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‘Rosemary’s Baby,’ ‘Prevenge,’ and the Evils of the Trump Administration

Alice Lowe’s ‘Prevenge’ is in some ways a modernized version of ‘Rosemary’s Baby.’ … Throughout the course of history, and especially in Trump’s America, baby always comes first. Our government cares more about fetuses than it does about living, breathing women. This chills me to the core more than a scary movie ever could.

This guest post written by Lindsay Pugh appears as part of our theme week on Women in Horror. | Spoilers ahead.

[Trigger warning: discussion of rape and sexual assault]

Whether completely alone or with a partner standing by, pregnancy is one of the most terrifying and bizarre events to happen in real life. Of course, women are expected to handle it with aplomb and joy. “Oh, you mean my entire body is going to change and then if all goes well, another human being is going to rip through my vagina, hopefully only causing minimal tearing? Fantastic! Sign me up!”

As a woman in 2017, there’s plenty to be afraid of: increased attacks on abortion, unrelenting attempts to defund Planned Parenthood, rape culture and the normalization of sexual assault (“Grab ‘em by the pussy.”), etc. The litany of bullshit is horrific and interminable. How can anyone make a horror film that will scare women when real life has turned into a waking nightmare? Easy. Throw pregnancy into the mix; take all those standard fears and concerns and amplify them. Two films that do a great job portraying these atrocities are Roman Polanski’s Rosemary’s Baby (1968) and Alice Lowe’s Prevenge (2016).

I hate to give Polanski, creepy Keebler Elf and sexual predator extraordinaire, credit, but Rosemary’s Baby is one of my all-time favorite horror films and feminist as fuck. It makes me feel a little better to know that his screenplay is nearly identical to Ira Levin’s novel, so it’s not like Polanski is responsible for any of the genius plotting or characterizations.

In order to truly grasp the brilliance of Rosemary’s Baby, let’s quickly review the atrocities Rosemary (Mia Farrow) has to endure, from the sex before conception to her post-birth satanic cult discovery. First, it’s important to note that Rosemary’s pregnancy is the product of rape. Even though she’s been drugged c/o Minnie’s (Ruth Gordon) chocolate mousse, Rosemary is cognizant enough to realize, “This is no dream! This is really happening.” (Although even if she wasn’t cognizant, the fact is she was unable to consent.) The morning after her rape, Guy (John Cassavetes) tries to gaslight Rosemary by apologizing for the scratches on her body and telling her they only had sex when she was blacked out because he didn’t want to miss “baby night.” Rosemary is tense and suspicious for days, but those feelings are eventually eclipsed when a phone call from her doctor confirms her pregnancy. Instead of focusing on the traumatic conception, Rosemary diverts her attention to scheduling doctor’s appointments and spreading the joyous news.

Unfortunately, Rosemary’s happiness wanes when her body begins to change. In order to combat her feelings of unease, Guy, Minnie, and Roman (Sidney Blackmer) concoct a plan to ensure that no matter how bad her symptoms become, Rosemary never believes they’re abnormal. Dr. Sapirstein (Ralph Bellamy) tells Rosemary not to ask any questions or listen to advice from friends or books. Instead of taking vitamins, she’s to drink one of Minnie’s herbal concoctions every day. Rosemary wants what’s best for her baby, so she listens to the doctor, even as she becomes scarily gaunt. She knows something is wrong, but the people closest to her have done a great job of convincing her she’s paranoid and can’t trust her own instincts.

Throughout the film, Rosemary vacillates between trusting her intuition and dismissing it because she wants what’s best for the baby and doesn’t always trust herself to provide it. At several points, she tries to take control of her situation, but external forces usually convince her she’s made the wrong call. By effectively gaslighting her, Guy and the Castevets have ensured that Rosemary no longer trusts her own body or motherly intuition. At the end of the film, when Rosemary decides to embrace her role even though her child is a fucking demon, it’s a total act of rebellion. These people have taken away her sanity, her health, and nine months of her life, but they won’t take away her baby. Even though this situation isn’t what she signed up for, she’s on board for lack of a better option.

