Killing Sarah Wainthrope | Halloween H20: 20 Years Later Analysis

Killing Sarah Wainthrope | Halloween H20: 20 Years Later Analysis

halloween h2o 1998 today we’re talking about the death the sarah wayne throat kill sarah um i i love sarah i love sarah so so much um halloween h2o is a film that i actually love uh i i think it’s fantastic i think it’s great it is um loosely based on a an original treatment uh from kevin williamson kevin’s original um script was like halloween seven um the revenge of lori strode which is a an incredible name and of course that still followed the thorn trilogy continuity which halloween h2o completely gets rid of um man the halloween timeline is is x-men and terminator levels of impossible to decipher and interpret but that’s fine because halloween h2o was great came out just like urban legend did just like the faculty did in the most intensified part of the wave of the post-modern teen slasher film which those are the movies i’m completely obsessed with and uh it’s really cool because of course um within the post-modern uh slasher film like something like god is a non-issue concept spiritual concepts are all just non-issues doesn’t mean that the films um are actively opposed to god it simply means that in a post-modern universe god is not in the equation it’s just a non-issue which is fun putting michael myers into that uh kind of landscape of thought landscape of style i should say because post-modern um pop films are more about behavior and attitude uh more so than a direct philosophy um so when you put michael myers into this situation you have to strip him of his divinity but since it’s post-modernism and it’s deconstruction that divinity has to go somewhere so where does it go you you strip michael myers of his lovecraftian sensibilities of his uh god-like luciferian [ __ ] framework where does it go it goes to lori strode michael myers is uh divinity is removed from him and laurie is deified in the film um directed by steve miner uh who directed friday 13th part two part three and he also directed quite a few episodes of dawson’s greek probably the kevin williamson project that i love to death and so steve miner is well acquainted with the post-modern postmodern sensibilities and especially with the school of thought that was williamson esque um to the point where you see michael’s eyes so clearly just like you saw jason’s but here it’s different here you see his eyes because he’s humanized they ghostfaced him they ghostfaced michael in this movie he’s a [ __ ] like he’s a pretty bad killer he’s pretty bad at his uh at his job and i think that’s wonderful because you remove michael’s divinity and you deify lori in turn that’s the constructionist that’s postmodern that battles the social stratification inherent in legacy horror pictures like halloween i think halloween h2o is wonderful sarah has the best death in the whole movie one of my favorite deaths of all time i wish i could tell you i loved the character so much which by the way i do love the character a lot it’s just coming from a uh um a [ __ ] loser-ish man part of me that’s like do i love the character or do i just have a huge crush on jody lynn o’keefe who plays the character i’m not sure i’m not sure if those have to be mutually exclusive i’m not sure if if that alters anything necessarily jodilyn o’keefe is one of my ultimate 90s dream girls and of course i love to watch her do anything but especially like be brutalized by michael myers i don’t know i don’t know what it’s saying but um jodilyn o’keefe is as hot as it gets really so i don’t know if i like sarah too much as a character she’s an archetype now most of these characters in this film don’t have a whole lot of interiority part for the course for a halloween film i wish they had a little bit more interiority i think kevin williamson if we had had him helm the entire script would have provided these characters with more interiority but i mean sarah’s archetype is um is fully visible at least i mean she is like the kind of rebellious um uh like more erotic friend um who just wants to have like like a like a good time and a lot of sex with her boyfriend i think is basically her motivation but since she’s played by jody leno keefe and jordan o’keefe has an inherent likeability and just uh inherent sexiness i’m totally in love with the sarah character but um you’re gonna hear excerpts from a critique an analysis that jacob and i did um on this channel about the film halloween h2o and specifically i’m going to clip it so you hear the parts where we talk about sarah’s death because like i’m fumbling around with the words when really at the end of the day it’s quite simple what i like most about sarah’s death uh the fact that it’s jody lynn o’keefe and i’m in love with her definitely helps but the word is scary it’s scary and it’s brutal and it’s hurtful and it really shocked me when i first watched i first watched it when i was like 9 or 10 and every time i watched the film her death there’s such a visceral shocking um display of like rotiscari involved with her death that uh like i’m always speechless i’m always stunned by it um she tries to go up that dumb weight or that elevator shoot it’s actually called a dumb waiter um in the kitchen and when she tries to get out of that dumb waiter oh my god and the nearly clips off her and like her calf her entire leg and she’s crawling around the floor oh and michael puts her out like a wounded animal oh my god it’s so harsh and you see her later on in morbid mocktable with like hanging from a light fixture with light like emanating through her rib cage it’s just what what why was sarah punished so heavily that is so mean and it’s so weird so shocking but in the analysis you’ll hear me like stumble around the words at the end of the day what that death is to me is the most visceral death of the 90s post-modern era it’s the most visceral one it’s the most shocking