Monday, October 31, 2022

The Blair Witch Project (1999)

Film: The Blair Witch Project (1999)
Stars: Heather Donahue, Joshua Leonard, Michael C. Williams
Director: Daniel Myrick & Eduardo Sanchez
Oscar History: No nominations
Snap Judgment Ranking: 5/5 stars

All October long, The Many Rantings of John is running a marathon dedicated to the Horror classics of the 1960's-90's that I'm seeing for the first time this month.  If you want to take a look at past titles from previous horror marathons (both this and other seasons) check out the links at the bottom of this article.

Where do you end a film retrospective?  We started our month-long look at horror of the post-Classical Hollywood era with Night of the Living Dead, a quintessential horror film that shaped a new generation of filmmakers.  It seems appropriate, therefore, that we end our month with a movie that ushered in another new wave of moviemaking.  The Blair Witch Project was not, it's worth remembering, the first lost footage film but it was the first horror move of its kind to blend that lost footage aspect with viral marketing.  The movie (I remember when it came out, and this was such a phenomenon, though my parents wouldn't let me see it), was the first movie to really use the internet to sell its story, using websites to make it seem like it was a proper documentary, and the figures in the film (they are, in fact, actors) were made to actually have disappeared in the northern Maryland woods, where the "Blair Witch" supposedly resided.  This would mark a new chapter in horror films, as found footage movies would suddenly become the rage (without Blair Witch, you aren't getting Cloverfield or Paranormal Activity).  It would also be a new chapter in independent cinema, marked by just how good the movie itself is (and how it would become one of the most profitable films of all-time).

(Spoilers Ahead) The movie unfolds, with the exception of a title card saying that this is lost footage of three filmmakers who were never found, entirely through camera footage.  It starts a bit jarring, trying to get used to the bouncing camera (there were times I had to triple blink as I was getting a bit dizzy), but eventually you settle in for the story of director Heather (Donahue) and her two cameramen/assistants Josh (Leonard) and his buddy Mike (Williams).  They commence in a small town, discussing the many crimes that have been committed in the city, but settle largely on the legend of the Blair Witch, who apparently haunts the woods nearby, though the more chilling story is perhaps of the actual serial killer who murdered seven children, making one stand in the corner as he killed the rest, in the 1940's.  As they go deeper into the woods, they begin to see things that must be recent, including a den of stick figures in the middle of the woods.  They are also harassed by what initially seems like townspeople pulling a prank, but eventually it appears it's something more sinister, especially after Josh disappears, with only his tongue & teeth wrapped in a part of his shirt left behind (strongly implying that they've killed him).  The film ends with the filmmakers coming across a cabin that resembles the serial killer's from the beginning of the film, even though that building burned down over 50 years ago, and with the camera cutting out as Heather, our "final girl" as it were, falls to the ground, the last shot being a hunched Mike looking into the corner...just like the serial killer's victims.

The movie's best aspects are the strange juxtaposition of the expansive, never-ending woods compared to the claustrophobia of our characters.  Like all good horror movies, our three leads seem impervious to their surroundings.  These figures aren't particularly likable, it's true, which may have been where the vitriol for this film initially came from (more on that in a second).  Heather is overconfident, and if you think about it for longer than about two seconds you realize that the characters themselves are not making a "good" movie even though the filmmakers think they are (which makes the fact that they're risking their lives all the more pointless), and both guys are obnoxious & frequently a bit misogynistic.  But that helps as we go, as they make believable mistakes that aren't remotely out-of-character, like Mike purposefully abandoning the map or Heather insisting on not returning the same way they came (rather than admit she got them lost).  As the film continues, it's clear there's no escape from the endless woods, which makes the film feel in part like a dream where you never reach the door you're chasing, knowing that it will continue forever & ever, until the characters find the house...and their doom.

The movie was critically polarizing at the time, with audiences undecided on the film while critics were more kind.  Watching it back now, it's impossible not to use the word "masterpiece" even if people clearly weren't ready for it yet in 1999.  The movie is so well-structured, never indulging in, say, a respite from the woods (there were supposedly going to be scenes showing the aftermath or prologue of people looking at these characters, which would've killed the whole "march into hell" vibe the movie has going for it), and the acting is uniformly good (Donahue getting the Razzie for Best Actress, and this film being the best-reviewed movie of all-time to be nominated for Best Picture at the Razzies, shows just how pointless that organization truly is).  

The best part of it, though, is that knockout of an ending.  We get no confirmation of what is happening, what paranoia is in their heads & what is real. Though in the original script they wanted to show the Blair Witch or a figure in the woods, they never do.  We never get any confirmation of who is doing this to the filmmakers, if any of them actually die, or if anyone is even out there or if they're just being haunted by the dark.  The only evidence is the bloodied tongue & tooth, and the shaking of the tent.  The movie's ending, hearkening back to the serial killer's house that shouldn't exist anymore (it burned down), a story that the audience likely had forgotten before it showed up, and we realize alongside the characters in the film what they have been led to...it's genuinely terrifying.  I was advised to watch this in a darkened room and to put down my cell phone, and it was SO worth it-I was gripping my chair.  One of the scariest, most chilling payoffs I've seen in a movie...and the perfect sendoff to our series.  Happy Halloween!

Past Horror Month Reviews (Listed Chronologically): The GolemThe Phantom of the OperaDraculaFrankensteinFreaksThe MummyThe Old Dark HouseThe Invisible ManThe Black CatThe Bride of FrankensteinMad LoveThe RavenWerewolf of LondonDracula's DaughterSon of FrankensteinThe Invisible Man ReturnsThe Mummy's HandThe Invisible WomanThe Wolf ManCat PeopleThe Ghost of FrankensteinInvisible AgentThe Mummy's CurseThe Mummy's TombFrankenstein Meets the Wolf ManPhantom of the OperaSon of Dracula, The House of FrankensteinThe Invisible Man's RevengeThe Mummy's GhostThe UninvitedHouse of DraculaShe-Wolf of LondonAbbott and Costello Meet FrankensteinAbbott and Costello Meet the Invisible ManIt Came from Outer SpaceCreature from the Black LagoonAbbott & Costello Meet the MummyRevenge of the CreatureThe Creature Walks Among UsInvasion of the Body SnatchersAttack of the 50-Foot WomanThe BlobVillage of the DamnedThe InnocentsThe Masque of the Red DeathNight of the Living DeadThe Wicker ManThe Texas Chain Saw MassacreCarrieDawn of the DeadHalloweenThe Amityville HorrorWhen a Stranger CallsFriday the 13thThe Evil DeadPoltergeistA Nightmare on Elm StreetChild's Play, Scream

Saturday, October 29, 2022

Scream (1996)

Film: Scream (1996)
Stars: David Arquette, Neve Campbell, Courteney Cox, Matthew Lillard, Rose McGowan, Skeet Ulrich, Jamie Kennedy, Drew Barrymore, Henry Winkler
Director: Wes Craven
Oscar History: No nominations
Snap Judgment Ranking: 5/5 stars

All October long, The Many Rantings of John is running a marathon dedicated to the Horror classics of the 1960's-90's that I'm seeing for the first time this month.  If you want to take a look at past titles from previous horror marathons (both this and other seasons) check out the links at the bottom of this article.