Even with a wanted baby, pregnancy can be a terrifying situation full of unknown elements. Alice Lowe had this in mind, that “pregnancy is an alien experience,” while making Prevenge. Without the power to ask questions and make informed decisions, a beautiful, exciting life event could easily turn into a waking nightmare full of anxiety and dread. The Trump administration wants to make Rosemary’s Baby a reality. Something is wrong with your pregnancy and you need to terminate it in order to avoid a lifetime of pain for yourself and your child? Too bad. You must carry the pregnancy to term and deal with the ramifications alone. Your pregnancy is the result of rape and you’re unable to deal with the psychological trauma? Or you simply don’t want to be pregnant? I hope you have the time, money, patience, and strength to deal with abortion restrictions like mandatory waiting periods, forced ultrasounds, TRAP laws, personhood laws, insurance and funding limitations, 20-week bans, forced counseling, and ideological shaming that you’re likely to encounter depending your state. And restrictions to abortion access disproportionately impact women in poverty, women of color, and women living in rural areas.

Rosemary’s Baby is as relevant today as it was forty-nine years ago. Like Guy Woodhouse, the Trump administration uses women as pawns and attempts to stave off rebellion by gaslighting, discrediting, isolating, and emotionally manipulating them.

Prevenge is in some ways a modernized version of Rosemary’s Baby. Ruth (Alice Lowe) is a widow, convinced something is wrong with her pregnancy but told by her midwife (Jo Hartley) that she needs to stay positive and listen to her instincts. The midwife tells Ruth, “Baby knows what to do. Baby will tell you what to do.” The only problem is that Ruth’s baby tells her to kill people, not to relax and eat some Cheetos dipped in clam chowder. With influences ranging from the Greek Furies, to American Psycho and Taxi Driver, Lowe “wanted to show a powerful pregnant woman,” which counters how pregnant women are traditionally depicted or viewed as frail.

During her pregnancy, Ruth is even more isolated than Rosemary. She lives out of hotel rooms, has no friends, and only interacts with her midwife and people she plans on killing. The bond with her unborn baby is the sole one we’re privy to and it’s obviously very twisted. Even when we finally see a flashback of her deceased husband, it’s of his death and not their time together.

While we often hear the midwife voice concern for the baby, we never hear her ask Ruth how she’s doing. Even after she looks through Ruth’s paperwork and realizes that her partner is dead, she doesn’t feign sympathy. She essentially tells Ruth to suck it up and remain positive because her negative energy won’t do anything to help the baby. This is the conversation she has with Ruth after realizing she’s a single mother:

Midwife: It’s very important to let the past stay in the past. It’s just nature’s way.
Ruth: I think nature’s a bit of a cunt, though, don’t you?
Midwife: Oh, negativity’s not good for the baby’s spirit, really.
Ruth: Do you think?
Midwife: Yes. I think it’s good to try to stay positive.

Ruth is clearly struggling with mental health issues and needs someone to step in and help her, but no one gives a shit about her problems; her job is to serve the baby and as long as she’s following through, there’s no cause for concern. As soon as Ruth becomes a mother, her grief and depression are non-issues to those around her because the baby comes first. Throughout the course of history, and especially in Trump’s America, baby always comes first. Our government cares more about fetuses than it does about living, breathing women. This chills me to the core more than a scary movie ever could.

Ruth and Rosemary both try to do what they think is best, but are swayed by outside influence. Ruth’s midwife tells her to listen to the baby; Dr. Sapirstein tells Rosemary to listen to him. No one tells either of these women to listen to themselves — to trust their bodies, experience, or intuition. Women are not to be trusted in any capacity, in any situation. Ruth knows that something isn’t right, that her pregnancy and mental state are abnormal. But she squashes these feelings, listens to her “baby,” and continues to kill people. Rosemary fights like hell at the end of the movie and tries to tell anyone who will listen that there’s a conspiracy against her, but she’s branded as “crazy” and immediately dismissed.

