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Horror 101: Gene Mapping the Legacy of Jurassic Park

The first Jurassic Park film culminates with a banner that reads “When Dinosaurs Ruled the Earth” billowing toward the ground before a triumphant Tyrannosaurus rex. There was also a time when one could look back fondly on when dinosaurs ruled the silver screen, with the original trilogy being about the consequences of manipulating dino DNA for our entertainment ending back in 2001. Fourteen years later, however, the franchise that was bioengineered by Steven Spielberg in 1993 from the Michael Crichton novel of the same name had been brought back from extinction with Jurassic World. Cut to February 2025, and the first trailer has released for Gareth Edwards’ Jurassic World: Rebirth, a requel of the reboot trilogy – the 7th in the franchise – and you may be wondering how exactly we went from Sam Neil having a panic attack over a majestic Brachiosaurus to Scarlett Johansson, Mahershala Ali, and Fiyero from Wicked going toe-to-toe with a mutated “Xenorancor rex.”

The deeper you dive, the more convoluted and, as much as I hate to say it, contrived the franchise and its lore become; besides the films, there are comics, video games, TV series, and more to explore. In the essence of simplicity, I’m here to lay out the facts of the film franchise alone. The original is hands-down one of the best films of all time with SFX that holds up to this day, and the rest of the bunch are great summer popcorn fun if you turn off the Letterboxd Snooty Cinephile Filter in your brain. So, in honor of the great Mr. DNA, let’s slice open some prehistoric celluloid and get down to it! founder John Hammond, “You never had control.”

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The first Jurassic Park film culminates with a banner that reads “When Dinosaurs Ruled the Earth” billowing toward the ground before a triumphant Tyrannosaurus rex. There was also a time when one could look back fondly on when dinosaurs ruled the silver screen, with the original trilogy being about the consequences of manipulating dino DNA for our entertainment ending back in 2001. Fourteen years later, however, the franchise that was bioengineered by Steven Spielberg in 1993 from the Michael Crichton novel of the same name had been brought back from extinction with Jurassic World. Cut to February 2025, and the first trailer has released for Gareth Edwards’ Jurassic World: Rebirth, a requel of the reboot trilogy – the 7th in the franchise – and you may be wondering how exactly we went from Sam Neil having a panic attack over a majestic Brachiosaurus to Scarlett Johansson, Mahershala Ali, and Fiyero from Wicked going toe-to-toe with a mutated “Xenorancor rex.”

The deeper you dive, the more convoluted and, as much as I hate to say it, contrived the franchise and its lore become; besides the films, there are comics, video games, TV series, and more to explore. In the essence of simplicity, I’m here to lay out the facts of the film franchise alone. The original is hands-down one of the best films of all time with SFX that holds up to this day, and the rest of the bunch are great summer popcorn fun if you turn off the Letterboxd Snooty Cinephile Filter in your brain.

So, in honor of the great Mr. DNA, let’s slice open some prehistoric celluloid and get down to it! 

All About the Jurassic Park Franchise

How Exactly Did They Dig Up Those Dinosaurs?

When I attempted to read the novel as a kid, the dense scientific lingo explaining the intricacies of how Jurassic Park got its start proved hard to comprehend, after all – to borrow a quote from the extravagant Russian diva Katya Zamolodchikova: “I don’t know. I’m not a scientist.”

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Screenwriter David Koepp and director Spielberg did their damndest to whittle it down into layman’s terms with great success, so here’s the gist of it in easy order:

  1. Extract dinosaur DNA from the blood of pesky mosquitoes that have been trapped in amber for millions of years.
  2. Since DNA degrades over time, fill in the gaps with amphibian (in this case, frog) DNA.
  3. Commit further genetic manipulation by making all of the dinosaurs female and lysine (an essential amino acid) deficient, retaining control over the population through an inability to procreate and a dependence on supplements.
  4. Use the completed DNA strands to clone dinosaurs in the lab and birth the embryos in artificial eggs.

To have an exciting movie franchise, one or more of these things must go awry, and so they do. Because certain amphibians can change sex due to environmental conditions, Dr. Alan Grant (Sam Neil) discovered that the dinosaurs began to breed in captivity despite their all-female engineering. And that lysine contingency that would cause the dinos to die off if not given specific supplements? Yeah, they ended up getting enough elsewhere in their diets. So, while a power outage due to corporate espionage is what ultimately sets the creatures free in the park, these two critical scientific oversights explain how life finds a way so that the ancient beasts can survive in the wild throughout the franchise. As paleontologist Ellie Sattler (Laura Dern) admonished park founder John Hammond, “You never had control.”

