The Owl House seems to take those ideas and positively infantilize them, making them approachable to a general audience without losing the substance that makes such artistic ideas so compelling. You only need to glance at the creator’s blog to note her fascination with darker subject matter, unafraid to depict the fragility of the human mind or unsightly creatures that wouldn’t look out of place in a stylistic horror picture. From the moment Luz Noceda steps into The Boiling Isles, she’s greeted with a place that can eat her alive at a moment’s notice, but the narrative and environment frames it in a way that remains playful and inviting. It can be easy to dismiss animation in the realm of horror, especially a show aimed at young viewers, but there’s an element of the macabre to Dana Terrace’s world that punches through its overarching journey of youthful acceptance. This is where Disney’s The Owl House comes in. Those things still have their place, and I love them to pieces, but much of the time horror can manifest itself in wholly unexpected ways. Horror is a broad genre with endless potential, and pigeon-holing it into the realms of excessive violence and lazy jump scares trivialises what it’s capable of. Related: Cissy Jones On Bringing Life To The Owl House's Lilith Clawthorne American Horror Story leads the way in the realm of television I suppose, but even that relies on campy monster designs and expectant chills rather than pushing the boat out to new territory. Recent years have brought horror to life, whether it be through unexpected foreign masterpieces in the form of Parasite, or bitingly political glimpses into our modern landscape with films like Jordan Peele’s Get Out and Us.
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Films like Friday the 13th, Halloween, and Hostel are perfect for unsettling, blood-laden thrills, but the genre is far deeper than these popcorn flicks would have you believe. When it comes to Halloween, it can be easy for your mind to focus on cheap scares and grotesque gore instead of experiences with substance.