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Mason Campbell
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Horror Story


Horror Story is a Bollywood dramatic horror film written by Vikram Bhatt and directed by Ayush Raina.[2] The film stars Ravish Desai and Hasan Zaidi, and features the Bollywood movie debut of noted television actors Nishant malkani and Karan Kundra.[3] The film was released on 13 September 2013.[4] The plot revolves around a night spent by seven youngsters at a haunted hotel. The film received positive reviews but was declared "Average" at the box office.[1][5]




Horror Story



There they find a book containing paranormal explanations and a way to locate the source of energy of the dark spirits. With the help of incantations from the book, they have visions of the past. They see that the hotel was a mental asylum and find that the source of energy of Maya's spirit is in a shock machine. They decide to burn it down to end the horror.


Of the film, Bhatt has stated that he did not want Horror Story to contain any songs or sex scenes.[6] He also remarked that he wanted to avoid casting "big stars" in the film, as he believed that they "cannot turn the audience fearful" in what he termed a "hardcore horror film".[6][7] Ravish Desai has commented that the movie will be the first in a franchise and that planning for further films has already begun.[8]


Bhatt had earlier made films in the same genre, namely 1920, 1920: Evil Returns and Haunted. In an interview, he commented, "While [my] Raaz 3 and 1920 were romantic sagas with songs and full-on drama, this one is more of a Hollywood kind of drama. The horror lies in the story."[9]


There are quite a lot of instances of plot holes and unanswered questions in American Horror Story. The first half of American Horror Story: Double Feature told a unique story about what people are willing to do to succeed, yet it seemed to rush through the ending, making the season feel incomplete with so much for fans to wonder about. While the series is still loved for its boldness and never holding back when it comes to gore, every American Horror Story season has at least one big mystery left unsolved by its finale. Here are the biggest from each season.


American Horror Story kicked off in 2011 with Murder House, which is sometimes regarded as the best season Ryan Murphy's ever created. It offered a dark backstory though it didn't explain if that story is what made the house evil or if the house was evil even before the family moved in. The AHS: Murder House origin story says Doctor Charles Montgomery, who has lost his mind and his status as an acclaimed surgeon, started giving illegal abortions to women in his basement. When one patient told her boyfriend, he sought revenge by killing and dismembering Charles' son.


Charlotte Brown was introduced in American Horror Story season 2, and her story ends without any real explanation of her identity. The character showed up at Briarcliff Manor, insisting she was the famous holocaust victim Anne Frank. History tells us that Anne Frank died in Bergen-Belsen concentration camp in Germany, and her father later published her diary to share her story with the world. Understandably, no one believed Charlotte.


However, Charlotte believed Dr. Arden, the physician and administrator at the asylum, was former Nazi war criminal Hans Grüper. This was proven true when a holocaust photo on Charlotte's wall showed a Nazi with a strikingly similar resemblance to American Horror Story's Dr. Arden. While it's confirmed her story about the doctor was true, the show never explains who Charlotte was. Though it's possible she was a holocaust survivor who was heavily manipulated and brainwashed by her husband, it's highly unlikely she was actually Anne Frank.


Scathach was introduced as a bloodthirsty, immortal witch, but her sole purpose seemed to be to lure in Shelby's husband, Matt, who regularly cheated on Shelby with Scathach. Other than this storyline, she didn't serve much of a purpose, and the show didn't explain why she was a part of the season. Whether she was included because Lady Gaga portrayed her, and Murphy wanted to include the star in the season in a way that worked with her busy schedule, the character feels unfortunately out of place.


American Horror Story: 1984 either presented a massive plot hole or the time travel that occurred in Apocalypse changed the events of the past. The notorious real-life serial killer died in 2013 in prison. This was mentioned in American Horror Story: Hotel when his ghost attended James March's Devil's Night banquet. However, AHS: 1984 claims the killer is trapped at Camp Redwood, on death watch for 30 years. He is repeatedly killed and brought back to life, continuing in 2019 when the season aired. There's no explanation of how this is possible with the American Horror Story: Hotel storyline.


In American Horror Story's second season, Kit, his wife Alma, and Grace were abducted by aliens. Alma and Grace were both impregnated and gave birth to the babies. Death Valley follows a similar theme with a group of college students becoming pregnant with Alien babies. Since American Horror Story seasons exist in the same universe and often connect their seasons to each other, it was expected there would be a connection between the seasons. Unfortunately, by the end of Death Valley, nothing from season 2 was tied into the story.


