Movies
‘May’ (2002): A Bloody Queer Allegory of Sexuality in Horror
A bloody, empty eye socket. The strangest Vet in cinema history. A bloody pair of scissors. A collection of body parts. Somehow, to this day, these compiled images make up one of the most honest, realistic depictions of Bisexuality and Pansexuality to date. Director Lucky McGee’s May might not have appeared like anything other than indie horror fare to audiences at release. Still, this tragic gorefest of an indie drama is oft-forgotten and underlooked as a queer allegory.
Angela Bettis’ Haunting Portrayal of a Queer Antihero in May
The film follows the titular protagonist, May, played beautifully by Angela Bettis. Bullied growing up for her lazy eye and strange demeanor, May’s only true friend was an eerie glass doll named Suzie. As an adult Veterinarian, she lives as a lonely introvert, awkwardly yearning for romantic attention. But as rejections build up, she begins to act violently, murdering those who mistreat her, and collecting body parts of failed romantic prospects to build a comfort of her own.
The film is a beautifully sad, mumblecore horror story that feels like a 2000s indie flick like Ghost World drenched in blood, with a tad of Carrie and Tim Burton thrown in for good measure. However, what is very little remembered is the film’s queer subtext. May herself is casually queer, and the film’s morbid finale is a clearcut analogy for bisexual desire.
The Subtle Power of May’s Approach to LGBTQIA+ Themes
What is fascinating about May is how casually it approaches its LGBTQIA+ subject matter. Unlike other films at the time, which usually made gay characters the butts of jokes, or when being sympathetic usually became trauma porn, May approached the subject maturely.
Most queer characters were additionally shoved into binary boxes of gay or straight, with bisexuality being a rare, if ever-thought-about concept. If a character had a same-sex interest, they were either confused and straight, or on the verge of having a gay awakening.
May is offbeat for many reasons, with her strange interests, shy demeanor, and lazy eye. Still, her experience with bullying and dealing with a hateful world stands parallel to the queer experience.
Breaking Binary Norms: Bisexuality in Early 2000s Cinema
May herself is bisexual, vying for affection both from men and women in the film. However, it is never obviously stated and forcefully approached. She just is, without it ever being a point of contention and something to be reckoned with. Her outsiderness, and feelings of lack of belonging resonate strongly with Queer audiences. Yes, she is a violent, murderous psychopath, which may not strike all Queer audience members fondly, but it is a deeply metaphoric allegory, a tragic story of a girl searching for belonging. Without the blood and guts, it would probably sit alongside dramedies of the time more akin to Juno.
Despite the bloodshed, what helps cement this character as a relatable one is how it truly is a stream-of-consciousness film. The movie focuses on its titular character the entire time, never leaving her headspace or treating her like a villain. Despite the deplorable actions done to characters who probably just needed a slap to the face instead of a knife to the neck, the movie creates a bleak atmosphere for her headspace. The world of May is a cold, uncaring, lonely place, and despite the violent overreactions, she feels justified every single step of the way.
May is, without a doubt, a complicated, deep character, her violent flaws a product of an unloving society. It is not hard to see the comparisons to more traditionally gay or bisexual protagonists, despite this one being written through the lens of some nasty kills.
The Metaphoric Frankenstein of Pansexual Longing in May
Throughout May, Angela Bettis’ character went through a plethora of victims. A young punk (James Duval) with a Frankenstein tattoo, snobby filmbro Adam (Jeremy Sisto) and his Girlfriend (Nora Zehetner), her Lesbian co worker Polly (Anna Faris), and Polly’s Girlfriend Ambrosia (Nichole Hiltz). Her murders seem to fall in line with her romantic interests, gender not seeming to matter in the slightest.
An androgynous punk, a straight couple, and a Lesbian couple all fall victim and simultaneously all interest her romantically. Her final act, teased throughout the film, is taking select body parts from each person to create her one true love, a Frankenstein’s Monster of a doll named Amy. After ripping out her own lazy eye (gross) and placing it on her creation, she has created a terrifying metaphor for pansexual or bisexual longing.
Pansexuality, essentially, is similar to but different than Bisexuality. It is an attraction to a person without any care for gender, whether they be cis, trans, non-binary, or any other gender identity. May seems to care only for these people’s souls, what gender they are is not as significant. At the end of the day, though, she chooses masculine and feminine characteristics alike to create an androgynous, genderless lover. It is an interesting symbol of queer longing, her attraction simultaneously existent for specific body parts of men and women alike, but also to make a creation that is ultimately neither.
May is definitely dated in some regards, yet it is miles ahead of its time. Its nuanced look at queerness, and morbid symbolism that is more sad than scary, makes it a cult classic. This pride month, May might be the perfect gem to watch. It is, pun intended, a dissectible film, to say the least, and has much more to say than 2002 audiences may have anticipated.
