![]() The camera is always hovering, floating around characters who have a good chance of being dead by next sunrise, whether they’ve realized it yet or not. The interiors of the Nightwing buildings are covered in menacing shadow (enough that there’s no danger of feeling like Andy and Beth or Gene the cook are about to wander into any particular scene). Yet Janiak finds a way to keep the series’ internal lore alive even when it’s not explicitly referenced. We rarely glimpse Sarah Fier, the woman whose pagan pathway of choices is said to have generated the fatal traps we see ensnaring victims over two hundred years after her death. While there is a certain balance of purpose and fidelity to be found in “1994,” “Fear Street: 1978” has a keener sense of motion throughout. ![]() Collectively, they manage to keep a sense of the outside world and keep “1978” from becoming an insular exercise in watching each of your friends get a hatchet to the face. Much of the rest of the ensemble only gets a tiny sliver of narrative real estate to justify their own emotional involvement in this greater story aside from staying alive. (In true genre fashion, no bit of rulebreaking goes unpunished.) Yet even amidst the coming chaos, Sink and Rudd make that complicated sister bond believable, even as they’re split apart and trying to help the people around them outlast the supernatural terrors close on their heels. As is the emerging “Fear Street” tradition, events beyond these teens’ control quickly engulf Nightwing in a night of bloodshed. And the Nightwing staff nurse (Jordana Spiro) becomes the harbinger of doom, whose warnings about her own family history become key once things turn violent.Īs familiar as some of those forest-set horror archetypes can be, “Fear Street: 1978” is not content with coasting on them - any character who manages to survive more than a few scenes after they’re introduced gets a thoughtful and well-dialed performance before them. With his adult future clearly foreshadowed, we meet clean-cut do-gooder young Nick Goode (Ted Sutherland), who will one day take over as the sheriff investigating deaths at the mall and the hospital and the supermarket sixteen years later. ![]() Cindy’s former best friend Alice (Ryan Simpkins) is the rebellious one at camp, defying all manner of rules about physical contact and illicit substances with the help of boyfriend Arnie (Sam Brooks). Where its predecessor tweaked some of the ‘90s slasher character dynamics, “Fear Street: 1978” fills out its ensemble with some more recognizable supporting players. Meanwhile, Cindy has a brand new preppy polo shirt and a sweet, mop-topped boyfriend Tommy (McCabe Slye), seemingly set up for some of the Nightwing cachet she would automatically get if she and Ziggy weren’t residents of nearby Shadyside outside of the summer months. A power-hungry clique of entitled kids from Sunnyvale, the greater corner of Ohio’s more well-to-do half, stop just short of torturing Ziggy for sport. Just trying to last the summer unscathed before any bladed weapons even pop up, Ziggy is a bit of an outcast. Ziggy (Sadie Sink) is a camper at Camp Nightwing, the summer destination where her older teen sister Cindy (Emily Rudd) is a counselor. That’s evident as soon as the movie introduces its strongest relationship, one between two sisters destined to be central players in a bloody saga neither of them are prepared for. ‘Fear Street’: Why Netflix’s Horror Trilogy Is Built Around an ‘Underrepresented’ Queer Love Story
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