, that’s what is causing confusion; the fact that it has the ability to give off the impression of having sentience. And with sentience comes the question of consent.
I’d like to think that the movie does talk about it. And the great thing about being a writer or a filmmaker is that I get to ask all the questions I want, and I reserve the opportunity to not have to ever answer them. That’s art. You don’t have to answer these questions, but raising them is what’s important.
YET: I would say for me, I actually feel like Susan consents. She’s designed to not only physically be able to take a beating, but to kind of want it. So there’s that issue of: she’s designed to consent. Is that really consent? It is possible to be in BDSM culture and to want to take a certain level of violence. You are consenting to it and you want it because it is cathartic for you in some way. But you know, the story of Susan, I think goes beyond that. For me, the sticky issue is more: how are you okay doing this to something so human like and not doing that to a real human?
Pictured above, young Scooter on Adult Film Set. Photo provided by Scooter McCrae
HP: I’m wondering what that does to our conditioning. Also in terms of what we see about heterosexual relationships in the media and pornography.
YET: It does influence us when all the women are represented as young and small and beautiful and mostly white and able-bodied and it’s like, there’s no stretch marks, there’s no chipped nail polish. But then when some men encounter real women they’re like, “Oh my God, when this woman that I went on a date with took her makeup off, she’s got acne and under eye bags”. I think that’s a very specific kind of misogyny working there.
It leads to this type of paranoia with people thinking, “Is my body good enough? Is my skin clear enough? Am I fit enough? Am I strong enough?” I think a doll like Susan could be very harmful in terms of if men were routinely using these dolls and abusing them, and then, they try to have a relationship with a real person, and the real person is like, “Yes, I’m into BDSM, but we need to use these safe words and safe practices. I need to feel like I trust you.” Then it shatters the illusion. We’re seeing the beginning of that in the world of Black Eyed Susan, where it’s going to lead to these unhealthy expectations, and, in my opinion, lead to actual abuse of actual humans.
SM: Yeah, addressing the illusion is important. Understanding why something is an illusion is part of the fun of it. It doesn’t take away from the pleasure factor. If you’re doing it right, it adds a level of confidence. When you go to see a movie, you’re not going to say, “It’s all fake. Well, what a waste of my time.”
As someone who does like pornography, and quite a bit, I’ll bring up Sturgeon’s Law, which is that 95% of everything is shit. And this applies to pornography, probably more than anything else. You watch whatever you want, as long as you know that it is, of course, fake and that the people making it are professionals.
In fact, I used to shoot and edit porn, and what’s interesting here is that the people who were making them were basically friends. They all work locally in the industry, but when they would get together, it was a lot of fun. People got paid. They were shot quickly and low-budget, but people were actually having a great time. People were cumming. We’d shoot them in a day or two at most, and it was just the best possible representation of how good pornography can get made by people having a good time and wanting to make stuff that gets out there and promotes just having fun. The worst shoot I ever did, some people came in from LA for me to shoot in a hotel: absolutely the worst porn shoot I ever had to do in my entire life. They were just literally snorting coke, and just, it was just awful. It was the worst cliche. And I couldn’t even believe I was there. It was just like watching zombies engage in calisthenics.
Many thanks to Scooter McCree and Yvonne Emilie Thälker for talking the time to talk with us at Brooklyn Horror Film Festival.
You can preorder Black Eyed Susan via Vinegar Syndrome here!
Hello! Hi! Greetings!
I know I don’t make posts here very often but here I am! I needed to take a moment from torturing the writers of Horror Press in the basement to make an announcement.
I recently received some feedback regarding the content published on Horror Press, specifically mentioning “too many rankings” and “too many listicles.”
I wanted to take a moment to address this directly.
Since Horror Press began in 2022, we’ve published over 800 articles. (I’m very proud of that number btw!) While that might not seem like a lot, it’s important to consider that every single writer who contributes to the site is paid. I personally handle everything on the backend, and on average, we publish more than 20 articles each month, and that’s on top of my full time job. Yes, I am very busy, which is also why I don’t have much time to make little posts like this.
