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.
Looks like another July will be spent getting cozy with Shudder in this house. Between all the new (to me) international titles and the conclusion of Hell Motel on July 29th, the app has filled my calendar for the month. Hold my texts, keep your emails in the draft folder, and don’t look for me outside. My TV and I are on a mission, and we’re prioritizing the five titles below. I hope they grab your attention and make it into your Shudder viewings this summer as well. However, I’ll be too busy watching them to know what anyone else is doing, so happy streaming whatever you decide to get into.
While we have you here, you should consider joining us for Bloody Brunches! Every Sunday at 11 AM CST / 12 PM EST, we’ll be livestreaming a new episode of Hell Motel. Who know’s who you’ll see, sometimes Ian Carpenter and crew stop by!
The Best Movies to Stream on Shudder This Month
Lake Placid (1999)
A small group of people try to capture a gigantic crocodile terrorizing the people of Black Lake, Maine. I am not an aquatic horror girl, and I am usually unimpressed with 90s action horror titles. I make a special exception for Lake Placid though. Sure, it stars Bridget Fonda, Bill Pullman, and Oliver Platt. However, real film buffs know that it’s really the late Betty White who carries this movie. Her foul-mouthed character stood on business and is the reason most of us revisit this title during the summer.
You can watch Lake Placid on July 1st.
Nyi Blorong (1982)
The South Sea Queen’s daughter rises to take a human lover. I have a long history of disliking snakes and movies about snakes. However, I’m leaning into this 1982 film because I deserve a retro Indonesian horror fantasy moment. I am also excited because it stars the late Suzzanna, the queen of Indonesian horror. I only learned about her a few years ago and wanted to spend some time with her work. As usual, Shudder is making it too easy to become a better cinephile.
You can watch Nyi Blorong on July 7th.
The Housemaid (2018)
An orphaned girl is hired as a housemaid at a haunted rubber plantation in 1953 French Indochina. Once there, she falls in love with the landowner, which sends the ghost of his dead wife into a jealous rage. I was excited to watch this just because it sounds chaotic, and I do not see enough Vietnamese horror for my liking. However, I recently discovered it is also an IFC Midnight title, so now my expectations are through the roof. IFC has been the home of upsetting, weird, and unique horror since 2010. I have a date with Shudder on July 14th, because I want this movie in my eyeballs the second it becomes available.
You can watch The Housemaid on July 14th.
Swallow (2020)
A pregnant housewife is compelled to eat dangerous objects, leading her husband and in-laws to become more controlling. Swallow had the misfortune of debuting during the top of the pandemic, so many people missed it. I found it on accident during Thanksgiving back when Showtime still had its own app. It’s quiet chaos that surprised me in a good way. I have been trying to make everyone I know watch it, and Shudder is making that so much easier this month. I am overdue for a rewatch myself, so I will also be hitting play while it’s available this July.
You can watch Swallow on July 21st.
Monster Island (2024)
A Japanese ship transporting prisoners of war and a British POW are stranded on an island where a mythical creator hunts them. Can they work together now that their very survival depends on it? I was bummed I missed this movie at Overlook Film Fest this year because all my friends loved it. So, obviously, I am thrilled Monster Island (also known as Orang Ikan) is hitting the Shudders streets so soon. I do not know what the other monster movies are doing this July because my heart belongs to this baby.
You can watch Monster Island on July 25th.
So, as usual, I will be hiding in my apartment and trying to make Shudder Saturdays my personality. I’m running at their international titles like it’s my job and revisiting a few movies I never spend enough time with. I hope your Shudder watches spark as much joy for you as I expect mine will this July.
In the 90 years since its release, The Bride of Frankenstein is still the Universal Monsters franchise’s strongest film.
I first watched The Bride of Frankenstein on cable around 15 years ago. Director James Whale’s fable of a misunderstood creature’s quest for a bride really stayed with me after subsequent viewings. Speaking of The Bride, she’s the Universal Monster with the most potential for a gripping and modern reimagining that hasn’t been fully tapped into yet. Universal’s newest theme park Epic Universe, opening back in May, inspired a deeper dive into The Bride of Frankenstein, the titular role and its legacy.
Unveiling The Bride: The Plot and Power of the 1935 Classic
Immediately following 1931’s Frankenstein, The Bride of Frankenstein centers on Henry Frankenstein (Colin Clive) as the sinister Dr. Pretorius (Ernest Thesiger) urges him to collaborate on creating a mate for The Monster (Boris Karloff). In the meantime, The Monster travels across the countryside, learns to speak, and meets Pretorius. When both scientists complete and unveil The Bride (Elsa Lanchester), she rejects The Monster, motivating him to pull a lever and famously say, “We belong dead.” Pulling the lever ignites an explosion, killing The Monster, The Bride, and Pretorius.
