Tag: get out

New York Magazine’s ‘The Stolen Kids of Sarah Lawrence’ to Be Adapted

The New York magazine cover story, The Stolen Kids of Sarah Lawrence, is being adapted thanks to the  Jason Blum and Mark Walhberg.

Larry Ray

Larry Ray | Image Via The Cut

For those unaware, the New York Times cover story was written by Ezra Marcus and James D. Walsh. It tells of the story of Larry Ray, who went to stay with hid daughter at Sarah Lawrence College after being released from prison. With political connections and violent streak, Larry Ray began methodically manipulating his daughter’s classmates, gradually taking control of their lives.

The events escalated into Ray abusing the students. In the end, Ray was found out, but many of the students began praise him in court for how he turned their lives around.

 

 

Blumhouse Productions Logo

Image Via TVOvermind

The Hollywood Reporter broke the story about how this real-life horror has been picked up by Jason Blum’s Blumhouse Productions.

Jason Blum

Image Via IndieWire

This is a powerhouse studio and Jason Blum has been involved in a multitude of films from Paranormal Activity, The Purge, Halloween, Get Out, and most recently Us.

Now Jason Blum will be produce alongside “…Wahlberg and Stephen Levinson through the duo’s Closest to the Hole Productions”.

Stephen Levinson

Image Via Hollywood Reporter

Stephen Levinson is a television producer whose worked on Entourage and served as an executive producer on the Wahlburgers television show as well as fifty-six episodes of Boardwalk Empire.

Mark Wahlberg

Image Via Time Magazine

On the other side is Mark Wahlberg, known for his staring role in The Fighter, The Departed, Boogie Nights, and many more. Before his acting career took off, he was rapper Marky Mark in the Funky Bunch.

Wahlberg and Levinson
Image Via Hollywood Reporter

 

Last year, Wahlberg and Levinson’s Closest to the Hole produced Paramount’s  comedy Instant Family and the action movie Mile 22, both of which starred Wahlberg.

Right now its unknown if the story will be adapted into a feature film or a limited series, although we could totally picture Mark Wahlberg showing off his acting chops as the emotionally abusive father.

In the mean time, The Stolen Kids of Sarah Lawrence is available to be read in its entirely here.

 

Featured Image Via The Cut

Horror Noire Sheds Light on a Forgotten Genre of Film History

Horror Noire: A History of Black Horror has been making the rounds recently. Released as an exclusive on Shudder, the documentary explores the history of black people in the horror genre, from the ugly roots where black people were written as literal monsters by films such as Birth of a Nation to modern black horror film Get Out. The documentary has received critical acclaim for exploring a topic often swept under the rug or ignored entirely. But what’s lesser well known is that Horror Noire is based on a book. This book, Horror Noire: Blacks in American Horror Films from 1890s to Present by Robin R. Means Coleman explores the same topic in its pages, providing an excellent companion piece to the documentary or vice versa.

 

Duane Jones plays Ben in Night of the Living Dead
Image Via Horror News Network

 

Coleman’s interest in the black horror genre began with seeing Night of the Living Dead on rotation at a drive in theatre. In that film, Ben is one of the first significant black protagonists represented onscreen in a non-stereotypical fashion. He takes charge of the situation and lasts beyond his white peers, until the end of the film. There, Ben is shot and disposed of by a group of men hunting down zombies. He’s cast aside with the other dead, his body burned as the credits roll over this image, a terrifying end to the film. This film made an impact on Coleman and began her scholarly research in horror.

 

The book cover of Horror Noire by Robin R. Means Coleman
Image Via Horror News Network

 

In the book, Coleman defines horror films through the lens of black representation through two lenses. “Blacks in Horror” include black actors in significant roles but their roles are stereotypical. ‘Black Horror’ meanwhile finds horror films shaped and created by black directors, writers, etc. to create thematic works that resonate with their audience. Examples of ‘Blacks in Horror’ include films such films where black people serve as the comic relief, the victim for the monster, or have black culture portrayed through a white audience’s eyes, often not well. ‘Black Horror’ includes films such as Blacula, Tales from the Hood, and Get Out. These distinctions are examined critically throughout the book with a wide variety of horror films featuring black people or made by a black audience are dissected in detail, with the lines between the genres often being blurred depending on the era.

Coleman defines each era of black horror by the decade, from the earliest silent films to the modern age, showcasing how black representation goes up and down via the decade. It is interesting to showcase how horror allowed black people representation and true power onscreen, despite being marginalized at the same time. Horror, as Coleman defines it, allows a sense of retribution and equalization that other films genres would not provide for a long time. In this sense, Blacula is defined in the book’s pages as a truly wall shattering piece of piece, dismissed by white audiences but embraced by a black audience, as a black vampire looms large onscreen.

 

The documentary based on Coleman's book, Horror Noire: A History of Black Horror
Image Via Indiewire

 

Horror Noire is a must read for fans of the documentary, as well as fans of horror and film history. Covering in-depth aspects of tons of ‘black horror’ films, from the mainstream to the cult to the exploitation, this book is heavily recommended and sheds new light on what has often been unfairly dismissed as a trash genre, showcasing how much horror has meant to generations of black audiences, in shades of good, bad, and the ugly.

 

 

Featured Image Via Horror News Network