Caitlin Kennedy, Author at The Mary Sue

Caitlin Kennedy

Caitlin is a sweater enthusiast, film critic, and lean, mean writing machine based in Austin, TX. Her love of film began with being shown Rosemary’s Baby at a particularly impressionable age and she’s been hooked ever since. She loves a good bourbon and hates people who talk in movies. Caitlin has been writing since 2014 and you can find her work on Film Inquiry, The Financial Diet, Nightmarish Conjurings, and many others. Follow her on Twitter at <a href="http://twitter.com/CaitDoes">@CaitDoes.</a>

All Posts

Lore Olympus Persephone and Hades embrace and gaze into each other's eyes.

Rachel Smythe’s Lore Olympus Webcomic Reclaims Trauma and Allows It to Transform

In her WEBTOON phenomenon comic Lore Olympus, creator Rachel Smythe offers one of the most insightful meditations on abuse, trauma, and reclamation of personal power through her reimagining of one of history’s most famous abduction tales.

Netflix Hannah Gadsby Comedy Special 2020

Review: Rage and the Renaissance in Hannah Gadsby: Douglas

Douglas is Hannah Gadsby’s second Netflix comedy special and takes audiences through adventures in the dog park, the High Renaissance in art, and, most importantly, through frustration and rage.

The Wretched movie.

Movie Review: The Wretched’s Monstrous Motherhood Is Tragic and Terrifying

Written and directed by Brett and Drew Pierce (Deadheads), The Wretched is a little bit of a creature feature and a little bit of a witchy piece, rolled together into a gory and disgusting horror. It’s as bloody of a good time as a person could ask for, but the subtle infusion of monstrous motherhood is the real unexpected treat.

Haley Bennett as Hunter Conrad in Swallow movie.

Review: Women and Reclaiming the Self, at Any Cost, in Swallow

A common thread of the female experience is the feeling of being silenced—having any sign of protest choked out of you. What does a person do when they are being silenced? In some cases, they must swallow their protests; a concept that the body horror film Swallow takes quite literally.

Mia Goth and Anya Taylor-Joy in Emma. (2020)

Quivering Bodices and Bonnets: Female Desire in Autumn de Wilde’s Emma

What happens when innocent page turning grows up and needs a little something-something more? If you’re lucky, you get Autumn de Wilde’s directorial debut and latest Austen adaptation for the screen, Emma. Hang onto your bonnets, because this film understands and delivers on female desire!

Lupita Nyong'o in Jordan Peele's Us.

The Final Girl, Redefined: The Role of Women in Horror Is Evolving

Women have always been connected to horror films. The “Final Girl” is essential to the genre trope checklist. The roles of women are still very much the lifeblood of horror films, but the Final Girl is being redefined. We’re trading in our screaming victims for battle-hardened warriors and angels of vengeance.