Who Are the Major Players?

Before going any further, it is best to rattle off some names and nouns within the franchise to arrive at our mutated dino freakshow destination as efficiently as possible. And though the films contain a multitude of famous faces and iconic characters ranging from Neil, Dern, and Jeff Goldblum to Chris Pratt, Bryce Dallas Howard, and even Julianne Moore – they are all mainly irrelevant to the gene-splicing drama we’re here to get to the bottom of.

  • John Hammond (Richard Attenborough): Scottish venture capitalist with big dreams, Hammond learns the truths of chaos theory the hard way when his early access tour of the world’s first dinosaur theme park turns deadly. He survives the ordeal but later dies of natural causes in 1998.
  • Benjamin Lockwood (James Cromwell): Introduced in the 5th film, Fallen Kingdom, we learn that Lockwood was besties with Hammond and a co-founder of their biotech company, InGen, before a falling out over the morals of turning their cloning efforts toward human experimentation.
  • InGen (International Genetic Technologies): Responsible for the pair’s dino cloning efforts, InGen ran various facilities on a group of islands sold to the company by the Costa Rican government ominously nicknamed Las Cinco Muertes (The Five Deaths). After the disastrous events of the first film, InGen was later bought by Masrani Corp, which created the fully operational Jurassic World sequel park in 2005.
  • BioSyn: InGen’s much more nefarious rival company that seeks to exploit the dinosaur population through military and pharmaceutical means. They are responsible for the theft of embryos in the first film, which leads to the park’s power outage and shutdown, as well as the ecological disaster our heroes must stop in Jurassic World: Dominion.
  • Isla Nublar: The main island where the original park and its sequel park, Jurassic World, reside. During the events of Fallen Kingdom, a volcano erupts and destroys the island and its remaining dinosaurs.
  • Isla Sorna: Also known as Site B, it is where InGen bred their dinosaurs and serves as the setting for the second and third films. Following those sequels, the dinosaurs were left on the island to roam free.
  • Dr. Henry Wu (BD Wong): InGen’s chief geneticist, Wu worked for the company up through the events of Jurassic World before turning to its rival BioSyn. He redeems himself for his questionable work in genetic engineering by helping the protagonists at the end of Dominion.
  • Charlotte & Maise Lockwood (Isabella Sermon): Charlotte was Benjamin Lockwood’s daughter and a brilliant scientist who successfully impregnated herself with her clone (yes, it goes there) in an elaborate workaround for her fertility issues. After giving birth to her daughter/clone, Maise, she dies due to a genetic disorder. In classic sci-fi fashion, evildoers at BioSyn seek to study Maise to better understand the cloning process.
  • Indominous rex: The franchise’s first monstrous hybrid leads the charge of what’s to come. Created by Dr. Henry Wu under the orders of the Masrani Corp. to serve as a shocking exhibit at Jurassic World, it is a terrifying hybrid of T-rex, Velociraptor, cuttlefish, tree frog, and snake DNA. Larger and more deadly than the T-rex, it has the agility of a raptor and the flexible jaw of a snake, along with the ability to camouflage and regulate its body temperature.
  • Indoraptor: Designed by Wu to be a smaller and more efficient version of the Indominous, its primary use is as a terrifying bioweapon for sale on the black market. 

Is Bigger Always Better?

After the pretty straightforward events of the original trilogy, Jurassic World resurrected the franchise in 2015 by bringing us into a fully functional luxury dino resort on Isla Nublar. In operation for ten years, Masrani felt the public was becoming jaded by the shock and awe of these ancient reptiles. Rather than becoming complacent, Dr. Henry Wu created the Indominous rex to satiate our ever-over-it appetites — a fatal mistake. Unlike the events of the first film, which saw destruction come at the hands of meddling men, the Indomious breaks free all on its own because it’s just that good. Personnel and park-goers alike are subsequently ripped through like barbeque, including the most violent death the franchise had seen yet, and the dream that began decades ago as a twinkle in John Hammond’s eye was condemned once more. The Indominous also met its end, shuttered between the jaws of the aquatic giant, Mosasaurus.

So Is the Jurassic Park Franchise Scary?