Just as it took two scientists’ minds to create her onscreen, two individuals gave life to The Bride’s characterization and look: Lanchester and makeup master Jack Pierce, who designed nearly all the original Universal Monsters.
The Bride’s Hiss: How Lanchester Stole the Show with Limited Screentime
The Bride not being the film’s main protagonist is ironic since she’s the title character. Making the most of her brief performance, Lanchester’s swan-like mannerisms as The Bride sharply contrast with the humanity Karloff brings out of The Monster. After her dual role as The Bride and author Mary Shelley herself in the film, Lanchester took on more horror film roles like Henrietta Stiles in Willard (1971). It’s not hard to imagine what could’ve been for her career if she reprised her role in The Bride of Frankenstein’s sequels Son of Frankenstein and Ghost of Frankenstein. If a lab explosion couldn’t kill The Monster, wouldn’t it be the same for The Bride?
Besides the white streaks, Lanchester surprisingly didn’t wear a wig to portray The Bride since Pierce shaped her red hair to look the way it does. Pierce’s work on The Bride is just as iconic if not more so than Lanchester’s performance, ensuring the character became inseparable from her intended suitor in pop culture’s eyes. Case in point: There’s so much officially licensed merchandise playing up a romance between the two characters, even though The Bride can’t stand her intended mate. Beyond Lanchester and Pierce, there is one man responsible for how the film itself would come out.
James Whale’s Masterpiece: Directing The Bride of Frankenstein
Whale stitched great set designs, fantastic performances and composer Franz Waxman’s eerie score together to create a masterpiece.
Having Frankenstein, The Old Dark House and The Invisible Man under his belt by the mid-‘30s, it’s clear Whale creatively peaked while working on The Bride of Frankenstein. Although so much about Whale’s talents has been said, there’s a reason why his work on the film stands out across his filmography: He really went wild when directing it. Every character is practically cartoony, the sets are more elaborate and the plot is thematically richer than the original’s. Being an openly gay filmmaker, he cranked up The Bride of Frankenstein’s camp to legendary heights.
The Bride of Frankenstein is the final horror movie Whale directed. The novel Father of Frankenstein and its film adaptation Gods and Monsters, starring actor Ian McKellen as Whale, dramatize his life after directing the film. According to the reference book Universal Horrors by Tom Weaver, Michael Brunas and John Brunas, he initially didn’t want to direct his horror work’s apex. Just like Henry Frankenstein’s relationship with the monster he created, The Bride of Frankenstein’s production is a case of life imitating art. The Monster’s in-universe infamy further parallels Whale’s Frankenstein duology’s lasting popularity.
How The Bride of Frankenstein Shaped Horror Sequels and Adaptations
The Bride of Frankenstein’s influence can be seen across other horror films and Frankenstein adaptations.
Having “Bride of” in a horror sequel’s title is synonymous with including the main character’s female counterpart, leading to Bride of Re-Animator, Bride of Chucky, etc. The similarities go further than the titles, with The Bride of Frankenstein inspiring the former’s plot and furthering Tiffany’s arc in the latter. The Bride of Frankenstein inevitably shaped Frankenstein’s future adaptations as well.
Directed by Kenneth Branagh, Mary Shelley’s Frankenstein from 1994 closely follows the original novel. Breaking away from the novel’s narrative, its third act pays homage to The Bride of Frankenstein when Victor brings Elizabeth back to life with similarly brief screentime. Mia Goth’s seemingly red hair on the set of Guillermo Del Toro’s upcoming Frankenstein may hint at her character similarly becoming The Bride.
The Bride’s Untapped Potential for a Modern Horror Remake
With Warner Bros. releasing its own take on the character with The Bride! in 2026, it makes Universal’s reluctance to make a new remake downright egregious.
The Bride is still the literally redheaded stepchild among the Universal Monsters. When it comes to being neglected by Universal, The Creature From the Black Lagoon is the only character who rivals The Bride, but that’s another story. Universal did plan a remake directed by Bill Condon, who helmed Gods and Monsters, for its aborted Dark Universe film franchise.
The Bride’s Absence in Epic Universe’s Monsters Unchained Ride
Looking at Epic Universe, the Monsters Unchained: The Frankenstein Experiment ride apparently leaves The Bride out, even though she makes more sense to be in it than The Phantom of the Opera. However, The Bride does make meet-and-greet appearances across Dark Universe’s grounds.
Several ideas can be incredible for when Universal finally releases a remake of The Bride of Frankenstein someday. Based on what I’ve heard about 2023’s Poor Things, it’s exploration of a mad scientist’s creation’s experiences in a restrictive society is closer to what a modern reimagining should be. Having a woman behind the camera can lead to a feminist vision, delving into The Bride questioning her life’s purpose.
Until the day a proper remake debuts, the original 1935 film remains The Bride of Frankenstein’s definitive incarnation.
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