#Glee pink houses movie#
#Glee pink houses full#

#Glee pink houses movie#

They usually pop up in a movie theater when a trailer comes on that’s so incredibly stupid-or, on the other hand, meant to be so grand but completely misses the mark ( Avatar 2!)-that my body can’t help but form a physical reaction to try to alert me to go into fight or flight mode. There is a special type of chills that my body gets when I’m experiencing unbearable secondhand embarrassment. So to be confronted with it in They/Them, when I had nowhere to run after letting my guard down watching the film’s one emotional moment, was like being thrust into a horror movie of my own. I have spent a third of my life trying to escape this song, dodging it on bad Pride playlists and midwestern radio stations when I go home to visit my parents. It’s filled with barren, platitudinal lyrics (“Change the voices in your head/make them like you instead”) and banal messaging. If you might not know, “Fuckin’ Perfect” is a bottom-of-the-barrel self-empowerment anthem that’s specifically crafted by P!nk to be a dastardly, chorus-heavy earworm. The dead always come back for one last scare. Oh, how naive we were to think Glee was gone and buried.

#Glee pink houses full#

Moments later, the other campers join in one by one to make it a full musical number. And then, to my jaw-dropping shock, Alexandra starts to sing P!nk’s “Fuckin’ Perfect” to Jordan. The scene is legitimately poignant, and left me thinking for a moment that They/Them was going to have some worthy takeaways after all. The only thing scarier than a conversion camp is one where your fellow campers start a P!nk singalong.ĭuring a touching scene near the middle of the film, two campers, Jordan (Theo Germaine) and Alexandra (Quei Tann), are discussing difficulties of being young trans people and their experiences living openly after coming out. The real scares in They/Them are found in its cringeworthy screenplay, particularly one scene that I’ll never be able to shake. Even its masked killer doesn’t provide a single tremble. It’s unfortunate, then, that all of the potential in They/Them is squandered by paper-thin characters, nonsensical writing, and a true misunderstanding of the real horrors that exist inside those camp gates. Its conversion camp setting is certainly one that could hold a great amount of horror movie potency conversion camps are very real, gruesome places where bigoted, ignorant families send children to be mentally and sometimes physically abused until they’re so broken down that they are “turned straight.” To set a slasher here, letting a killer loose on the camp counselors, could be a stroke of genius if done correctly. Aside from a couple of bigger names, like Kevin Bacon, to lend itself credibility and attract a wider audience, it boasts a cast of entirely queer actors, which is a huge step for a film produced by a major studio. They/Them (or “They Slash Them”) is the new slasher film out Friday on Peacock, billed as “an LGBTQIA+ empowerment tale set in a conversion camp.” It’s trying to bring some originality back to mainstream horror.

That is, until one film dared to implement the most terrifying thing of all: self-empowerment anthems. The jump scare, the face in the bathroom mirror, the chase scene-need I continue? It would seem that there’s nothing left to scare us, that everything’s been done hundreds of times over. The horror genre is filled with tropes that are designed to creep you out, things that have been used for decades to terrify audiences.