This Halloween, what’s keeping me up at night isn’t fiction; it’s real life. It’s the possibility of a 20-week abortion ban and the knowledge that I live in a country where women aren’t valued or trusted — where a majority of white women would rather have Donald Trump represent their interests than Hillary Clinton. I watch films like Prevenge and Rosemary’s Baby because I want to remind myself to stay vigilant. In 1979, Loretta Lynn said, “We’ve come a long way, baby,” but these films remind me we haven’t come far enough.

See also at Bitch Flicks:

Rosemary’s Baby: Marriage Can Be Terrifying

The “Blurred Lines” of Body Horror and Rape Culture

Rosemary’s Baby: Who Possesses the Pregnant Woman’s Body

Recommended Reading:

Woman in Revolt on Prevenge

Refinery29’s Interview with Alice Lowe: The Pregnant Serial Killer Movie Taking a Knife to Stereotypes on Film

The Most Cursed Hit Movie Ever Made by Rosemary Counter

Lindsay Pugh runs Woman in Revolt, an intersectional feminist film blog that focuses on female directors in television and film. She is a self-described militant feminist and can be found wandering the streets of Ann Arbor wearing a leather jacket adorned with “Fuck Paul Ryan” pins and shaking her fist at the patriarchy.

‘Fear the Walking Dead’: Melvin Was My Ride

I mean, if I want to see an obscenely wealthy, morally repugnant real estate magnate battling mindless zombies, I’ll just watch the Republican presidential debates again.

The first season of AMC’s Fear the Walking Dead is over, and it wasn’t everything we’d hoped. Not that our hopes were that high. After all, as I noted last week, after a strong pilot episode, it took The Walking Dead until well into its fifth to become the type of compelling, frightening, and morally complex work we’d hoped for from the beginning. And we’re still not 100 percent convinced we’re there yet. The gore helped tide us over. We are horror fans after all. But the weak characterizations, sometimes plodding storytelling, and the show’s embarrassing representation of women and non-white characters severely dampened our enthusiasm.

Fear started out with an advantage in the casting of Kim Dickens, who doesn’t know how to play a boring character. She gave us a way into the new series, and Madison was immediately a stronger presence than any of the women on The Walking Dead, at least up until Michonne’s (Danai Gurira) arrival. The writing on the new show hasn’t been impressive, in terms of plot, dialogue, or characterization, but the cast, overall, has been strong (again, Frank Dillane’s slightly over-the-top performance as junkie Nick has grown on me) and Dickens is the backbone of that cast.

There are several prominent Latino characters on the show, which you’d think would be standard for any show set in 21st century Los Angeles, and while some of them are problematic, they’re not presented as stereotypes. The three most prominent Black characters on the show died hasty deaths, and the introduction of the mysterious, manipulative Strand (Colman Domingo) was intriguing at first, but this week we learned that he seems to be a shady real estate broker, which is much less interesting than anything I might have speculated about his background. I mean, if I want to see an obscenely wealthy, morally repugnant real estate magnate battling mindless zombies, I’ll just watch the Republican presidential debates again.

The episode begins with a few nice shots of a full moon over a rapidly disintegrating Los Angeles, and then we’re at that arena full of zombies that Daniel (Ruben Blades) found out about from National Guardsman Adams (Shawn Hatosy) last week. You remember, by having his daughter Ofelia (Mercedes Mason) lure him to their house, tying him up in the basement, and torturing him. That act and its consequences hang over the season finale like a toxic cloud.

Anyway, Madison, Travis (Cliff Curtis), Daniel, the mildly traumatized Ofelia and those pretty but annoying teens, Chris (Lorenzo James Henrie) and Alicia (Alycia Debnam Carey) are leaving town before… well, before something bad happens. (It’s not really clear what the military’s plan is for greater Los Angeles. Adams seemed to be saying that they’d all be wiped out to prevent the spread of the zombie infection, which, in this paranoid anti-government fantasy, makes a kind of sense, but on this episode we see Dr. Exner [Sandrine Holt] arranging for a helicopter to carry the wounded to safety. Why would they take a bunch of critically injured folks away and wipe out everyone else? It doesn’t pay to think too much with this show.)