By the mid-1990's, the slasher/horror film had largely been relegated to the dustbins of the film industry.  While years before movies such as Halloween and Friday the 13th could make mountains of cash, a decade later their sequels were basically direct-to-video features, the VHS cassettes that you'd find buried in the back of your gas station (for those too young to know this, it used to be pretty much every gas station in America would rent out VHS copies of movies in the era before DVD's and Netflix).  Slasher films seemed destined to end up in the same place as musicals & westerns in the pop culture mind...until Scream came along.  It's hard to grasp that there was once a time before Scream considering its perch in the present pop culture pantheon, its knowing gaze engrained in pretty much every aspect of the self-aware genre since.

(Spoilers Ahead-Proceed with Caution) The movie, after a shocking first killing that we'll get to in a second, is about Sidney Prescott (Campbell), a popular high school girl whose mother was killed the year before and who provided testimony for the man who allegedly killed her mother to stand trial (a pre-fame Liev Schreiber).  Prescott is shaken by the killings, and the way they come so soon after her mother's death, and seems to be unable to be intimate with her boyfriend Billy (Ulrich).  When Sidney becomes the target of the killer, her narrowly escaping with her life, she becomes something of a joke, with people claiming she made up the attack for attention.  Despite a mounting body count, the townspeople seem to treat the murders as a joke, with the high schoolers wanting to watch horror movies to "solve" who the killer is using horror movie cliches, and a local tabloid reporter named Gale Weathers (Cox) intent on using the murders to advance her celebrity through a tell-all book about the film.  In the end, it is revealed that Billy, despite initially seeming to be innocent (to the point where Sidney sleeps with him), is indeed the killer, and has been working with his manic friend Stu (Lillard) to kill everyone, initially Sidney's mother because she had an affair with Billy's father, breaking up his family, and then as a way to frame Sidney's father for all of the subsequent crimes.  Sidney & Gale are able to save themselves, killing Billy & Stu, and that's where the movie ends...until the sequel, of course.

The most startling thing about Scream from the get-go is its confidence.  Even coming from Wes Craven, who had already established himself in the horror movie genre, this is an impressive feat & one that has to be commented on.  Craven borrows from many horror films in the movie, but in the opening shots he is clearly cribbing from Psycho.  According to production notes I read about the film afterward, Barrymore was originally considered for the Sidney Prescott role (she was, in 1996, the biggest name in this movie), but when scheduling conflicts got in the way, she was recast in the smaller role as Casey, the first person killed.  This works sublimely in the film, particularly if you only know from the posters that Barrymore is one of the stars, because you don't realize that the film's biggest headliner is going to die (quickly breaking one of the most important taboos of a horror movie-the biggest star has to make it until the end).

Scream's self-aware universe is so commonplace today, I worried watching it decades after-the-fact would dull that, but it totally holds up.  Craven smartly includes references to a dozen other horror movies, including his own Nightmare on Elm Street, but plays around with these cliches by saying them out-loud, keeping the audience in suspense.  When Sidney loses her virginity to Billy, we are meant to worry about her dying (because in previous movies, girls who lose their virginity will always die as a "punishment" for their "sin"), but because they said it out loud, will she die now?  Scream turns that on its head, particularly in the opening scene where we try to understand the rules of this "game"-what's real, and what do we do in a horror movie that refuses to play by some rules but sticks to others?  Particularly in killing the biggest star off in the first fifteen minutes, we understand there are no rules, and suddenly it becomes a fresh new take on the genre.  While there are things to quibble over (Lillard's acting is actively atrocious even if that's the point of the character, and it's hard to imagine that Billy would put up with him that long unless they were obviously meant to be having sex with each other...you don't need much queer-coding to understand that Billy & Stu are fucking), incredible pacing, a smart screenplay, and good work from most involved (particularly Cox & Barrymore), Scream is a modern classic for a reason.

Past Horror Month Reviews (Listed Chronologically): The GolemThe Phantom of the OperaDraculaFrankensteinFreaksThe MummyThe Old Dark HouseThe Invisible ManThe Black CatThe Bride of FrankensteinMad LoveThe RavenWerewolf of LondonDracula's DaughterSon of FrankensteinThe Invisible Man ReturnsThe Mummy's HandThe Invisible WomanThe Wolf ManCat PeopleThe Ghost of FrankensteinInvisible AgentThe Mummy's CurseThe Mummy's TombFrankenstein Meets the Wolf ManPhantom of the OperaSon of Dracula, The House of FrankensteinThe Invisible Man's RevengeThe Mummy's GhostThe UninvitedHouse of DraculaShe-Wolf of LondonAbbott and Costello Meet FrankensteinAbbott and Costello Meet the Invisible ManIt Came from Outer SpaceCreature from the Black LagoonAbbott & Costello Meet the MummyRevenge of the CreatureThe Creature Walks Among UsInvasion of the Body SnatchersAttack of the 50-Foot WomanThe BlobVillage of the DamnedThe InnocentsThe Masque of the Red DeathNight of the Living DeadThe Wicker ManThe Texas Chain Saw MassacreCarrieDawn of the DeadHalloweenThe Amityville HorrorWhen a Stranger CallsFriday the 13thThe Evil DeadPoltergeistA Nightmare on Elm Street, Child's Play

Those Calloways (1965)

Film: Those Calloways (1965)
Stars: Brian Keith, Vera Miles, Brandon deWilde, Walter Brennan, Ed Wynn, Linda Evans
Director: Norman Tokar
Oscar History: No nominations
Snap Judgment Ranking: 2/5 stars

Each month, as part of our 2022 Saturdays with the Stars series, we highlight a different Classical Hollywood star who made their name in the early days of television.  This month, our focus is on Walter Brennan: click here to learn more about Mr. Brennan (and why I picked him), and click here for other Saturdays with the Stars articles.

Walter Brennan's career is pretty vast & as a result we're going to skip some chapters in it in part because I've seen them (look at something like the western classic Rio Bravo, which we examined last month for Ward Bond), but between 1947 (where we left off last week) and 1965, Brennan's career continued to thrive.  One of the most successful character actors of the Classical Hollywood era (which he'd live long enough to see the beginning & end of), he spent much of the 1950's working in westerns, playing opposite big stars like Jimmy Stewart & Spencer Tracy.  In 1957, though, Brennan (who had been courted for a while to consider television) finally relented to the small screen despite not really needing to (he was working regularly in movies), and took on the leading role of Grandpa Amos McCoy in The Real McCoys.  Though Brennan had occasionally gotten top billing in B-Movies, this was his first really big hit where he got to be the headliner.  The Real McCoys would be one of the most successful television shows of its era, being in the Top 15 highest-rated programs for most of its run.  But Brennan would continue working during & even after The Real McCoys, making today's film Those Calloways for Disney two years after The Real McCoys went off the air.

