Netflix is turning Joe Ballarini’s three-book series A Babysitter’s Guide To Monster Hunting into a family film, Deadline reports today, with Rachel Talalay (Freddy’s Dead: The Final Nightmare, Tank Girl) set to direct. Ballarini himself will be writing the adaptation.
The influential author Angela Carter died on 16 February 1992.
Despite her early death at the age of 51, Carter forged a reputation as a serious writer – working across fiction, non-fiction, essays and journalism.
However, it was her interpretation of classic fairy tales in the 1979 anthology, The Bloody Chamber, which sealed her reputation as an author. Teasing out the darker, sexualised elements of the original tales, Carter tackled sex, gender, and relationships head-on.
In this clip, Carter discusses her take on Beauty and the Beast – and its erotic undercurrents – with former Monty Python star Terry Jones.
The woman wears a long velvet dressing gown over a lace peignoir that froths around her ankles like seafoam as she runs across the moor. In the distance, the shape of a house grown vast and gloriously terrible beyond any architect’s dreams looms, bleak and menacing and wonderful. The moon is high enough to light the scene; the sun is a lie told by nannies to their charges to keep them from being afraid of the monsters in the night. The monsters are not a lie. The monsters are real. The monsters are already inside the house. The monsters are in the blood and the bone and walls, the monsters are here, the monsters are pursuing the woman through the heather, toward the cliffs overlooking the sea, the monsters are sitting down in the parlor for slices of cake and cups of tea.
Welcome to the gothic horror.
We had borrowed the house from a friend none of us seemed to know.
Highfallen House stood on an eminence overlooking the sea. It was a square Victorian gentleman’s residence. The large bay windows looked down through the pines towards the shore. Six stone steps led the visitor up to the double front door where a gothic bell-pull released a loud mournful clang deep into the distances of the house.
Laurel lined the drive. The stable block was disused. The walled garden had been locked up in 1914 when the gardeners went to war. Only one had returned. I had been warned that the high brick wall enclosing the garden was unsafe. As I passed it slowly in the car, I saw a faded notice falling off the paint-peeled door. DO NOT ENTER.
From the neon-drenched noir of Altered Carbon to the technophobic Black Mirror, dystopia is all over mainstream entertainment these days—and considering the current political climate, it’s easy to see why. But when was the last time you watched a utopian show or movie? Unless, like me, you’re watching Star Trek on repeat forever, it’s probably been a while since your imagination took a trip into a better world.
Everything we struggle with today, from climate change, to human rights abuses, to police brutality, is paralleled and explored in countless fictional dystopias. And for many people, this is a welcome outlet for their frustrations. But the more reality starts to resemble the dystopias on our TV screens, the more we need another kind of story. Utopian fiction dares to hope that we can, and will, be better. And I don’t know about you, but I could really use that dream right now.