While the sequels have always been fun, sweaty adventures in their own right, that visceral fear that made audiences drip with terror back in 1993 had largely been missing from the franchise. Despite taking plot points straight out of the 5th sequel playbook with human cloning and black market dealings, Jurassic World: Fallen Kingdom miraculously stuck the landing in the horror department. The first half, which finds our heroes Owen Grady (Pratt) and Claire Dearing (Howard) attempting to save as many dinosaurs as possible on Isla Nublar before the volcano destroys them all, includes its fair share of thrilling sequences. It’s the latter half, however, that shines in a way not seen since Spielberg’s original. Set entirely at Lockwood Manor in Northern California during the night of a black market dino auction, all hell breaks loose when the Indoraptor frees itself from confinement. It’s dark, menacing, and the stuff of nightmares; everything I imagined as a kid under the covers in my bedroom after watching Jurassic Park all those years ago – and hopefully, the direction we see Rebirth head.

What About Jurassic World: Dominion (2022)?

We don’t talk about her. It’s the worst of the bunch, propped up by a few decent set pieces and fan service that reunites the original trio for a few cute moments. Instead of focusing on the fact that dinosaurs are now running wild around the world following the events of Fallen Kingdom, the plot somehow revolves around an ecological disaster caused by mutant locusts engineered by Dr. Wu. It’s The Rise of Skywalker all over again.

Jurassic World: Rebirth and the Isle of Misfit Dinos

Much remains unknown about the plot of this Gareth Edwards-directed requel, but what morsels we’ve seen look like a potential return to form. What we can gather from the trailer is that Zora Bennett (Johansson) and Duncan Kincaid (Ali) are mercenary types hired to travel with Dr. Henry Loomis (Jonathan Bailey) to one of the presumed Las Cinco Muertes so that they can recover specimens from the three largest dinos of land, sea, and air in search for a cure for heart disease. The island is known to be the home of the failed dino clones from InGen’s past – everything these corporations have sought to leave behind – and the trailer teases us with seemingly enhanced or altogether different versions of iconic beasts we’ve seen throughout the franchise. It builds to reveal a disfigured and partially obstructed beast that Edwards described to Vanity Fair as part Rancor (of Star Wars), part H.R. Giger (of Alien fame), and a little bit of T-rex.

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Sure, the “capture three legendary dinos” plot sounds like something out of a video game. Still, after the disaster of Dominion, the franchise needed to step away from the previous films, and with monster movie auteur Edwards and OG screenwriter Koepp at the helm, things sound promising. By doubling down on long-time themes of man vs. nature and the enduring consequences of genetic manipulation rather than focusing on giant bugs and cloned little girls, Rebirth has hopefully ventured into the proper jungle. And, in alignment with our goals here at Horror Press, Hammonds’s broken dreams have continued their ripple effect of tearing people limb from limb.

We are so back.

Jurassic World Rebirth is heading to theaters on July 2, 2025.

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Alex Warrick is a film lover and gaymer living the Los Angeles fantasy by way of an East Coast attitude. Interested in all things curious and silly, he was fearless until a fateful viewing of Poltergeist at a young age changed everything. That encounter nurtured a morbid fascination with all things horror that continues today. When not engrossed in a movie, show or game he can usually be found on a rollercoaster, at a drag show, or texting his friends about smurfs.

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Misc

NYCC 2025 Horror Highlights: A Sneak Peek at ‘The Lost Boys’ Musical, ‘Resident Evil: Requiem,’ and More!

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As soon as New York Comic Con announced that its 2025 theme would be “haunted,” I started lacing up my comfy shoes and making a beeline for the Javitz Center! Horror has always been represented at the con, but it felt fitting that it should play a central role in this year’s event at a time when the genre seems more popular than ever. 

From beloved family-friendly properties like The Nightmare Before Christmas to pants-dampening titles like the upcoming Resident Evil: Requiem, horror appeared in countless shapes and forms. Here are all the best and scariest insights I gleaned from the show floor, panel rooms, and pop-ups of New York Comic Con 2025! 

Our NYCC 2025 Horror Highlights

Resident Evil: Requiem Is Going to Test Your Bladder Strength

Full disclaimer: I’m not a gamer. I’m honestly pretty bad at games, which made my Resident Evil: Requiem play session all the more frightening because I was convinced that everyone around me would realize I’m a fraud. But with easy-to-grasp controls, even for a newb like me, the latest installment in the iconic horror franchise quickly sucked me in and left me on edge for entirely different reasons. 