(Spoilers Ahead) The movie is about the Calloways, including father Cam (Keith), mother Liddy (Miles), and their son Bucky (deWilde) who live in the middle of backwoods Vermont in the 1920's, and are considered unusual by the townspeople.  They live with a crow and a black bear cub as pets, and Cam is obsessed with the geese that fly by each year, who are friendly with the American Indian tribe the MicMac's, whom Cam is friends with and is seen as an "honorary" member of their tribe (yes, this is one of the Disney+ movies with a warning label, though as far as western treatment of American Indians, Disney committed far greater sins in other movies).  A traveling salesman, though, sees the potential for the geese to become a hunting tourism destination, and despite the protestations of both the Calloways, as well as some of their friends, particularly Alf Simes (Brennan) and Ed Parker (Wynn), much of the town is onboard with the hunting destination to bring in new revenue...until a gun accident causes Cam to nearly die defending the geese.  After this, they decide to preserve the geese marshland & help the Calloways in their conservationist efforts.

The movie has a lot more story than just that, for the record, but much of it is superfluous.  I generally like this type of Disney movie, even when I don't like it if that makes sense.  Everything is relatively low stakes (unless you're an animal, then good luck, as this has a dog nearly killed by a wolverine), and it's very of-the-moment.  This type of Disney film would barely exist before the 1960's and would become totally out-of-fashion by the late 1970's, becoming pretty much a byproduct of the Disney anthology series (currently called The Wonderful World of Disney) which would see its heyday during this time frame since it was hosted by Walt Disney himself.  The films are fun, and have a loveliness that feels like it's trading on memories of your childhood even when you don't know the movie by heart...it works.

But it's not a good movie, and honestly would've made a better miniseries as there's too much story here, and much of it is shortchanged.  Vera Miles' character is always fussing about, and there are moments where she cries that feel totally unearned.  We see way too little of Brandon deWilde, in pure heartthrob mode (I pity the poor young gay men that watched this movie and got lost in his blond good looks while having to pretend to be enamored with a young Linda Evans), as his romance gets shortchanged.  The best parts of the movie are Brennan & Wynn, in the twilight of their impressive careers, trading jokes & playing on their screen personas without adding much to the actual film.

Brennan's TV career brought about some unusual success for him.  He became, inexplicably, a Billboard artist in 1962 with the release of the song "Old Rivers," which peaked at #5 on the charts, and was followed by a second hit "Mama Sang a Song" later that year (at the age of 67, Brennan was at the time the oldest person ever to chart on the Billboards, and even today where pop acts tour forever the idea of someone eligible for Social Security competing against Dua Lipa & L'il Nas X on the charts is unthinkable).  Brennan would continue working throughout the rest of his life, working on a couple of Disney projects before dying of emphysema in 1974 at the age of 80.  Next month, we're going to switch away from character actors to a woman who definitely headlined movies throughout the 1940's, including one masterpiece of the era, but who would become synonymous (for the good and the bad) with her hit 1950's television series that set the standard for Eisenhower Era domesticity.

Thursday, October 27, 2022

Child's Play (1988)

Film: Child's Play (1988)
Stars: Catherine Hicks, Chris Sarandon, Alex Vincent, Dinah Manoff, Brad Dourif
Director: Tom Holland
Oscar History: No nominations
Snap Judgment Ranking: 3/5 stars

All October long, The Many Rantings of John is running a marathon dedicated to the Horror classics of the 1960's-90's that I'm seeing for the first time this month.  If you want to take a look at past titles from previous horror marathons (both this and other seasons) check out the links at the bottom of this article.

By the late 1980's, horror films had started to lose some of the in-theater cultural cache that they had once had.  The introduction of the VHS was a huge step for movie fans (something I wish they'd remember today in an era where we abandon the freedom of physical media for the tenuousness of streaming), but it also meant that people didn't have to go to movies to see their favorites, they could just watch films at home.  This also coalesced around the horror industry running out of a lot of great, original ideas.  Freddy, Jason, Michael Myers, & Leatherface were people that you could rent at the back of your gas station in increasingly low-grossing films...you didn't need to go out to the actual movie theater to enjoy them, you could do so in your living room.  One of the few creations from this time period that really entered the pantheon, though, was an unlikely horror figure: a child's doll named Chucky.  A surprise hit for MGM, the movie launched an unusual franchise that continues today (Chucky's on cable, y'all).

(Spoilers Ahead) The plot of this movie is, to put it mildly, pretty stupid, so bear with me as I try to explain this one.  Charles Lee Ray (Dourif) is a murderer who performs a voodoo curse when cornered in a police fight and transfers his soul to a toy doll.  This doll is bought from a homeless man by Karen (Hicks) because it is the one wish her son Andy (Vincent) has for his birthday.  When Karen's friend Maggie (Manoff) is killed while babysitting Andy, the detective put on the case Mike Norris (Sarandon) assumes that it is Andy who pushed her out the window, but in reality it is the doll, who goes by Ray's nickname of Chucky, as he reveals his true nature to both Karen & Norris while trying to kill them.  After Chucky realizes that he can only get himself out of the doll by transferring his soul into Andy, who first awakened him, this leads to a standoff which gets all three main human characters nearly killed, but ultimately they burn Chucky's remains...with him ready to comeback in a sequel.

As I said, the plot of this movie strains credulity, and is easy to mock (it is a running joke in my family that my mom, whenever this movie shows up in commercials around Halloween, would refer to Chucky as a "naughty dolly," and my mom not being someone who is impervious to horror movies shows how easy it is to smirk at this creation).  It shouldn't work...but it does.  The film does have some moments of horror.  When Karen realizes that Chucky doesn't have batteries & Andy is telling the truth...it's a good jump scare, particularly if you didn't know it was coming, which of course given Chucky's place in pop culture today would be impossible for a modern audience member, even one going in fresh to the Child's Play franchise like me.  But for the most part the movie's horror elements can't really work.  It is never really explained how, for example, Chucky can convincingly overpower grown adults who could clearly break off the arm of a normal doll, or why Karen doesn't just throw the doll away the second her son starts projecting onto it post her friend's death (as any normal parent would do in this circumstance).  That Chucky's body count is so low at least tries to reflect this, but it also makes him less believable as a threat.