I manage nearly every aspect of the website myself, including disbursing payments to each writer directly from my own personal income. I’m fortunate enough to have a stable job and the disposable income that allows me to cover the overhead for Horror Press, and I do this because it genuinely brings me joy.
In many ways, I’m the sole driving force behind everything you see here on the site.
It’s also worth noting that the vast majority of websites today don’t generate profit, and those that do often struggle to fully cover operational costs and provide a comfortable living for everyone involved. It would be a dream to pay every writer a full time livable salary. Seriously, the writers at the HP estate are the best and I wouldn’t trade them for anything (except for maybe a taxidermied peacock for my bathroom).
With AI on the rise, and Google constantly changing the rules of the game every other weekend, things are stacked against websites.
My main goal when I started Horror Press was to create an outlet for my passion for horror, and a need to create a platform for underrepresented voices within the genre.
I feel like I have achieved that goal, however, I can always do better, and the goalpost is always moving.
Over the past three and a half years, I’ve had the pleasure of working with many writers, and the brainstorming sessions with them has been some of my most rewarding experiences. Beyond publishing articles, I’ve also made a consistent effort to support creators and their projects through sponsorships and features on our website.
Now, back to the comment about our content: Out of the 800+ articles we’ve published, approximately 60 have been categorized as “rankings.” This represents roughly 7.5% of our total output. My intention with these rankings is for them to be fun and lighthearted. However, if I’ve missed the mark, then please, by all means, join our Patreon, and sign up for the tier to help choose what content we focus on in the future. Hell, sign up for any of the tiers available!
Until then, I remain the Curator of all things Horror Press, and decide what makes it to the website, and you can continue to cry about things like Bella Ramsey on Reddit. Until next time,
JM
Misc
Ranking Every Jason from the Friday the 13th Franchise
The iconic slasher killer has taken many forms over the years, and I’m not just talking about the different performers who played him (who I have mostly credited below, though there are cases where other stunt performers/costume designers/etc. filled in for certain moments that I’m not going to go through with a fine-toothed comb). Jason’s look, behavior, and even the way he operates changes drastically throughout the franchise, even between consecutive films that are directly linked, which is why there is so much meat on the bone here. Without any further ado, let’s rank every Jason from the Friday the 13th franchise!
May 2025 marks the 45th anniversary of the original Friday the 13th, so now is the best time to take a stroll through the 12-film franchise it birthed. Well maybe not the best time, but I don’t want to wait five years, so we’re ranking every version of Jason Voorhees now, dammit.
The iconic slasher killer has taken many forms over the years, and I’m not just talking about the different performers who played him (who I have mostly credited below, though there are cases where other stunt performers/costume designers/etc. filled in for certain moments that I’m not going to go through with a fine-toothed comb). Jason’s look, behavior, and even the way he operates changes drastically throughout the franchise, even between consecutive films that are directly linked, which is why there is so much meat on the bone here. Without any further ado, let’s dive in.
Every Jason from the Friday the 13th Franchise Ranked
#12 Reboot Jason (Derek Mears, Friday the 13th 2009)
No shade to Mears’ performance. He is delivering a powerful and credible threat here. But there’s something about the warren of tunnels, the kidnapping, and the turning on klieg lights (that I highly doubt were there back when Camp Crystal Lake was operational) to hunt down victims that just isn’t “my” Jason. I prefer a hulking avatar of death rather than the backwoods survivalist mode that he’s got going on here.
#11 Roy (Dick Wieand unmasked & Tom Morga masked, Friday the 13th: A New Beginning)
I love the snazzy powder blue accents he’s rocking here. And frankly, I don’t care who’s behind the hockey mask as long as he’s murderizing people good and proper, but Roy is simply not Jason, so it would be a crime to rank him any higher than this.
#10 Imaginary Jason (Tom Morga, Friday the 13th: A New Beginning)
I guess it’s nice that there is a proper Jason Voorhees floating around in the “copycat killer” movie, but outside of the Corey Feldman prologue, the imaginary Jason mostly just stands around like Michael Myers and watches Tommy Jarvis change. Like, I know Tommy’s jacked now, so I sort of get it, but it’s just not a very interesting thing for Jason to be up to.