During my 30-minute session, I was introduced to FBI analyst Grace Ashcroft, Requiem’s central character. She swims to consciousness to find herself strapped upside down on a gurney with a needle in her arm, siphoning her blood. After Grace managed to free herself, the controls were handed over to me to explore the creepy facility through Grace’s eyes, looking for a fuse. Some spaces were bathed in red light; others were lit only by flickering bulbs that left me white-knuckling the controller, waiting for something to emerge from the shadows and swallow me whole, not helped by Grace’s anxious, stuttering breathing in my ear. 

I took a moment to appreciate how detailed video games have become since my childhood experiences playing Evil Dead: Hail to the King on the original PlayStation (seriously, you can see the dust drifting in beams of light now?!), only for the sound of movement somewhere in the facility to yank me back to the present. I renewed my frantic search for the fuse, only to run blindly into a pitch-black room and encounter something enormous that dragged me into the darkness. Sorry, Grace!

You can find out what happens next when Resident Evil: Requiem releases for the PlayStation 5, Xbox Series X|S, PC, and Nintendo Switch 2 on February 27, 2026.

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Megan Fox Is Among the New Cast Members in Five Nights at Freddy’s 2—And Blumhouse Hasn’t Given Up on Its Other m3gan Yet

Blumhouse made several announcements at their NYCC panel, most notably that Megan Fox (Jennifer’s Body) is voicing Toy Chica in director Emma Tammi’s highly anticipated sequel Five Nights at Freddy’s 2, coming to theaters on December 5. Other new additions to the cast include YouTuber Matthew Patrick, aka MatPat, who cameoed in the first movie and will voice Toy Bonnie, and Kellen Goff, who has voiced multiple characters in the game series and will now lend his pipes to Toy Freddy.

I’m interested in Five Nights at Freddy’s 2, not least because my best friend is terrified of the franchise and makes a wildly entertaining moviegoing companion—but I’m more interested in the future of another Blumhouse franchise, M3GAN. After the sequel underperformed, likely due in part to its hard genre pivot away from horror and into action territory, the future of the killer doll is uncertain. But in a special industry presentation on “The Business of Fear,” Jason Blum revealed that “we’re all working to keep M3GAN alive,” adding that Blumhouse is exploring other potential mediums before trying to resurrect her on film. 

Does that mean a M3GAN video game might come our way in the future, or perhaps a TV series? I don’t know, but I have a feeling this isn’t the last we’ve seen of the silicone diva.

Photo taken by Samantha McLaren.

The Lost Boys: A New Musical Will Feature Flying Stunts and a Live Vampire Band

My queer heart is a sucker for musical adaptations of horror films I love, so you can be certain that I’ll be heading down to the Santa Carla Boulevard—aka Broadway’s Palace Theater—for The Lost Boys: A New Musical, which begins previews on March 27, 2026. At their NYCC panel, producer Patrick Wilson (The Conjuring franchise), director Michael Arden (Maybe Happy Ending), and cast members LJ Benet, Ali Louis Bourzgui, and Maria Wirries revealed why they feel Joel Schumacher’s 1987 classic translates so well to the stage, and what audiences can look forward to. 

“There’s something that I see with both horror movies, musicals, and superhero movies—there’s an element of melodrama that’s really rewarding,” says Wilson, who began his career in musical theater and worked with Schumacher on the director’s 2004 film adaptation of The Phantom of the Opera. “Some people view it as camp, but there’s a reality of it being heightened that felt like this story cemented itself so much to being a musical.”

“They’re a biker gang, after all, and there’s a level of theatricality to that in and of itself,” says Arden. “Our biker gang also happens to play instruments.” 

That’s right: the vampires will be playing instruments live on stage, which made casting twice as hard. Ali Louis Bourzgui, who plays David, the character portrayed by Kiefer Sutherland in the film, reveals that he plays guitar. And that wasn’t the only unusual request in the casting call: auditions included a flying test. (Presumably wires were involved, unless Arden has found himself a real cabal of vampires in his cast.)

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Other highlights that fans can look forward to include killer music from one of Arden’s favorite bands, The Rescues. You can listen to the song “Have to Have You” right now, featuring instrumentals from Slash. The director also teases that many fan-favorite moments from the film will feature in some way in the musical, including the bridge scene and, yes, even the sexy saxophone guy. 