Where it does work is in the humor.  Dourif is perfectly cast as the rough-and-tumble killer with a sly sense of humor.  The effects of the talking doll are pretty good for 1988, but it's the personality that Dourif inflects that sells this, making him seem like a comedic mob hood out of a Bugs Bunny cartoon...except that he truly intends on killing everyone in his pathway.  Dourif's vocal work keeps you interested, particularly given how late in the film he shows up (for the first thirty minutes it's not entirely clear if Andy is mad or if Chucky is real), and once he's totally revealed to everyone you get to see why the franchise would skew toward comedy.

Past Horror Month Reviews (Listed Chronologically): The GolemThe Phantom of the OperaDraculaFrankensteinFreaksThe MummyThe Old Dark HouseThe Invisible ManThe Black CatThe Bride of FrankensteinMad LoveThe RavenWerewolf of LondonDracula's DaughterSon of FrankensteinThe Invisible Man ReturnsThe Mummy's HandThe Invisible WomanThe Wolf ManCat PeopleThe Ghost of FrankensteinInvisible AgentThe Mummy's CurseThe Mummy's TombFrankenstein Meets the Wolf ManPhantom of the OperaSon of Dracula, The House of FrankensteinThe Invisible Man's RevengeThe Mummy's GhostThe UninvitedHouse of DraculaShe-Wolf of LondonAbbott and Costello Meet FrankensteinAbbott and Costello Meet the Invisible ManIt Came from Outer SpaceCreature from the Black LagoonAbbott & Costello Meet the MummyRevenge of the CreatureThe Creature Walks Among UsInvasion of the Body SnatchersAttack of the 50-Foot WomanThe BlobVillage of the DamnedThe InnocentsThe Masque of the Red DeathNight of the Living DeadThe Wicker ManThe Texas Chain Saw MassacreCarrieDawn of the DeadHalloweenThe Amityville HorrorWhen a Stranger CallsFriday the 13thThe Evil DeadPoltergeist, A Nightmare on Elm Street

Tuesday, October 25, 2022

A Nightmare on Elm Street (1984)

Film: A Nightmare on Elm Street (1984)
Stars: John Saxon, Ronee Blakley, Heather Lagenkamp, Amanda Wyss, Nick Corri, Johnny Depp, Robert Englund
Director: Wes Craven
Oscar History: No nominations
Snap Judgment Ranking: 4/5 stars

All October long, The Many Rantings of John is running a marathon dedicated to the Horror classics of the 1960's-90's that I'm seeing for the first time this month.  If you want to take a look at past titles from previous horror marathons (both this and other seasons) check out the links at the bottom of this article.

We are getting toward the end of our month, with just three films left after this, so it's worth noting that while the 1980's were dominated by slasher/horror films, the apparent bonanza of films were based off of 3-4 movie monsters getting endless sequels.  One of these figures, of course, is Freddy Krueger, who is the titular villain in Wes Craven's original horror show, A Nightmare on Elm Street, and our villain today.  The late Craven was one of the grandmasters of horror, making not just Nightmare in the 1980's, but eventually he would revive the slasher genre in the 1990's with the Scream films.  Nightmare is honestly one of the films on this list that I was most scared to visit, at least before I started.  It's genuinely a terrifying concept-a serial killer who can kill you in your sleep, so no one can remain safe forever-but while my fears were allayed (it was scary, but I wasn't petrified throughout it), it's a good movie, one that uses its concept to the fullest effect & it's easy to see why this spawned a cavalcade of sequels.

(Spoilers Ahead) The movie initially starts with Tina Gray (Wyss) having a very vivid dream about a burned man in a knit sweater & fedora trying to claw at her, attempting to kill her.  The film is so real, in fact, that she wakes up with her nightgown slashed, assuming she must have torn it in her dream.  The film continues, though, with Tina realizing that all of her friends have also been having dreams about this guy.  We realize that this man is in fact harming people when Tina dies after he kills her in a dream, her blood splattered in all directions, and eventually our protagonist Nancy (Lagenkamp) finds out from her alcoholic mother Marge (Blakley) that this man is named Fred Krueger (Englund), a child murderer who was let off on a technicality...so the parents of the city decided to burn him alive in a form of vigilante justice.  After all of Nancy's friends die, we learn that Freddy is after her mother, and nearly kills her, until Nancy finds a way to stop him, understanding that he is driven by his victim's fear...which works until the last scene, where an idyllic scene turns out to be just a dream, and Marge is lunged at from a window while Nancy is driven away in a locked car.

The movie doesn't always make sense.  The adults are, even for a horror movie, mind-numbingly stupid, to the point where Blakley (who gave a performance for the ages in Nashville) has been mercilessly mocked for this work at midnight movie screenings ever since.  I get that Gen X was a very different time, but come on-a police officer hears a young girl screaming from a window and doesn't even care?  It feels far-fetched, and the ending also feels a bit silly, as there's no indication until Nancy's last moments with him that Freddy is fueled by fear, but instead seems just like a byproduct of revenge.

But taking aside the silliness of the plot, the film works.  Freddy is genuinely terrifying, and as played by Englund, largely unknowable while still eliciting frights, which is how the best slasher villains come to life.  The sound, visual effects, & makeup work are iconic-at one point one of the characters has a bed violently erupt in blood, and while it's not exactly high-tech in the year of Indiana Jones and the Temple of Doom, it's very effective work.  Plus, Englund's look cannot be denied-there's a reason that Freddy is still a Halloween costume mainstay nearly 40 years later.  The film also introduced the world to Johnny Depp in his film debut (I'm not getting into it-let's just say it's undeniable he's been a pretty big movie star so I can't mention his debut without saying something).  Depp got the part thanks to his buddy Nicolas Cage helping him get the audition, but you don't see the future marquee star much here.  He's hot (the men in this film are far more sexualized than the women which is a nice change of pace, the most pressing example being Depp in a crop-top jersey that surely was noticed by every closeted gay teenager watching this film behind cupped hands), but nothing particularly special here like what fellow superstar Jamie Lee Curtis would clearly demonstrated in Halloween.