Before they can head east, they need to get into the medical compound, and rescue Nick and Liza (Elizabeth Rodriguez) and Griselda, who has already died from her injuries, but they don’t know that.

After getting the information he needs, Daniel is ready to murder Adams, but Travis intercedes, pointing out that Adams can still help them find their loved ones at the compound. Madison, apparently now okay with torture and murder, tells Travis he has to take Adams in his truck. With the others driving off, Adams convinces Travis to let him go, because otherwise Daniel will definitely kill him. Seems reasonable.

The gang then drives to a parking garage I guess Adams told them about, where for some reason they leave Chris and Alicia with the cars and head into the compound. This show is like a primer on bad parenting. I’m sure Chris and Alicia will be fine, right? What could go wrong?

Because the place is still heavily guarded, Daniel has a plan. An illogical plan that will put his own loved ones in harm’s way and cause the deaths of many innocent people, but still a plan. I just wished the show had shown Daniel setting things in motion instead of having it be this funny reveal, where he tells the soldiers guarding the compound, who threaten to shoot him as he approaches, “You should save your ammunition,” and then casually nods his head toward the zombies coming around the bend. Yes, Daniel has freed the zombies from the arena — thousands of them — and somehow this groaning, shuffling mass of undead has gotten to within a few hundred feet of the compound without anyone noticing it. Let me just state it again: Daniel freed thousands of flesh-eating zombies from the arena and led them to the medical compound. You know, the one he thinks his wife is inside. The one where the National Guard are holding hundreds of innocent people, including Nick. Again, what could possibly go wrong?

Well, a lot, it turns out. Daniel’s zombie pals successfully distract the soldiers, but, their job done, they continue to advance on the compound. Eventually, they break through the fences. Because the compound’s been breached, Dr. Exter finds out that the evac has been put on hold. She orders her staff (including Liza) to run while she “takes care of” the wounded. With chaos ensuing, Strand uses the key he stole to get out, taking Nick with him. As the place is overrun with zombies, Strand refuses to help the other prisoners trying to get out of their cages, and Nick just goes along. Later, Madison and Travis pass through the same corridor, and decide to free who they can. Hooray, humanity!

Strand has plans to meet up with that Guardsman he gave his watch and cufflinks to, Melvin (Toby Levins). Melvin is still alive when they find him, but he’s badly injured. Worse yet, his legs are being eaten by a zombie. Strand must really treasure those cufflinks, because he goes over and takes them back. Melvin’s legs must be super-delicious, because the zombie doesn’t even look up from his meal.

Eventually, Madison, Travis, Nick, Strand, Daniel, Ofelia, and Liza come together and, after a few close calls, make their way out of the facility. Thankfully, Travis has finally stopped trying to reason with the undead.

While all that was happening, Chris and Alicia were hiding in the car in the parking garage. Some guardsmen found them and demanded their SUV, but not before making us worry that maybe they’d sexually assault Alicia. The show cuts away from this heated confrontation in the parking garage, and when the rest of the characters arrive, Nick and Alicia are nowhere to be found. This gratuitous creepiness concludes with Nick and Alicia bursting into the parking garage exclaiming that they’re alright. They were just hiding in a stairwell or something! What a relief.

But, you know, just when it looks like a happy ending, despite all the death and destruction their rescue operation caused, up pops Adams! It’s not clear why he’d bother sticking around to get revenge on Daniel, but there he is, in the parking garage, pointing his gun at Daniel, before he gets even more irrational and decides to shoot Ofelia instead. And then Travis jumps on him and beats him to a pulp.

Now, from the show’s perspective, it’s clear that Ofelia getting shot is Travis’s fault, for being a big ol’ softy and letting Adams go, as opposed to maybe being Daniel’s fault, for using his daughter as bait to lure Adams in so Daniel could bound, gag, torture, and — if everything had gone according to plan — murder him. Shame on you, Travis! You’re still living in the old world!