Greg Nicotero’s Guts & Glory Marks a New Challenge for a Legend of the Business

If you like looking at gnarly practical effects in horror movies, chances are you’re familiar with Greg Nicotero’s work, whether you realize it or not. The legendary SFX artist has worked on everything from George Romero’s Day of the Dead and Sam Raimi’s Evil Dead II to Kill Bill and, more recently, The Walking Dead. The impressive extent of his resume was made clear at the panel “Shudder is Here to Scare the S*** Out of You,” in which almost any film mentioned by the other panelists was met by a small smile and a humble murmur of “worked on that” into the mic, often followed by a wild anecdote. Nicotero seems like the most interesting man in the world to grab a drink with, and his new horror competition show for Shudder—Guts & Glory—will let us see more of the man behind the makeup brush.

Guts & Glory is one of the most fun times I’ve had on a show,” Nicotero says, teasing that the series is “part Sam Raimi, part Halloween Horror Nights, and part Survivor.” 

In the six-episode first season, contestants are dropped into an Alabama swamp, where there’s an urban legend about an evil spirit. “One of the contestants gets possessed by the evil spirit, people start dying off, but in the meantime, they’re still competing and there’s a prize,” Nicotero explains.

Guts & Glory is effects-heavy, which was challenging to do in an unscripted series relying on real people’s real-time reactions. “You do a movie, you can cut and try it again,” Nicotero explains. “[This] was completely out of my wheelhouse and out of my comfort zone, but I’m really, really proud of it.”

Nicotero’s Creepshow was one of the first original shows to debut on Shudder, so he’s truly part of the DNA of the horror streamer, which celebrated its 10th anniversary this year. Guts & Glory premieres on October 14 as part of Shudder’s Season of Screams programming.

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Horror Short The Littles Deserves the Big-Screen Feature Treatment

Some short films are perfectly suited to their bite-sized format, while others contain the seeds of something much bigger. At the New York Premiere of The Littles, a new short written and directed by American Horror Story producer Andrew Duplessie, I could immediately see the potential for the feature film that Duplessie hopes to make. 

Equal parts charming and unsettling, The Littles stars M3GAN’s Violet McGraw as a little girl with a loose floorboard in her bedroom. One night, a scuffling sound and a crack of light between the boards lead the little girl to discover that her family isn’t alone in the house… 

Duplessie says The Littles was inspired by his own experiences growing up in a creaky old house with a no-doubt overactive imagination. The short features creepy-cute stop-motion animation from Anthony Scott (The Nightmare Before Christmas), puppets by Katy Strutz (Guillermo del Toro’s Pinocchio), and some truly adorable miniature sets by Aiden Creates, all blended perfectly with the live-action scenes. Check it out if it’s playing at a festival near you, and watch this space for a (fingers-crossed) future feature! 

Photo taken by Samantha McLaren.

Disney Publishing’s New The Nightmare Before Christmas Tie-in Novel Welcomes Younger Fans into the Scary Fun

NYCC’s horror happenings weren’t all geared toward an adult audience. Disney Publishing took over Daily Provisions Manhattan West for a pop-up experience inspired by The Nightmare Before Christmas, featuring themed food and drinks like a delectable Pumpkin Potion coffee that I could honestly drink all season long. 

At a media and creator event in the space, I took a look at the newly released Hour of the Pumpkin Queen from New York Times best-selling author Megan Shepherd, who also wrote the official novelization of The Nightmare Before Christmas for the film’s 30th anniversary in 2023. In this new tie-in novel, Sally and her rag doll apprentice, Luna, embark on a time-bending adventure to save Jack Skellington and Halloween Town after falling through a mysterious portal.

I was gifted a copy of the book by Disney, but all opinions are my own here. I’m looking forward to giving it a read during the inevitable Halloween hangover that takes place in November, before likely passing it on to my young nieces when they’re old enough. It’s a full novel, not a picture book, so definitely geared more toward a YA audience, but between the beautiful artwork on the cover and the seasonal theme, it might just be the perfect gift for the budding horror lover in your life. 

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That’s a wrap on New York Comic Con 2025! Be sure to bookmark Horror Press if you haven’t already so you never miss our coverage of conventions, festivals, and more. 