Past Horror Month Reviews (Listed Chronologically): The GolemThe Phantom of the OperaDraculaFrankensteinFreaksThe MummyThe Old Dark HouseThe Invisible ManThe Black CatThe Bride of FrankensteinMad LoveThe RavenWerewolf of LondonDracula's DaughterSon of FrankensteinThe Invisible Man ReturnsThe Mummy's HandThe Invisible WomanThe Wolf ManCat PeopleThe Ghost of FrankensteinInvisible AgentThe Mummy's CurseThe Mummy's TombFrankenstein Meets the Wolf ManPhantom of the OperaSon of Dracula, The House of FrankensteinThe Invisible Man's RevengeThe Mummy's GhostThe UninvitedHouse of DraculaShe-Wolf of LondonAbbott and Costello Meet FrankensteinAbbott and Costello Meet the Invisible ManIt Came from Outer SpaceCreature from the Black LagoonAbbott & Costello Meet the MummyRevenge of the CreatureThe Creature Walks Among UsInvasion of the Body SnatchersAttack of the 50-Foot WomanThe BlobVillage of the DamnedThe InnocentsThe Masque of the Red DeathNight of the Living DeadThe Wicker ManThe Texas Chain Saw MassacreCarrieDawn of the DeadHalloweenThe Amityville HorrorWhen a Stranger CallsFriday the 13thThe Evil Dead, Poltergeist

Sunday, October 23, 2022

OVP: Poltergeist (1982)

Film: Poltergeist (1982)
Stars: Craig T. Nelson, JoBeth Williams, Beatrice Straight, Dominique Dunne, Heather O'Rourke, Zelda Rubinstein
Director: Tobe Hooper
Oscar History: 3 nominations (Best Original Score, Sound Effects Editing, & Visual Effects)
Snap Judgment Ranking: 4/5 stars

All October long, The Many Rantings of John is running a marathon dedicated to the Horror classics of the 1960's-90's that I'm seeing for the first time this month.  If you want to take a look at past titles from previous horror marathons (both this and other seasons) check out the links at the bottom of this article.

I didn't realize this until I just started writing this article, but we have already visited director Tobe Hooper this month, with the 1974 slasher film The Texas Chain Saw Massacre, the movie (spoiler alert) I liked the least of the 15 films we are profiling.  In proof of how the decade started to see horror as a genuinely profitable, even mainstream, way to make money again after the 1950's & 60's had relegated this genre to largely B-film or independent status, by 1982 Hooper went from working on a shoestring, no-name budget to working on a major Hollywood film.  Poltergeist was made by MGM, had a proper $10 million budget, and was produced by Steven Spielberg, who in 1982 was already one of the biggest names in movies, and indeed was making one of the biggest films of all-time that year in ET: The Extra-Terrestrial.  Poltergeist paid off-it was a huge hit (albeit, not as big as ET) and the two share some similarities in the way that they look at the suburban dream, with the outsider force in ET being a sweet, benevolent alien...while in Poltergeist, it's something far more sinister.

(Spoilers Ahead) The movie is about the Freeling family, who live in a cookie cutter neighborhood where husband Steve (Nelson) is a real estate developer while wife Diane (Williams) raises their three children, the youngest of which is five-year-old Carol Anne (O'Rourke).  Carol Anne converses with the television late at night when programming is done & it's just static (this used to be a thing for younger people out there that are unaware, where they would play the national anthem at the end of the day & then the feed on the major networks would all cut out).  After a giant earthquake, Carol Anne proclaims "they're here" (the film's most iconic line), and suddenly ghost-like phenomena starts to happen all throughout the house, with the tree coming alive and furniture moving on its own.  Eventually it becomes too much when the TV sucks Carol Anne into it, and so they hire parapsychologist Martha Lesh (Straight), who then brings on Tangina Barrons (Rubinstein), a spiritual medium, both of whom try, eventually somewhat successfully to get Carol Anne back (success) and rid the house of "the Beast" (unsuccessful).  In a final showdown, they realize that the housing complex was built on the graves of an ancient Indian burial ground, and this is the ghosts coming back for revenge.  The house implodes in the end, and the family is forced in the final scenes to flee to a Holiday Inn, where Steve comically removes the TV from their room as a last second sight gag to end the picture.

Poltergeist is a superb indictment of the Reagan Era.  While in ET, the government is trying to destroy a sweet, lovable alien, in Poltergeist, it is more conspicuous consumption that is tearing apart a stereotypical American family.  The Freelings are living the American dream-wealthy, suburban, sprawling house...they are the "typical white upper-middle class family" that the Reagan Era preached toward as the "ideal."  But lurking literally underneath this facade is the people who sacrificed to build this world, and they are ignoring their sacrifice, as well as the sacrifices of the people that these wealthy people squeezed for profit to get to where they are.  It's a great script, and honestly a really excellent movie-one of my favorites we got to this month.

Part of that is the women in the film.  Rubinstein is the most famous character in this film (give or take O'Rourke's young Carol Anne), with her characterization of Tangina initially meant to feel like comic relief, and then played totally straight, to perfect effect.  Rubinstein would have a surprisingly long history in horror films after this, never getting a lot of mainstream success after Poltergeist, but when you think of an actor in this movie, you think of her.  However, everyone's solid here.  JoBeth Williams is fabulous as a mother trying to understand what's happening to her family, but is also oddly excited to be a part of the solution rather than just the "window dressing wife" (think of the glee she gets when she starts to understand the paranormal activity in the house before anyone else-it's solid underscoring of her character's boredom).  Williams is an Oscar nominee (for Best Live Action Short), but despite being a regular player in film & TV in the 1980's, is virtually forgotten as an actress today & so it's fun to see what she was capable of in her prime.  Rounding out the solid cast is Oscar Winner Beatrice Straight, who I think plays her character as a con-woman who is slightly over-her-head, but excited on some level to have the chance to see if she can actually handle these spirits after basically pretending to for her career.

The film received three Oscar nominations, all of which it lost to ET.  The best of the bunch might be the Sound Editing, with the film's soundscape within the TV world, and the "cleaning" of the house late in the film being a cacophony of static & whirling that allows you to still hear the actors' dialogue without abandoning the overwhelming noise.  The visual effects are also impressive, including the "how did they do that?" scene with floating items all around one of the bedrooms, and the early use of computer-generated images that this film employed.  The score I was less thrilled with, to be honest.  It's not that Jerry Goldsmith's music it's bad (it's not, it's Jerry Goldsmith, come on now), but it's too much.  It overpowers the movie, especially the first half of the film & kind of feels like it's overcompensating to bring you into this world.  It's not like you don't remember it (it's iconic), but it has a Philip Glass effect where it becomes the only thing you notice.