Now that everyone’s together, and Ofelia’s okay — just a flesh wound — they all follow Strand to his place, a luxurious gated mansion on the Pacific coast, which he has stocked with supplies. Like Daniel, though I guess for different reasons, Strand is alarmingly well-prepared for the zombie apocalypse. It’s almost like they wanted it to happen. Strand tells Nick they’re not staying, though. “The only way to survive in a mad world,” Strand says, “is to embrace the madness.” But really, they’re just going to get on his fancy yacht and sail away.

Before our “heroes” sail into the sunset, Madison follows Liza out onto the beach, where Liza reveals that during all the chaos escaping the compound, she got herself a zombie bite. She wants Madison to put a bullet in her head, just like Madison asked Liza to, back when they saw what happened to her neighbor Susan. “Come on,” Liza goads her, “You never liked me that much.” What a trouper. I don’t know why these folks don’t get further from the house, or find a quieter way to kill one another, but Travis follows Madison out to the beach, and decides to take matters into his own hands, shooting Liza in the head, which of course brings the kids running. Guns are loud! Then Madison and Travis sit on the beach and cry as the tide comes in, shedding tears over not just Liza, but their lost innocence, and perhaps, I’d like to think, their contractual obligation to appear in 15 more episodes of Fear the Walking Dead next summer. It’s true what they say. You can’t save everyone.

Recommended Reading

Fear the Walking Dead Pilot: Can It Be More?

Fear the Walking Dead: The Black Guys Die First

Fear the Walking Dead: Liberals Try to Stop Zombies with Words!

Fear the Walking Dead: I’m From the Government, and I’m Here to Help

Fear the Walking Dead: It’s Torture!

‘Fear the Walking Dead’: Liberals Try to Stop Zombies with Words!

The audience knows so much more than the characters that at a certain point, it doesn’t work as dramatic irony anymore; it’s just frustrating.

I know I called Fear the Walking Dead reactionary two weeks ago (they took last week off for Labor Day), but I want to retract that. The show is not really conservative, in the same way that the current crop of Republican presidential candidates isn’t really conservative. It’s more radical and disturbing than a simple longing for a bygone fantasy era of law and order when everyone knew their place.

This week, tough, smart widow Madison (Kim Dickens, still doing better than the material deserves), heroin-addicted Nick (Frank Dillane, whose perpetually wild-eyed countenance and exaggerated limp are certain to get him mistaken for a zombie and shot some day), and Alicia (Alycia Debnam-Carey) are stuck at home waiting for Travis (Cliff Curtis) as the neighbors begin eating each other. Travis is stuck in an L.A. barbershop with his ex-wife Liza (Elizabeth Rodriguez) and their petulant teen son Chris (Lorenzo James Henrie).

The barber, an El Salvadoran immigrant named Daniel (the great Ruben Blades) doesn’t seem to like Travis much, and it’s not clear why. He takes offense when Travis reassures Chris, who’s worried about the rioting and looting outside, that they won’t break into the barbershop because they wouldn’t be interested in stealing a bunch of combs. “There’s more than just combs in here,” Daniel indignantly tells Travis, thankfully out of earshot of Chris, who would probably be terrified to learn that the shop also has scissors, shaving cream, hair gel, and other loot-worthy items. In any case, the writers clearly struggled with how to introduce Daniel’s mistrust/dislike of the generally likeable-enough Travis, and ultimately failed to come up with anything compelling. So, the combs thing.

Eventually, rioters burn down the building next door, forcing Travis, Chris, Liza, and Daniel to run, along with Daniel’s wife Griselda (Patricia Reyes Spindola) and their adult daughter Ofelia (Mercedes Mason). It’s mayhem on the streets, as protesters, rioters, and looters dissolve into a violent mass, including some who have turned and are eating each other. Kind of the way the mainstream media depicted Occupy Wall Street. Cops are eating each other, too, though, adding to the madness. While Daniel wants to split away from Travis and his people (you remember, because of the whole combs thing), Griselda is injured when cops using firehoses on the protesters knock down a scaffolding. Travis offers to drive them to a hospital, but hospitals are pretty much zombie central, so Daniel convinces Travis to take them to Madison’s home.