on a visual level perhaps the most like um what like like traditionally uh horrific death in these post-modern horror movies because it’s just so cruel and inescapable um unchangeable it’s where michael kind of feels like a deified force for even if it’s just for a minute and that’s scary sarah wayne throat is a mind-blowing character to me because i’m like outrageously attracted to where um her death stuns me stuns me my halloween h2o to me just feels like such a classic film it has all of those qualities inherent in timelessness in my head like i love the costume design the the private school outfits that they wear uh the color texturing the color grading the color scheme all of those colors of fall of halloween it definitely elevates the archetypes in this film especially the the four kids um who seem to be near the center of the drama and horror uh it elevates them into kind of areas that uh that i can’t help but think of them no matter if they do lack interiority i think of them as timeless and tragic in the end and sarah i love sarah she’s got a really cool attitude um you know she’s a cool rebel friend um and i’m really down with her i love her attitude i love her behavior and the way that she is brutalized and mutilated just shocks me because the movie does run a chance of being a little too sanitized but there’s nothing safe about sarah’s death it’s very confrontational and only a way that michael myers can be i love halloween h2o it’s my second favorite halloween film my favorite halloween film is halloween for the return of michael myers i kind of just think that’s a beautiful film in every every regard it’s a beautiful film um halloween h2o is right next to it i can’t imagine the post-modern era without it even though it doesn’t really seem to say a whole lot um there’s still something that’s incredibly distilled within it that blows my mind every time that i watch it it’s an interesting distillation of what the postmodern attitude of the time the ethos that the stylish teen self-referential ethos uh was all about and i think it’s best encapsulated in sarah and by proxy of sarah it’s in her death uh her death speaks volumes um let’s talk about these these four kids because um uh i do like them i do like our four new kids in fact i would i would um if possible i would simp for uh jody lynn o’keefe like all day if i can uh she played sarah in the movie she’s she’s incredible she’s great and um if you grew up in the 90s early 2000s you kind of know her as the mega [ __ ] in every single movie like like she’s all that and certain television shows and stuff and she gets the roughest that’s my she’s my favorite oh it is okay okay and we’ll cover her in probably like 10 minutes but i just want to say she’s oh my god i think she’s outrageously attractive and uh just just a good character but attraction shouldn’t end there we have josh hartnett with the most perfect late 90s hair i’ve ever seen it’s still it’s still faculty it’s the same goddamn hair from faculty and i still don’t know why he looks like kind of cool in it yeah h2o isn’t my favorite halloween but it’s the one i have the most fondness for and the most fun watching i can see that but to get to to get to where i really want to go the part that actually freaked me out as a kid so jody lynn o’keefe my 90s dream girl um she’s next on the list she finds it’s also one of my favorite slasher movies movie deaths up there with parker and damon and carter from final destination and um what a scream too like randy’s like um it’s up there and uh she finds her boyfriend hold on let me take a sip a bit strength extremely dry throat this is what people like yeah same i think oh god but um finds her boyfriend with his throat cut in the elevator which like already michael’s just recycling how he kills people that’s like the second or third slip throat we’ve got but um okay so jody leno keeps death sarah’s death it’s [ __ ] me up for so long it is she sees michael coming and she hides in the elevator going up and michael does get her like in the side a little bit with his huge kitchen knife and she starts going up and i love that they set up this elevator as this thing like earlier with michelle williams doing dish work or something for for the school i have no idea what she was doing but i think she was doing some some job thing yeah you know yeah yeah and she starts crawling out of the uh the elevator and like her dead boyfriend’s corpse is like her her uh her pant leg is snagging on his body and she’s having just a little bit of difficulty getting out of it so michael cuts the rope for this elevator thing which is something you put like 30 dishes in to bring it back down in case anyone’s having trouble remembering this even though it’s it’s so many horror movies yeah but it’s never been done to this visceral effect and what i’m talking about right now when the elevator falls back down and [ __ ] destroys demolishes her her leg like like her her ankle really um like the middle whatever dude the leg the leg help me out anatomy majors i’m i’m being i’m too grossed out right now it’s the leg it just [ __ ] almost snaps directly off you see her crawling on the floor and they show like her completely mangled leg and mangled is probably an understatement as well i mean it’s almost off it’s hanging on by like a bare piece of flesh and it’s [ __ ] i remember being a lot i mean this thing hasn’t dissipated at all but watching it when i was younger and just being like that’s such a visceral [ __ ] horror moment for me and like it’s one of those things that like psychosomatically i don’t know psychologically i always reach down at my leg or something when i when i see that scene because it makes you like you feel a phantom pain from that like you just feel it it’s just a really great moment and she’s crawling and michael just took the [ __ ] stairs i guess and he’s towering it’s one of the only times michael feels