Past Horror Month Reviews (Listed Chronologically): The GolemThe Phantom of the OperaDraculaFrankensteinFreaksThe MummyThe Old Dark HouseThe Invisible ManThe Black CatThe Bride of FrankensteinMad LoveThe RavenWerewolf of LondonDracula's DaughterSon of FrankensteinThe Invisible Man ReturnsThe Mummy's HandThe Invisible WomanThe Wolf ManCat PeopleThe Ghost of FrankensteinInvisible AgentThe Mummy's CurseThe Mummy's TombFrankenstein Meets the Wolf ManPhantom of the OperaSon of Dracula, The House of FrankensteinThe Invisible Man's RevengeThe Mummy's GhostThe UninvitedHouse of DraculaShe-Wolf of LondonAbbott and Costello Meet FrankensteinAbbott and Costello Meet the Invisible ManIt Came from Outer SpaceCreature from the Black LagoonAbbott & Costello Meet the MummyRevenge of the CreatureThe Creature Walks Among UsInvasion of the Body SnatchersAttack of the 50-Foot WomanThe BlobVillage of the DamnedThe InnocentsThe Masque of the Red DeathNight of the Living DeadThe Wicker ManThe Texas Chain Saw MassacreCarrieDawn of the DeadHalloweenThe Amityville HorrorWhen a Stranger CallsFriday the 13th, The Evil Dead

Saturday, October 22, 2022

OVP: A Stolen Life (1946)

Film: A Stolen Life (1946)
Stars: Bette Davis, Glenn Ford, Dane Clark, Walter Brennan, Charlie Ruggles
Director: Curtis Bernhardt
Oscar History: 1 nomination (Best Special Effects)
Snap Judgment Ranking: 3/5 stars

Each month, as part of our 2022 Saturdays with the Stars series, we highlight a different Classical Hollywood star who made their name in the early days of television.  This month, our focus is on Walter Brennan: click here to learn more about Mr. Brennan (and why I picked him), and click here for other Saturdays with the Stars articles.

Walter Brennan worked his whole life, but weirdly Oscar gave up on him after 1941.  This is unusual not necessarily because Brennan has a lot of performances that warranted nominations in the years that followed.  After all, while Brennan was always a sturdy, scene-stealing presence in film he wasn't necessarily someone who, in my opinion, was given a lot of super plum roles in movies that demanded Academy attention in the way that say, Claude Rains was.  But it is odd because after Sergeant York, Brennan appeared in some really, really good movies, much better than any of the films that he actually won an Oscar for.  This week we're focusing on a film from 1946, and next week we're going to jump ahead a few decades (Brennan's long career demands some edits), so it's worth noting that between Sergeant York and into his run as a TV star on The Real McCoys, he appeared in film classics like To Have and Have Not, My Darling Clementine, Red River, and Rio Bravo, all of which are superb (and frequently clumped with the word "masterpiece").  None of these movies got Brennan another Oscar nomination, however, and while it's hard to say the man wasn't getting his due from the Academy (three statues is more than enough for even the greatest of thespians), this drought feels odd.  As I have seen all of Brennan's biggest classics from this era, we're going to focus today on another high-profile film, this one he did with Bette Davis & Glenn Ford: A Stolen Life.

(Spoilers Ahead) The movie follows Kate Bosworth (Davis...and only upon proofreading this review did I realize she shares a name with the Blue Crush actress), a wealthy heiress who is making a go of it as an artist (unsuccessfully) who goes to stay with her sister Pat (also Davis), but on the way falls for a young man named Bill Emerson (Ford) who gives her a ride to the island that Pat lives on.  To try and get closer to Bill, Kate offers to paint Bill's friend Eben Folger (Brennan), who is a cranky lighthouse operator who doesn't love being part of the matchmaking (though he secretly respects Kate).  Pat, however, is a bit man-hungry and also wants whatever her sister has, and goes after Bill as well, and as she's showier & more glamorous, she gets him.  Kate takes up briefly with a poor artist named Karnock (Clark), whom she clearly has some feeling for, primarily because he's the only guy willing to tell her she's not a good artist, but it goes nowhere-she still loves Bill.

This is where the film goes into the deep end, literally and figuratively.  Pat & Kate go out on a boat, and while they're out on the sea, the boat capsizes, and Pat drowns.  However, as she's trying to save her, Kate gets Pat's wedding ring and manages to slip it on...with everyone assuming since they're twins that Kate is Pat, and Kate, desperate for Bill, goes along with the ruse.  This ends up being a fool's errand when she realizes that Pat & Bill's marriage is basically kaput, as Pat has been cheating on him, and though they eventually end up together (when Pat reveals that she's Kate), we get multiple scenes with Kate learning uncomfortable truths about her late sister.

The film strains credulity, obviously.  The idea that a man couldn't tell his own wife apart from her sister (never mind that ANYONE else couldn't tell them apart either, even though they have polar opposite personalities) is absurd.  But if you get past that, it's kind of a silly fun melodrama.  This was during the nadir of Davis career, or at least one of them (Davis, like most long-lasting Classical Hollywood stars, had a lot of ebbs-and-flows in her career), when most of the best roles on the Warner Brothers lot were going to Joan Crawford post her Mildred Pierce Oscar win.  This film made a fortune when it first came out (there was still demand for Davis), but it was not well-received by critics, and would be followed by a series of flops for the performer, who would have to wait another four years before the crown jewel of her career, All About Eve.  But with enough distance, I liked this-it's stupid, but Davis is great in both roles & a joy to watch.  Weirdly, this is one of two films that stars Davis as her own sister-anyone else think I should check out Dead Ringer?

Two quick notes before we go.  You'll notice I didn't mention Brennan, and that's because he's barely in the movie.  He plays the curmudgeonly old man well (it's Walter Brennan, that's his raison d'être) but he disappears from the back half of the movie and has little impact on the plot, so there's not a lot to say about him.  And the film won one Oscar nomination, for Best Special Effects, and while it's a relatively singular effect, the one scene early in the film when both sisters are introduced and Davis shares the screen with herself is quite impressive.  Particularly given this had to be done entirely with trick photography rather than CGI, you see no seams onscreen indicating when Davis is working with no one or a body double.  It didn't win, but the nomination was well worth it.

Friday, October 21, 2022

What a 52 Democratic Senate + House Majority Could Do

Speaker Nancy Pelosi & Senate Leader Chuck Schumer
There are a lot of things that are frustrating about being a Democrat.  As a lifelong member of the party, who also follows electoral politics at a microscopic level, I am not impervious to being frustrated with our party leadership, but oftentimes I'm far angrier at the Democratic grassroots & voters who can't see the forest for the trees.  Perhaps more than anything, I am floored by the party's inability to have any sense of perspective or patience when it comes to accomplishing goals.

I understand that part of this is because frequently what Democrats are standing for are much more urgent goals than Republicans.  Republicans have long made issues like reducing government spending, implementing tax cuts, and (increasingly) stripping people of their right's if they don't align with the religious beliefs of the party a major part of their campaigns.  Those issues don't have the same level of urgency that criminal justice reform or a woman's right to choose or gay marriage do, primarily because there's always a chance to get a tax cut next time, but if you don't have access to an abortion or you are being profiled by the criminal justice system, that affects you now.  This helps Republicans to a large degree to play a long game (i.e. slowly chipping away at the judiciary for 50 years to get Roe overturned), and I think is partially why they don't pass as much legislation-they don't really believe in the concept, and they know that many of their beliefs are widely unpopular.