Meanwhile, Madison and the kids are staying up late playing Monopoly. Hey, they don’t know it’s the apocalypse yet. It’s a reasonable way for a mom to keep her kids from thinking about what’s going on outside while they wait for Travis to come home. It doesn’t make sense for Madison not to tell Alicia what’s going on out there, but it’s for the girl’s own good, right, and I’m sure she won’t do anything stupid and reckless because she doesn’t understand the threat. Later, after a dog startles them, they decide to go to the neighbor’s house, because they have a shotgun, but for some reason they leave the back door wide open, which is unwise in L.A., even if you don’t know there are zombies everywhere. After they find the gun, they hear the dog barking, and look back at their house to see the zombie neighbor go in. Do zombies eat dogs? Why yes, they do. Then Madison sees Travis pulling up to the house.

In a recurring motif, Madison is too slow, or doesn’t yell loudly enough to keep someone from entering a dangerous situation. Travis goes inside, followed by Daniel and them. He finds the neighbor munching on the dead dog, and surmises, “He’s sick.” While Travis struggles to keep the “sick” neighbor from biting him, Daniel comes up with the shotgun and fires. The first shot just gives us the best gore effect so far (and that’s what this is all about, for a lot of viewers), but the second one goes straight into the brain. It’s almost like Daniel has seen those George Romero movies that don’t exist in this universe.

Travis’ compassion is clearly meant to be seen as a liability. When he finds Daniel showing Chris how to use a shotgun, he gets angry. “You know how I feel about guns,” he chastises Madison. Yes, because gun control is not a reasonable response to the insane level of gun violence in our society, but something that weak-ass people will still be worrying about in the midst of a zombie apocalypse.

And then there’s the neighbor, Susan. Susan was apparently Madison’s rock after her husband died. She tries to eat Alicia, so Madison considers braining her, but Travis has a hard time accepting that she’s not just “sick.” He convinces Madison not to end Susan, while Daniel looks on from a distance and pronounces Travis “weak.” When Ofelia tries to convince him they should leave with Travis and Madison because they’re good people, Daniel says flatly, “Good people are the first ones to die.” Well, on this show, after Black people, apparently.

The next morning, Travis, Madison and their families are set to leave town, but as they’re driving off, Madison spots Susan’s husband returning home. I didn’t catch the name of this actor, but his obliviously cheerful calling out to his wife as though he was in a soap commercial (“Honey, the airport was closed because of the zombie apocalypse! What’s for breakfast?”) was another welcome dose of unintended comedy. Anyway, Madison tries to warn him, but again, she’s too late. She needs to take yelling lessons, or something. Just as Susan is about to bite the poor guy, the army moves in and takes her out. It should be a poignant moment, after all the hand-wringing over Susan. Instead, it’s just more ridiculousness. Travis thinks the cavalry’s arrived, and they’re saved. Daniel, who probably came to this country fleeing death squads in El Salvador, knows better, yet again.

It would help if the show was more coherent and focused in its direction, and sure, if the writing were stronger, but the aesthetic problems already seem like they’re inherent to the premise. The audience knows so much more than the characters that at a certain point, it doesn’t work as dramatic irony anymore; it’s just frustrating.

Beyond that, the show’s themes are troubling. After killing off every Black character, and depicting police brutality protesters as ignorant buffoons and lowlifes last week, this week, the show slams gun control and suggests a dystopian future where the government stepping in during a crisis is the worst possible thing that could happen. Fear the Walking Dead is falling more and more in line with radical right-wing politics every week. It can only end with Donald Trump vanquishing the zombie curse while calling Travis a “loser” and selling his new book, The Art of Zombie-Killing.

Recommended Reading

“Fear the Walking Dead Pilot: Can It Be More?”

“Fear the Walking Dead: The Black Guys Die First”