#9 Zombie Boy Jason (Ari Lehman, Friday the 13th 1980)
Sure, he provides a potent jump scare that is probably the only reason (other than Tom Savini’s effects) that the movie became such a word-of-mouth smash hit. But his presence at the end of the original Friday the 13th absolutely ruins any hope that the character will ever have a comprehensible continuity, right from the beginning. And this is nobody’s fault! They didn’t know they’d have to make 11 more of these. They just wanted one final shock in the movie, and they were right to want that! But Jason transmogrifying from a dead child to a living adult in Part 2 has plagued continuity-heads for 44 years, and it’s hard for that not to rankle just a little bit.
#8 Jason vs. Freddy (Ken Kirzinger, Freddy vs. Jason)
He has some great kills here (the bed! the rave!), but Jason Voorhees is very much second banana when it comes to his position in the overall narrative. I suppose that’s what you get when the other guy talks and you don’t, but that’s not very fair, is it?
#7 Uber Jason (Kane Hodder, Jason X)
Uber Jason is better in theory than in execution. It’s a fun way to engage fully with the sci-fi premise that they’ve thrown their killer into for basically no reason (New Line really spun out the second they got their hands on the property, didn’t they?). But the design is bad and he just looks plasticky and cheap, not actually menacing or properly enhanced.
#6 Demon Worm Jason (Jason Goes to Hell: The Final Friday)
Speaking of New Line spinning out… Jason Voorhees primarily manifests in this movie as a body-hopping demon worm. Why is this ranked so high? It’s nonsense, but at least it’s fun nonsense. Plus, I wouldn’t trade the “Jason shaves a cop, transfers the demon worm, and then his previous body melts” sequence for the world. It’s uncomfortable, ooey gooey gross, and just plain weird, which are things I prize in my horror movies.
#5 Funny Jason (C.J. Graham & Dan Bradley, Jason Lives: Friday the 13th Part VI)
Beyond the James Bond parody at the beginning of Jason Lives, most of the funny bits in the most purposefully comic installment happen around Jason. I think that’s for the best, in order to maintain him as a credible threat. But he does get a little lost in the sauce here, especially with a Tommy Jarvis and a proper final girl jockeying for screen time elsewhere.
#4 “Final” Jason (Ted White, Friday the 13th: The Final Chapter)
This is a real meat-and-potatoes Jason, but he delivers some of the gnarliest kills in the franchise with aplomb.
#3 3-D Jason (Richard Brooker, Friday the 13th Part III)
I don’t like the sexual assault overtones of this Jason, but come on. This is the installment where he embraces his hockey masked self, and that’s simply iconic. Plus, Brooker is acting the hell out of this role, delivering a physical, menacing Jason that has a wiry wiliness that is very different from the raw strength delivered by other performers who I might mention…
#2 Recurring Jason (Kane Hodder, Friday the 13th Part VII: The New Blood, Friday the 13th Part VIII: Jason Takes Manhattan, bits and pieces of Jason Goes to Hell: The Final Friday, the first two-thirds of Jason X)
And oh look, here comes one of those performers now! Kane Hodder’s Jason is a longtime favorite, and for good reason. His Jason is hulking, menacing, and cuts through crowds of nubile young people like a hot knife through butter. However, it’s a damn shame that he showed up right when the franchise was going off the rails, because beyond the telekinetic battle at the end of The New Blood, he only gets a few proper showcase moments scattered throughout his quadrilogy.
He genuinely looks great in his first two movies, though. The rotting zombie face of New Blood and the slimy river rat look of Jason Takes Manhattan are the masked and unmasked versions of Jason that I probably picture the most.
#1 Baghead Jason (Steve Daskewisz masked & Warrington Gillette unmasked, Friday the 13th Part 2)
Betcha didn’t expect to find him here, did you? Now, look. I love the hockey mask. More than the bag. But Steve Dash is acting the hell out of this version of Jason, setting the template for what the adult version of this character could be, now that he has been released from his zombie child shell. Somehow. This makes him a perfect foil for Ginny, who is the best-acted and most effective final girl from the franchise and deserves a worthy opponent.
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