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Misc

[INTERVIEW] Musings on Monstrous Menstruation with the Cast and Crew of ‘The Cramps: A Period Piece’

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Periods suck. Everyone who menstruates will tell you that, yet this annoying, often painful thing that happens to our bodies for one week out of every month for most of our lives is conspicuously absent from most media. When periods do crop up in horror movies in particular, they tend to be linked to the downfall of the person experiencing them. Writer-director Brooke H. Cellars’ movie The Cramps: A Period Piece is the rare exception.

Inspired by the filmmaker’s own struggles with endometriosis, an underdiagnosed condition that leads to immensely painful periods, The Cramps follows Agnes (newcomer Lauren Kitchen), whose period cramps manifest in strange and monstrous ways. But, crucially, Agnes Applewhite herself is never framed as a monster, just a shy young woman trying to escape her repressive family life and find her place in the world. She gets one step closer after accepting a job offer to be the shampoo girl at a local salon run by Laverne Lancaster (drag queen Martini Bear) and staffed by kooky characters like the prudish Satanist Teddy Teaberry (Wicken Taylor) and the ditzy Christian Holiday Hitchcocker (Michelle Malentina). All the while, Agnes’ cramps are wreaking havoc on the rude men and dismissive doctors that she encounters.

A spiritual successor to the kind of movies John Waters was putting out in the 1970s, The Cramps: A Period Piece is equal parts funny, campy, and heartfelt, bolstered by fun practical effects that horror fans will love. I sat down with Cellars, Kitchen, and Taylor to chat about the future cult classic after its Fantastic Fest 2025 debut.

The following interview has been lightly edited for clarity and conciseness.

An Interview with Director Brooke H. Cellars and Actors Lauren Kitchen and Wicken Taylor of The Cramps: A Period Piece

Samantha McLaren: Brooke, this film is inspired by your own journey with endometriosis. How do you find the humor in what was presumably a difficult situation over many years?

Brooke H. Cellars: Being suppressed and growing up with no friends, I had to figure out my own way in life. And when people would make fun of me, I kind of had to develop a thicker skin through humor. That was the only way I could get through—by making light of things, or trying to make people laugh, being the weirdo, saying stupid things. That’s how I connected with people, just being ridiculous with each other. And it grew to where I actually had a sense of humor.

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I guess that’s kind of like a mask in dealing with what’s actually going on, my family life or being in pain… So when I wrote the story, it came naturally. I didn’t want to make it scary, because it’s scary in real life. I wanted something entertaining but meaningful, and to connect with people in a way where they can be outspoken and it’s okay. I want it to be cathartic for them, and to maybe make them forget for a little while, but also feel a place of warmth in a horror movie where they least expect something.

It’s so rare to see any horror film about periods, but especially one that isn’t about the abjection of periods. I’m curious how you approached making it funny but not at the expense of people who menstruate, while also finding the horror and making it a positive, uplifting story.

BHC: When I started making short films, I just wanted to make a slasher, because I love old, 1970s slashers. So when we made [“The Chills,” Cellars’ first short from 2019] for no money in my house with my husband and his sisters, who are not actors, I knew I wanted to make scary stuff, but I didn’t know I wanted to say something else. It does say something, but I didn’t do that intentionally—I was just trying to make a scary movie, but it’s like something was trying to come out of me.

It came out when we finally made Violet Butterfield: Makeup Artist for the Dead (2022), which is kind of set in the same world as The Cramps. We shot it on film and kind of developed the world, and just put more intention into it and more of myself, my story, and being finally honest about what’s going on. At the same time, I had stopped talking to my family. I was finally living my life in my late 30s and got into filmmaking, as I’d wanted since I was a kid and never thought would happen. I just said, fuck it—this is what I’ve always wanted to do, I’m running with it, and I’m doing what I want now. I knew the story I wanted to tell, because I was still going through it while I was writing the script. I was having my hysterectomy. Finally, somebody was helping me with my endometriosis, after like 15,000 doctors told me “sorry.”

Lauren, this is your first role—how did you come to be involved in the project, and what drew you to the script?

Lauren Kitchen: I knew Holiday, played by Michelle [Malentina], and I knew Pussy D’Lish [Jude Ducet], who played Clydia. We had just done a community theater production of Rent together. And I followed Brooke… I was a fan of “Violet Butterfield” and the whole aesthetic, so I wanted to follow up on their Instagram. And then I saw an audition announcement for The Cramps, and I just loved it—it had the sixties florals, so cute. I’ve always been told I’m like an old soul, so I was like, I should go for it.