But where I get mad at Democrats is when, to use football parlance, they hand the other team the ball, freely, when they're standing on the 5-yard line.  That's essentially what's happening this year.  Many Democrats have spent the last couple of years being angry because the party won a trifecta for the first time since 2008, and they "didn't do anything with it."  Putting aside that this is factually inaccurate (everything from the largest investments in climate change ever to the largest investments in public infrastructure since the Eisenhower administration to large-scale investments in American manufacturing...the list goes on & on, but this has been a very productive Congress), the party spent most of that time blaming Krysten Sinema & Joe Manchin for their problems.  This isn't necessarily wrong (Sinema & Manchin's support for the filibuster cost the Democrats momentum on a number of issues that quite frankly both of them would've voted for), but it also gave the Democrats a clear out: elect two more senators, hold the House, and you will get everything you want.

Frequently when someone says something like that, a Democrat says the words rigged, gerrymandering, or "abolish the Senate" in short order as a quick excuse, and while they're again not wrong (there is a rigged system with a gerrymandered House and the Senate is disproportionately favorable to the Republicans in a way that is seismically unfair), in 2022...that's bullshit.  The reality is that if the Democrats who voted for Joe Biden in 2020 voted for their congressional Democratic candidates in 2022-they'd get a stronger trifecta.  226 House districts (four more than they won in 2022) went for Joe Biden in 2020, and while only 25 states went for Biden (not enough to get the 52 senators), because of the way the races are staggered, if Democrats won every Senate seat in states Joe Biden won in 2020...they'd get 52 senators exactly.

This window is a one-time only situation which is why I'm flabbergasted that Democratic grassroots voters are going to let it pass.  Three Democrats in Trump states are up for reelection in 2024, so the Democrats don't have as clear of a path as they would just electing John Fetterman & Mandela Barnes this year, and without some sort of gerrymandering protection, it is near certain that North Carolina & Ohio will be redistricted in the next two years, potentially meaning that we'll have more Trump districts than Biden districts in 2024.  This is a once-in-a-lifetime opportunity, and instead of going all-in, Democrats are lazily saying "Manchin & Sinema" and (based on recent polling) throwing in the towel when they are mere moments away from getting everything they ever wanted.

And when I say everything, I mean it.  Oftentimes in politics, you have to make compromise on what you want, and there are admittedly progressive positions that the Democrats wouldn't pass in the next two years (you'll need a larger majority than 52 senators with 226 House seats to get, say, 4 more Supreme Court justices, and I think that erasing all student debt is a pipe dream until you start 55-56 Democratic senators).  But if the filibuster would bust (and I can pretty much guarantee the filibuster would bust if you got a 52-48 Senate with a House majority), it would for everything, no matter how much politicians might say otherwise a couple of weeks before the election (you can't carve out an exemption for codifying Roe and randomly keep it for something else).  And given that this Senate/House combination would be the most liberal Congress since the 1930's, there'd be a lot of potential for Biden to have as consequential of a term as Franklin Delano Roosevelt's first four years in office.  Before it becomes a pipe dream (I would give just about anything to be wrong on the Democrats not achieving the 52D Senate + House majority but it doesn't look super promising) in 19 days, I wanted to show you twelve things that would pass in a 52-48 Senate with a 226-House majority.

1. Codification of Roe & Griswold 

Obviously the big one, but Roe (providing rights to abortion) and Griswold (providing guaranteed access to contraception) would pass.  One of the things that is lost when we talk about filibuster reform is that overturning the filibuster would almost certainly result in more bipartisan legislation passing, not less, and this is a good example of it.  Republicans like Nancy Mace, Susan Collins, & Lisa Murkowski would surely vote for the codification of Griswold, and the latter two would likely be convinced to pass a bill codifying Roe even if someone like Joe Manchin (who is anti-choice as a rule), would not.  Some would be like "the Supreme Court would just overturn it again" but to that I give a bit of side eye.  The Supreme Court overturning an act of Congress that pretty clearly they should be allowed to pass under the 10th Amendment would strongly increase the likelihood that judicial term limits & expanding the Court would become status quo beliefs of the Democratic Party, which no conservative on the Court wants.  It would definitely buy us more time on the reproductive rights front as we strive to bring the judiciary to the left.  Which brings us too...

2. More Judicial Nominations

The exact number is harder to get than you'd think (because the definition of a retirement is sometimes hard to ascertain) but there are at least 59 judicial nominees that Joe Biden has announced that need Senate approval (and there are more vacancies after that he hasn't announced replacements for).  It is very true that Chuck Schumer will confirm many of these individuals during a lame duck session regardless of what happens on November 8th.  In fact, if the Republicans win the Senate, I suspect we'd see him try everything within his power to get all of them confirmed.  But I struggle to see how even the ballsiest plan gets through 59 judicial nominees, dozens of which have not had committee hearings yet.  As a result, if the Democrats got to 52 senators, they'd be able to say with confidence that they'd get all of these appointments, not to mention any openings in the next two years (including the always present possibility that we will see a Supreme Court vacancy).  They also would have to worry about less discharge petitions since they'd have an outright majority on the Judiciary Committee.  If we've learned anything in the past decade, you want to get as many judges appointed by your party as you can-52 senators gets you there.

3. Pass the Dream Act

When Joe Biden became president, he re-instituted DACA, protecting Dreamers (people who were brought to the country as children) from being deported (something that President Trump favored).  However, executive orders only go so far, as any Dreamer who lived under the Trump administration can tell you.  Congressional action, through some version of the Dream Act, giving Dreamers a path to citizenship is the only way to guarantee that these people are given citizenship to the country they've known since they were children.  What has stopped this (even Joe Manchin has indicated he'd be supportive of some version of the Dream Act) has been the Senate filibuster.  Without it, it's probable that the Democrats would be able to pass laws protecting Dreamers and making them American citizens, ending decades of uncertainty.

4. Climate Change Reforms

It's worth noting that the Inflation Reduction Act did more for climate change than any bill in American history, and so the current trifecta, while it certainly didn't fix the problem, definitely took steps in the right direction.  But we'd likely see a renewed effort to go after some of the things that the bill missed.  This is where specifically you're working around Joe Manchin rather than with him (the bills we've listed above would pass the Senate with his name on it).  You would likely see more regulation & charges on methane, power plants, & car pollution, and you'd potentially see expansion of the Clean Air Act and the Clean Water Act under a larger Democratic majority, both of which were not part of the Inflation Reduction Act or CHIPS Act that passed through Congress this past summer.  These could go a long way to fighting climate change, adding onto the work that I want to underline Biden, Pelosi, Schumer, and yes, Manchin should get credit for already on combatting global warming.