Editorials
‘Ready or Not’ and the Cathartic Cigarette of a Relatable Final Girl
I was late to the Radio Silence party. However, I do not let that stop me from being one of the loudest people at the function now. I randomly decided to see Ready or Not in theaters one afternoon in 2019 and walked out a better person for it. The movie introduced me to the work of a team that would become some of my favorite current filmmakers. It also confirmed that getting married is the worst thing one can do. That felt very validating as someone who doesn’t buy into the needing to be married to be complete narrative.
Ready or Not is about a fucked up family with a fucked up tradition. The unassuming Grace (Samara Weaving) thinks her new in-laws are a bit weird. However, she’s blinded by love on her wedding day. She would never suspect that her groom, Alex (Mark O’Brien), would lead her into a deadly wedding night. So, she heads downstairs to play a game with the family, not knowing that they will be hunting her this evening. This is one of the many ways I am different from Grace. I watch enough of the news to know the husband should be the prime suspect, and I have been around long enough to know men are the worst. I also have a commitment phobia, so the idea of walking down the aisle gives me anxiety.
Grace Under Fire
Ready or Not is a horror comedy set on a wealthy family’s estate that got overshadowed by Knives Out. I have gone on record multiple times saying it’s the better movie. Sadly, because it has fewer actors who are household names, people are not ready to have that conversation. However, I’m taking up space this month to talk about catharsis, so let me get back on track. One of the many ways this movie is better than the latter is because of that sweet catharsis awaiting us at the end.
This movie puts Grace through it and then some. Weaving easily makes her one of the easiest final girls to root for over a decade too. From finding out the man she loves has betrayed her, to having to fight off the in-laws trying to kill her, as she is suddenly forced to fight to survive her wedding night. No one can say that Grace doesn’t earn that cigarette at the end of the film. As she sits on the stairs covered in the blood of what was supposed to be her new family, she is a relatable icon. As the unseen cop asks what happened to her, she simply says, “In-laws.” It’s a quick laugh before the credits roll, and “Love Me Tender” by Stereo Jane makes us dance and giggle in our seats.
Ready or Not Proves That Maybe She’s Better Off Alone
It is also a moment in which Grace is one of many women who survives marriage. She comes out of the other side beaten but not broken. Grace finally put herself, and her needs first, and can breathe again in a way she hasn’t since saying I do. She fought kids, her parents-in-law, and even her husband to escape with her life. She refused to be a victim, and with that cigarette, she is finally free and safe. Grace is back to being single, and that’s clearly for the best.
This Guy Busick and R. Christopher Murphy script is funny on the surface, even before you start digging into the subtext. The fact that Ready or Not is a movie where the happy ending is a woman being left alone is not wasted on me, though. While Grace thought being married would make her happy, she now has physical and emotional wounds to remind her that it’s okay to be alone.
One of the things I love about this current era of Radio Silence films is that the women in these projects are not the perfect victims. Whether it’s Ready or Not, Abigail, or Scream (2022), or Scream VI, the girls are fighting. They want to live, they are smart and resourceful, and they know that no one is coming to help them. That’s why I get excited whenever I see Matt Bettinelli-Olpin and Tyler Gillett’s names appear next to a Guy Busick co-written script. Those three have cracked the code to give us women protagonists that are badasses, and often more dangerous than their would-be killers when push comes to shove.
Ready or Not Proves That Commitment is Scarier Than Death
So, watching Grace run around this creepy family’s estate in her wedding dress is a vision. It’s also very much the opposite of what we expect when we see a bride. Wedding days are supposed to be champagne, friends, family, and trying to buy into the societal notion that being married is what we’re supposed to aspire to as AFABs. They start programming us pretty early that we have to learn to cook to feed future husbands and children.
The traditions of being given away by our fathers, and taking our husbands’ last name, are outdated patriarchal nonsense. Let’s not even get started on how some guys still ask for a woman’s father’s permission to propose. These practices tell us that we are not real people so much as pawns men pass off to each other. These are things that cause me to hyperventilate a little when people try to talk to me about settling down.
Marriage Ain’t For Everybody
I have a lot of beef with marriage propaganda. That’s why Ready or Not speaks to me on a bunch of levels that I find surprising and fresh. Most movies would have forced Grace and Alex to make up at the end to continue selling the idea that heterosexual romance is always the answer. Even in horror, the concept that “love will save the day” is shoved at us (glares at The Conjuring Universe). So, it’s cool to see a movie that understands women can be enough on their own. We don’t need a man to complete us, and most of the time, men do lead to more problems. While I am no longer a part-time smoker, I find myself inhaling and exhaling as Grace takes that puff at the end of the film. As a woman who loves being alone, it’s awesome to be seen this way.