The "Something's Coming" woman appeared, warning Adam that something evil was coming. Later in the season, she seemingly told him, I told you so. However, her identity was never elaborated on, and it's unclear how she knew about the evil taking over the city. She was an interesting addition to AHS: NYC, and it would have been great to see her backstory or see how she further contributed to the season. Unfortunately, she was left out, only popping up to give Adam mysterious warnings, with no explanation of why she specifically wanted to warn him.


American Horror Story has created a lot of disappointment with its plot holes and unsolved mysteries. Luckily, the series is never really over, especially with the spinoff American Horror Stories. Murphy is always connecting storylines in various seasons, so many of these unanswered questions may one day be answered in a different season.


This real-life ghost story concerns a man named Frederick Jordan, who held one of the most lonely and desolate jobs in existence. Jordan was the lighthouse keeper for Penfield Reef Lighthouse off the coast of Fairfield, Connecticut.


Sarah Paulson (Tuberculosis Karen) and Macaulay Culkin (Mickey) were the heart of this season. Their tragic endings solidified the fifth episode into being the best episode this season. They provided the emotional gravity "AHS" lacks at times. For instance, compare their storyline to the Richard Ramirez plot in "1984." See the difference now? Perhaps, they aren't comparable, but I want you to see the difference in storytelling between the two seasons. It's very clear.


Yes, "AHS" is all shock. But, when the entire plot is centered around a group of characters, and all those characters die, it truly has no impact on their stories and the overall story. In fact, it seems like you just wasted your time watching.


The deaths did not carry the finale further in terms of storytelling. The quality in writing and dialogue faltered, too. I notice character deaths are usually a trade-off in advancing the overall plot or development of a certain character. I think it was possible to do both this season, but alas.


Though some of Ryan Murphy's characters are based on modern figures, the Countess is an updated interpretation of the Hungarian Countess Elizabeth Báthory, who died in the 17th century. According to History.com, Bathory tortured and killed young women, sometimes eating their flesh and drinking their blood, because she believed it would keep her youthful.


Edgar Allan Poe was not the first writer of horror stories, but his literary techniques form the foundation of the immensely popular literary genre as we know it today. His use of psychological horror through first-person narration inspired other writers such as Ambrose Bierce and H.P. Lovecraft to write horror stories.


Although Edgar Allan Poe began his literary career as a poet, he quickly recognized the demand for short fiction. Initially, Poe wrote burlesques of the Gothic story, but soon began to write seriously in the Gothic vein. Gothic tales often involve circumstances of mystery and horror, a general atmosphere of gloom and doom, and elements like dungeons, ghosts, and decaying castles with secret passageways.


  • If you aren't sure if a work is a Cosmic Horror Story or not, ask yourself these questions: Is the antagonist evil or uncaring on a cosmic scale? We're talking a Big Bad who is capable of destroying humanity, planet Earth, the universe, or all three and doing so with very little, if any, preparation and/or intent, and with about as much effort as it takes you to swat a mosquito that's landed on your arm.note This also covers cases of a Greater-Scope Villain, where the Big Bad of the story is human-sized, and his boss, while covered by this point, is also not directly appearing in this story.

  • Does the Big Bad have any human worshipers or servants? If the said villain can destroy the world with a mere finger lift, why hasn't it done this already? Odds are it's probably locked away, or locked out.note Or it just doesn't care about Earth, in the same way you don't care about any one particular stone in the gravel in your driveway. And that's where its agents or worshipers in the mortal realm come into the fray. Their goal is typically to open the door so that the Big Bad can enter. Expect the cult's leader to be the secondary villain, and be very charismatic. And there's a good chance that if he's not killed before the Big bad enters, the Big Bad will kill him anyway. After all, Evil Is Not a Toy. Bonus points if the Big Bad has no concept of loyalty or if their idea of a reward is to kill their worshippers first - to these beings, the cultists are just Loony Fans who happened to do the right things to attract their attention, and their attention does not take into account voluntary service or any other sort of allegiance.

