On the trauma of gender, and when your body is not your own.

Welcome back to ‘Made To Be Monsters’, the series where I talk in-depth about my favorite films and why I think they’re secretly about the transsexual/queer experience. Remember: I am not trying to argue for the genuine, intended text of these films, and this is all in good fun.

Part one can be found here.

Karen Walton, the writer of the 2000’s film Ginger Snaps, has always been vocal about the fact that her movie is about the relationship between two sisters. It is about the specific pain that women go through when they reach the age of puberty, as…

On Herbert West and making your own body.

Welcome to a new series! I’m calling it ‘Made To Be Monsters’, and it’s where I’m going to talk in-depth about my favorite films and why I think they’re secretly transsexual/queer metaphors. A fun little personal project, which will mostly (but not exclusively) be covering horror films. And in an effort to preemptively cut off the trolls: I am never going to argue that any of these films intentionally cover trans/queer themes. This is just a fun way for me to examine films through the underutilized transgender lens. …

And the tell-don’t-show of modern horror politics.

Recently, back in the dead heat of summer, I rewatched Black Christmas, the 2019 remake of the 1974 film of the same name.

Despite enjoying the experience of watching my friends’ horrified first-time reactions, the film was, of course, still abysmal. I wrote about the film once before here, back when it first came out and I was still trying to process it in real time, but in short: 2019’s Black Christmas aims to be a message movie about rape culture more than it does aim to be a horror film, and manages to fail miserably at both. …

(And) the messy representation politics in horror

Since Rob Zombie hasn’t had any major film hits since (arguably) 2009, Mike Flanagan’s subsequent takeover as horror’s new Wife Guy seems appropriate.

Averaging at least one major project a year since 2016 (a year where no less than 3 of his films were released), Flanagan already boasts an impressive filmography as a horror writer/director, both in terms of quantity and quality. His first major foray into television, 2018’s The Haunting of Hill House, was also a massive critical and cultural hit. …

On Butch Cassidy and the Transgender Kid

It’s amazing the films that fall into your lap by chance. Back in April, a film by the name of Cowboys was put onto my Twitter feed by happenstance. I read through the linked IndieWire article, found myself interested, and immediately added it to my watchlist.

I’ve been trying to highlight transgender film for a few years now, be that actors, directors, or screenwriters. And I’ll watch almost anything, really, because of how sparse transgender representation is spread through mainstream Hollywood. So it was frankly not a matter of if I was going to watch Cowboys, but when.

Cowboys is…

And an examination of the trans-coded antagonist (and why it matters)

This whole thing all started with quarantine, and with Netflix’s selection of terrible horror movies.

Back in May, on our seemingly endless venture to get through every horror movie ever made, my mom put on The House at the End of the Street, a 2012 Jennifer Lawrence vehicle. Though undeniably the most forgettable of the three films she starred in that year, I admit I can’t speak a whole lot for the quality of the film itself, because I was rarely giving it my full attention. …

A personal essay about dudes named Ashley.

Upon conception, the protagonist of the Evil Dead series was named Ashly. By the time the film was finalized, he was known as Ashley, or, more simply, as Ash.

In fact, most know him as Ash. Ash Williams, made iconic by his chainsaw hand and his quips, has helmed three films and a TV show all about his fight against an ancient evil with the ability to possess anyone it wants. …

There are so many more important things to talk about right now. But this the biggest thing that I have the authority to talk on. Joyous.

If somehow you’ve been out of the loop, allow me to fill you in: for quite some time now, J.K. Rowling has been fighting for relevance outside of the Harry Potter series, and seems to have found it in a new community: gender discourse. …

A mostly unironic delve into the gay doll movies that got progressively gayer.

The title of this article is one of those where the longer I look at it, the more I can only think “yeah, this is what I’m putting my effort into today”.


It’s taken me close to a decade to finally get through the Child’s Play series, doing so in no particular order. I was finally allowed to watch the first one around the age of 12, found the fourth one on Netflix when I was around 18, which reignited my interest in the franchise, and have since spent the past two years going through the others.

The importance of the movie you probably forgot about.

Every April 24th is a day of remembrance for those lost in the Armenian Genocide, the systematic murder of ethnic Armenians by the Ottoman Empire (what is modern day Turkey) from 1914 to 1923.

The Armenian Genocide has a complicated history of recognition, specifically so within the United States. And it has everything to do with the fact that Turkey is an important political ally for the United States, and Turkey denies that the genocide ever happened. According to them, over one and a half million ethnic Armenians were simply carnage of war and not deliberate targeting.

It took until…

logan ashley

20, he/him transsexual. Questions, comments or requests at kredino@gmail.com — Selected works at loganashley.contently.com

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