like a deified thing maybe too um because i mean she gets this very harsh and we don’t necessarily understand the geography of where they are like we didn’t know there was just an available staircase right there i don’t know but he’s right there again and she’s crawling and begging for her life um williamson style and michael like steps holds her down pins her down with his like leg like she’s a like a dying animal and just just hacks her to death with a knife it’s really i think um it’s the most brutal [ __ ] death of the movie sarah got it the worst by far like it’s not even a contest of who got the worst death it’s sarah um the other ones are either off screen or they’re kind of uncharacteristically bloodless or with as little blood as possible because they’re normally kind of quick in this movie what did you think of her death i i’m pretty much the same i i don’t know most of the deaths in this movie didn’t get me i i was almost worried it was going to be a little too sanitized uh that scene happened the shot of her leg when she’s crawling on the floor just i was like oh god that’s that’s rough that’s rough um i i can’t say i was as attached to her as you were um actually it’s just me being a gross man i just thought she was really hot okay i know i like that i know i like that he he has his his divinity if you want like stripped away from him and it’s almost given to laurie like laurie laurie to me almost becomes deified in this movie yeah a little bit it’s like inversed and in a really cool post-modern way that like michael should fear lori this is obviously laurie’s reckoning it’s michael’s reckoning as lori’s revenge i do feel that especially when she tells the kids to go and she grabs a [ __ ] axe and she just stands there and screams michael’s name like come get some like i’m in the parking lot if you want to get your ass kicked this is where for me the the movie kind of shifts from being trying to be like legitimately sympathetic to like what laura is going through to becoming like borderline cartoonish but in a way i find completely appealing yes i find it appealing and endearing actually i yeah like i don’t love it like i said um i don’t love it but like that’s where i’m like all right at least you’re leaning into it at least you’re you’re really just owning it and leaning into it um these movies are all about like empowering your final girl and she almost has like super human abilities at the end to where they can like the tropes bend and break at their own at their [Music] they can rearrange a [ __ ] horror movie in the last 10 minutes for me that’s kind of why i i don’t entirely take seriously or sympathize with the the the way it tries to approach um her ptsd just because it goes to that place of cartoonist but also if you do like yeah i don’t think you you can respect it but since i do consider this a post-modern horror movie and like i don’t yeah it’s kind of just the nature of it like i don’t know like it’s actually more sympathetic to view it as the trope dealing with ptsd of like the final girl’s been so abused over and over again not necessarily like a real life woman but the trope itself has been so abused and misused and yes yes mistreated and this is like the final girl like being given an axe and she gets the [ __ ] i don’t wanna doesn’t matter we’re talking about the whole ending like she gets to chop off the [ __ ] head no mercy [ __ ] yeah this is the final girl’s uh day really sure i feel like i almost feel like uh this movie kind of legitimized also that the williamson uh slasher movie in the eyes of a lot of people oh like where people started to realize it was a trend yeah yeah i can see that how deep it already is in horror culture that michael is doing that yeah it makes i can see that because again like like i said at the beginning i got i got whiplash watching this and it makes sense because i when i watched it it wasn’t just that it was 90s aesthetics although that was a big part of it it was just like seeing 90s aesthetics compared to you know 70s aesthetics it was night and day but different yes it was like a whole different world whereas this one you know you open with mr sandman and then every other scene you get this orchestral 90s hollywood score like which isn’t necessarily good or bad i’m not saying like that makes or breaks a movie i’m saying like it’s just the aesthetic difference is obvious it’s like this is a completely different era for horror and i think that makes that clear so i i guess as far as like its place in horror i don’t think it marked any changes i don’t think it necessarily revealed anything but if you watch it you know it’s emblematic of the period that birthed it it’s it’s it’s as 90s as it gets it’s yeah it’s weird it didn’t mark any changes or it wasn’t like a huge um significant moment in this time period but i can’t imagine this set of films which we’ve said is like actually rather limited like there’s like only a real few of them i couldn’t imagine this era without halloween h2o i think it’s kind of definitive of the era even like even though it didn’t do a whole lot because like you said it is incredibly 90s and not in a way that the faculty is it’s not like we’re pummeled with the offspring it is just the aesthetic of 90s yeah visual visual language of 90s really yeah the way a shot is framed the way the color is shot the way they edit a shot it’s overwhelmingly 90s god like the the opening credits are take place over your you know detective you know pin board of lines linking a picture of michael to a picture of lori strode like that like that scene from always sunny it’s just it says 90s as it gets and to some people as 90s as it gets is a turn off for me oh my god give it to me i feed me i’m a baby bird bro you
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Killing Sarah Wainthrope | Halloween H20: 20 Years Later Analysis

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