  • Is the attitude of the antagonist towards humanity disregard, simple pragmatism, or incidental hatred or disgust? (A godlike antagonist that actively hates humanity and its works is more in line with Rage Against the Heavens or God Is Evil.) Does the antagonist have a worldview and motivations that doesn't really seem to take humanity into account? Is it just a predator looking for prey? Is humanity just a means to an end? Are the motivations of the antagonist difficult to explain using human terms?

  • Are the antagonist or its minions so alien in appearance or mentality that simply being near them or even seeing them is enough to drive a human to madness?

  • Are the antagonist or its minions indescribable -- literally? Lines like "I cannot find the words to describe the vile thing I saw..." are a hallmark of Cosmic Horror Stories. Bonus points if it's so divorced from the spectrum of human perception that it causes permanent insanity, brain damage, or death just by looking at it, and/or distorts reality because it is just that incompatible with the laws of this world.

  • Can or will the antagonist communicate with humanity? If it does, is it capable of elucidating its goals or rationale, even if they're something as simple as "you have something I need" or "I'm hungry"? Is its method of communication so bizarre or obscure that humanity has to go to great lengths just to be able to understand it, let alone reply (let alone be understood in return)? Can it be reasoned with, or does it simply make declarations, with no attempt (or, likely, ability) to hold conversations?

  • Is the antagonist's arrival or awakening inevitable, or can something be done to prevent it partially or completely? How great is the price? Is it a permanent fix or just delaying the inevitable? Is it even reasonably foreseeable, or is it just going to swoop in and destroy everything out of the blue one day, with no sign whatsoever that it was coming (or had signs that, in retrospect, were clear, but either escaped notice or were rationalized away)?

  • Is the antagonist alive in a conventional sense, or is it outside of life and death entirely? Common examples of the latter include As Long as There Is Evil, a disembodied consciousness, a death-and-resurrection cycle that is completely inevitable and cannot be stopped, or most Undead Abominations.

  • If the antagonist is undead, is it just a big ugly dead thing or a ghost, zombie, or skeleton with extra firepower, or is it something of terrifying power and scope that cannot be reasoned with, whose connections to life are long gone (or never existed to begin with), that will either just keep coming back or has a price tag attached to its defeat that is almost as bad as letting it run free, and that has alien, unrelatable, or completely selfish motivations?

  • If the antagonist is mechanical, is it just a really nasty Mechanical Monster, A.I. Is a Crapshoot, or advanced and malevolent cyborg, or is it some sort of unknowable force of cold alien apathy, pragmatism, or menace? If it is actively hostile, is it active misanthropic hatred, ruthless self-interest, or just carrying out a programmed duty? Are its abilities advanced but not inconceivable, or is it on the other side of Clarke's Third Law? Lastly, if it cannot realistically be destroyed (common with AIs), can you easily isolate it, or do you have to effectively reduce large swathes of civilization to a permanent pre-technological level just to keep it from finding a way to come back?

  • If the antagonist is draconic, is it just a particularly powerful dragon that maybe has a few extra tricks at its disposal or is something from a setting where dragons are closer to conventional gods, or is it something far worse? Is it an all-destroying cosmic force, an avatar of something unspeakable, or a Physical God with incomprehensible power that makes almost everything else seem insignificant? Is it effectively invincible or unkillable aside from very specific conditions? Is it a rampaging, mindless beast, a diabolical mastermind, or something that is clearly intelligent, but wholly alien and unrelatable with motivations that are best defined in human terms as ignorant apathy or incidental bemused curiosity?

  • Is the tone of the work deeply pessimistic about the possibility of the antagonist being defeated completely? If it isn't, the work is more likely to be Lovecraft Lite. Usually the best option to defeat the Big Bad in a standard cosmic horror story is to prevent its human worshipers and servants from opening the door or getting its attention. It can still be a CHS if the antagonist can be defeated completely (or so thoroughly that it will cease to be an issue by any reasonable standard), but will result in a Pyrrhic Victory. If the cost of a complete defeat is insurmountable, its defeat opens the door for even worse things, or its influence continues to fester and pollute the world in its absence, it's probably not Lovecraft Lite.

  • Even IF the heroes do manage by some miracle of fate to save the day, are they driven irreversibly mad by their experiences, or did they have to make one hell of a sacrifice, or did they only stop it temporarily and eventually it will rise again causing the cycle to repeat?note Or simply delay its eventual destruction of reality?

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