I remember saying to Jude that I really relate to the main character, but I probably won’t get it, I don’t have the experience. I went into in-person auditions fully thinking, “I’m not gonna get it, but at least I’ll give myself a pat on the back for doing it.” And it turns out, when you go in thinking you won’t get it, you get it!

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Wicken Taylor: She killed.

LK: Everyone was so supportive, and having done stage acting and studying it in school helped to bridge the gap between stage and film. There are times when you have to make adjustments. I love the subtleties of film. On stage, you’re acting for the back row, but then in film, you can do something as subtle as an eye movement that you can say so much.

You being new to film brought something so interesting to the role, because there’s that vulnerability—you’re finding your confidence in a way that mirrors Agnes’ journey.

LK: Agnes is finding herself and her chosen family, and I’m also finding Lauren and my confidence through it.

There are so many references and visual homages in the film—obviously John Waters, but also The Tingler, and so many films that I grew up loving. I’m curious if Brooke gave you all homework to watch?

LK: I watched Peeping Tom.

WK: And The Red Shoes. Blood and Black Lace. And she had me watch [The Jerk] because Bernadette Peters was an inspiration for Teddy, and then also Grease for Frenchy.

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LK: Female Trouble. And I watched Cry-Baby too for Johnny Depp.

One thing that drew me to The Cramps is that there’s so much drag talent in the film—drag kings as well as queens, and bearded queens, which you don’t often see. It was subversive when John Waters featured drag performers in his films in the 1970s, and it has somehow looped back around to being subversive again. Brooke, how important was it for you to have that queer element in this story?

BHC: Very important. My own family never accepted me for anything, and that’s why things were so confusing. I always thought I had a normal family, and I definitely didn’t have a normal family. They treated me as if I wasn’t normal. Of course, I wasn’t, but it was okay—I just didn’t know it was okay to be who I was. I didn’t have a lot of friends, and even my brothers and sisters bullied me; my parents bullied me. I was bullied till I was a senior, and even when I was an adult.

Nobody was embracing me. I came from a very small conservative town and a conservative family, so I was always ashamed to be me, even though I couldn’t stop being me. […] It was when I moved away from home to the “big city” of Lafayette, Louisiana [laughs], I started waiting tables and stuff, just doing my own thing, and it was the queer community that I was always told “don’t talk to those people”… these are the people that told me it’s okay to be me. They had so much confidence that I wanted to have. They accepted me, they supported me. They made it so comfortable to just be myself. […] I think a chosen family is very important, and I wanted to celebrate them along with what I’m going through. They’re a part of me.

The hair salon feels like the perfect encapsulation of that chosen family, full of weirdos who found each other. Speaking of, I want to talk about Teddy, because I’m obsessed with Teddy. Wicken, how did you find the right tone for that character who is the perfect subversion of the typical church lady, but also so deadpan, and so kind?

WT: Brooke writes amazing characters. I was like, what do you mean? And she said, “darkness is goodness.” So I took that away and I interviewed a Satanist, and I was doing research, but because this is not our world, it’s a fantastical world that Brooke created, I had so much freedom. So, what is Satanism to Teddy? And what I love so much about her is that we can see that she’s a good person—it just kind of radiates from her. She embodies the idea that it’s okay to be you, that you are loved, and that you are one of us, and that you are safe.

One of my most favorite things about the relationships in the film is that Holiday and Teddy are best friends. Holiday is a Christian—a cursing Christian—and Teddy is a prude Satanist, and they’re best friends.

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How did you build the aesthetic for the film? It picks and chooses from a lot of different decades, but still feels like a cohesive pocket universe.

BHC: It’s very difficult to explain things inside my head. I’ve been working with Levi [Porter, director of photography] and Madeleine [Yawn, producer] since the beginning of time. Like, every single movie we’ve made together, and so they can decipher my language and what I mean.

But when I’m creating these worlds, I’m not very fixated on one thing, like “it has to be horror!” I wanted to really intentionally make a movie of all kinds of genres and blend them together, because they’re coming from one place, even though they’re different. I’m just giving how I view the world, and yeah I take from different decades, different movies, and they’re all the same love to me.

The Cramps: A Period Piece celebrated its world premiere at Fantastic Fest 2025. Keep an eye out for its wider release, because this is not one to miss.

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