The Cigarette of Singledom
We don’t need movies to validate our life choices. However, it’s nice to be acknowledged every so often. If for no other reason than to break up the routine. I’m so tired of seeing movies that feel like a guy and a girl making it work, no matter the odds, is admirable. Sometimes people are better when they separate, and sometimes divorce saves lives. So, I salute Grace and her cathartic cigarette at the end of her bloody ordeal.
I cannot wait to see what single shenanigans she gets into in Ready or Not 2: Here I Come. I personally hope she inherited that money from the dead in-laws who tried her. She deserves to live her best single girl life on a beach somewhere. Grace’s marriage was a short one, but she learned a lot. She survived it, came out the other side stronger, richer, and knowing that marriage isn’t for everybody.
Movies
The Best Horror You Can Stream on Shudder in January 2026
My New Year’s resolution is to spend more time watching my favorite app. Luckily, Shudder is not taking it easy on us this holiday season, so I may meet my quota this January. The streamer is bringing in the new year with quite a few bangers. We have classics from icons, a new title from the first family of indie horror, and a couple of lesser-known films that have finally found a home. So, I am obviously living for this month’s programming and think most of you will too. I have picked the five films that I believe deserve our collective attention the most. Get into each of them and start your 2026 off on the right foot.
The Best Movies to Stream on Shudder This Month
Carrie (1976)
A sheltered teen finally unleashes her telekinetic powers after being humiliated for the last time. Carrie is the reason I thought proms might be cool when I was a kid. This Brian De Palma adaptation is one of my favorite Stephen King adaptations. It is also an important title in the good-for-her subgenre. I cannot help rooting for Carrie White (Sissy Spacek) when I watch her snap at this prom and then head home to accidentally deal with her mom. The only tragedy of this evening is that Carrie had to die, too. I said what I said, and I will be hitting play again while it is on Shudder. This recommendation goes out to the other recovering sheltered girls who would be the problem if they had powers. I see you because I am you.
You can watch Carrie on January 1st.
Marshmallow (2025)
A shy 12-year-old gets sent to summer camp and finds himself in a living nightmare. While Marshmallow did not land for me, I know plenty of people who love it. Which makes this the perfect addition to the Shudder catalogue. I am actually excited to see more folks fall in love with this movie when it hits the streamer. If nothing else, it will help a few folks cross off another 2025 title if they are still playing catch-up with last year’s movies. It also gets cool points from me for not taking the easy route with the mystery it built. I hope you all dig it more than I did, and tell your friends about it. Perhaps you could even encourage them to sign up for the app.
You can watch Marshmallow on January 1st.
Chain Reactions (2024)
Tobe Hooper’s The Texas Chain Saw Massacre cemented his horror legacy over fifty years ago. So, it is long overdue for a documentary where horror royalty can discuss its impact on them and their careers. I have been waiting for a couple of years to hear Karyn Kusama and Takashi Miike talk about Hooper’s work and how he inspired them. So, I am super geeked that Shudder is finally giving me the chance to see this film. The streamer is also helping the nerds out by adding The Texas Chain Saw Massacre (1974) and The Texas Chain Saw Massacre 2 (1986) this month. If you are also an overachieving couch potato, I will see you at the finish line next week.
You can watch Chain Reactions on January 9th.
In the Mouth of Madness (1994)
An insurance investigator discovers the impact a horror writer’s books have on people. I love chaos, and John Carpenter chaos happens to be one of my favorite kinds of chaos. While we talk about The Thing and Halloween all the time, this maestro has given us plenty of horror to celebrate. In the Mouth of Madness is very much one of those titles vying for a top spot among the best of his filmography. To sweeten the batshit pot, this movie features Sam Neill. You know that he only shows up in our genre if the movie is going to be legendary. You cannot tell me this is not a Shudder priority this month.
You can watch In the Mouth of Madness on January 10th.
Mother of Flies (2025)
A terminally ill young woman and her dad head to the woods to seek out a recluse who claims she can cure her cancer. The Adams Family has been holding court on Shudder for years, so it feels right that Mother of Flies is a Shudder Original. More importantly, this fest favorite has one of the best performances of 2025. Which makes it a great time for people to finally get to see it and get in line to give Toby Poser her flowers. Whatever you think your favorite Poser role is, it is about to change when you see her as Solveig. I am being serious when I say that this movie might be the first family of indie horror at their best.
You can watch Mother of Flies on January 23rd.
New year, but same Shudder. I would not want to go into 2026 any other way, personally. I hope these horrific recommendations bring you the good kind of anxiety. Or at least distract you from the state of the world for a bit.