5. Medicare Reforms

Medicare will undoubtedly be one of the biggest issues of the next Congress if Republicans gain back either house, particularly with figures like Ron Johnson & Rick Scott trying hard to gut the program.  But the inverse is true too-the Democrats, should they have a trifecta without a filibuster, would probably be able to do a couple of key things on Medicare.  First, they'd likely be able to expand the coverage under the program to include Dental, Hearing, & Vision, which are not currently covered, and would be a huge win for America's senior citizens.  This, again, is the benefit of working around Manchin, as it's likely that he wouldn't back this move, but John Fetterman & Mandela Barnes would.  This is a huge issue for Sen. Bernie Sanders, and without the filibuster (and the likelihood that Sanders might retire after his current term), he'd almost certainly make a push to get this passed as a legacy-builder.  I'd also think that we'd see a major push to lower the Medicare age to 55 or 60, another thing that Manchin doesn't support.  I do not think that we would see Medicare-for-All (I don't think public support is there yet for the bill), but these two expansions of Medicare would be a big test to see if the case could be made to the American people for a future expansion, and would be enormous benefit to millions of Americans.

6. Insulin Cost Reduction

A pretty simple one, but in the past Congress, a bill to limit insulin costs, not just for those on Medicare (which did pass) but for all Americans didn't make it into the Inflation Reduction Act.  Without the filibuster, this would be able to be passed without using reconciliation, and given the popularity of it, it would not only pass, but I suspect you'd run into a lot of Republicans (and every Democrat) willing to sign onto a very popular bill.  A simple solve, but a big one if you're impacted.

7. Election Reforms

One of the bigger things that would come out of this hypothetical Congress isn't necessarily sexy in the middle of a contest about rising costs & inflation (I didn't list a lot of bread-and-butter things like tax cuts or reforms, since they aren't synonymous with the progressive grassroots, but know that they'd probably be a priority in the next Congress given the present economic situation) would be elections reform.  Without the filibuster, you'd be able to pass the John Lewis Voting Rights Act, which would strengthen the voting rights of minority communities in this country, particularly when it comes to redistricting, voter ID, and poll place expansion.  It would also limit the ability of people like, say, Brian Kemp to remove voters from voter rolls in states like Georgia (which was a contributing factor to Stacey Abrams' loss in 2018).  This would also mean that we'd see additional VRA districts in states like Alabama & Louisiana.  I suspect that given the probability that both the Supreme Court and the state Supreme Courts of Ohio & North Carolina would redistrict the current House of Representatives before 2024's election, you'd see some provisions about gerrymandering reform in the next Congress both based on it being good policy, but also out of self-preservation.

8. Gay Marriage & the Equality Act

It is a decent probability that in the next two years, unless Congress acts before then, we will see some action from the Supreme Court overturning the Obergefell verdict.  It seems inevitable after Roe that this is coming, and a Democratic trifecta (without the filibuster) would be able to get ahead of this.  It's possible (though I wouldn't bet on it) that Chuck Schumer is able to get a gay marriage bill passed in the lame duck session, but I don't think it happens unless it's inevitable the Democrats could get it through the next Congress.  Without the filibuster, it easily passes, codifying Obergefell and Loving into law.  I also think we'd finally see the passage of the Equality Act, which is particularly vital in order to pass protections for transgendered people, who have been unduly impacted by legislation in red states in the past two years.  I think you could peel off votes from Collins or Murkowski here (and maybe even Manchin), but regardless-it'd pass in a 52 Senate/226 House situation. 

9. Universal Pre-Kindergarten

The next two items on this list are items that Democrats honestly lost on in the Inflation Reduction Act (IRA), specifically because of Joe Manchin (and, of course, 50 Republican senators who refused to help).  One of the biggest aspects of the Build Back Better (BBB) bill that got cut for the IRA was around early childhood education spending, which would be back on the table & almost certain to pass if you didn't have to worry about the filibuster & Manchin.  I'd be curious to see what details might change (would they make it as easy for red states to opt out as they had in the initial bill if they didn't have to?), but it would be a huge step toward arguably the most important education goal for progressives (that isn't talking about the costs of college): making sure every American child has access to education at ages 3 & 4-year-old.

10. Childcare & Family Sick Leave

The other big ticket item that was cut from the BBB bill was around universal childcare, paid sick leave, and maternity leave.  These would all be back on the table, and while the universal childcare bill would be the toughest sell (this is extremely ambitious compared to some of the other things on this list due to the high cost and the potential impact that it could have to parents' wallets), I would assume we'd see some version of this passed in a Democratic trifecta Congress.  Maternity leave, for sure, would be on the table, ending one of America's most shameful practices (not guaranteeing pregnant women the right to take sick leave after they give birth), and expansion of access to paid leave, particularly for low-wage workers, would be a huge step forward for the labor movement.  One thing that probably falls in this same department that would definitely be discussed, but I'm not entirely sure would pass would be a raise in the minimum wage.  Particularly given we're about to go through a recession, I'll be honest-I don't know if even a Democratic trifecta could get it done, though undoubtedly people like Bernie Sanders & Elizabeth Warren (who'd have gavels in this hypothetical) would be bringing it up.

11. DC Statehood

I've listed a couple things (judicial reform, minimum wage law, and student debt reform) that I think would be tough sells even in this expanded Democratic majority.  The last two listed here would be tough sells...but ones I suspect you could get through if you pushed hard enough.  The first is DC statehood.  It's clear that this would pass the House, and that Biden would sign the bill.  The question would be-can you get enough votes in the Senate to pass it.  Joe Manchin is opposed but both Barnes & Fetterman are on the record as passing DC statehood, so it'd likely come down to four people: Mark Kelly, Angus King, Kyrsten Sinema, & Lisa Murkowski.  These four senators have been cagey on whether or not they'd support DC statehood, but it's possible when it transformed from "hypothetical" to "you're going on the record" that they might swing toward passing DC statehood.  You'd need two of them to pass the bill-King & Kelly, in particular, could probably be persuaded.  This would be an enormous moment given that DC would almost certainly send two Democratic senators to Congress (it'd be the most liberal state in the country), thus giving the Democrats a potential leg-up for future Senate majorities.

12. Marijuana Legalization

While Joe Biden has made major steps on marijuana legalization (pardoning many past offenders as well as moving to reclassify the drug), this is just based on executive action.  A future Republican president could easily reclassify it (though the pardons are forever), making future offenders pay the price.  Congress, though, could pass a bill legalizing the drug that would override a future executive order.  It's not clear, though, whether or not this would pass.  While acceptance of marijuana legalization has grown in recent years, it is not as universally supported in the Democratic caucus as something like abortion rights or gay marriage is.  It's not just Manchin on this one.  People like Sens. Jeanne Shaheen, Jon Tester, Bob Casey, & Mark Kelly have spoken with trepidation about fully legalizing marijuana, and without their votes, the bill wouldn't pass.  It's probable that you would get a a compromise (like national legalization of medical marijuana), which would be something though the backlash of only taking a baby step even with a trifecta would be real.  Proof that while we could have the most progressive Congressional session in decades...you could always do more with more Democrats.