J.P.’s Reviews > Scream With Me: Horror Films and the Rise of American Feminism, 1968-1980 > Status Update

Moreover, Omen II and Omen III are perhaps my least favorite of all the remakes and sequels of the original six films prior to 2020–which is really saying something, because they’re all pretty god-awful.

Immaculate (2024) revises the Rosemary’s Baby (1968) story. Cecilia refuses to accept the obligation out on her by malicious clerics, who have so badly perverted Christianity in her mind. She refuses to raise a baby whom she perceives not only as a monster, but as a potential threat to Christianity itself.
Immaculate demonstrates that the Church should be in no position to enforce pregnancies on women.

Big fan of Immaculate (2024). Sydney Sweeney how I wish you weren’t evil :(

I love Coralie Fargeat’s award-winning 2024 body horror extravaganza The Substance.

Hell yeah Barbara Creed mentioned.

The Omen leverages the archetype Rosemary’s Baby deployed—we have a monstrous child raised by a mother who invokes the Virgin Mary. Like its demon-child predecessor, The Omen hinges on a dark reinvention of the Holy Family.

We are living, right now, in a social media deluge of regression—which, in itself, reflects the very real political regressions we’re living through simultaneously.

Ballerina Farm mentioned in the discussion of domesticity as showcased through The Stepford Wives :/

Domestic horror is often ambivalent toward women and their suffering.

The Exorcist showcases motherhood as a central site of vulnerability for domestic abuse.