In HAUSU (1977) and SCHOOL IN THE CROSSHAIRS (1981), I think both modes are there right from the jump. Color, cutting & VFX can feel like a sort of layer on top of the sincerity.

They’re also here, but like Cody said, I feel the merge is more gradual, only really ‘hitting’ near the climax

I’m glad Matt is posting again

That’s where I got Abe from! (Back when they were Secondhand Hounds, anyway)

Who am I kidding, it was when Cody said Merrin (the priest) is Batman and Pazuzu (the demon) is the Joker

Or, in the modern parlance,

I’m glad it didn’t get flagged because I thought that really was one of the most evocative shots in the movie.

A little surreal moment where we don’t get the whole story, but in context, it’s so obviously heartwrenching. The cop, repressed square that he is, can do nothing but uncomfortably recede

Also, I created a backup version of the promo video for our THE WICKER MAN (1973) episode because I didn’t know if Bluesky would be offended by the boobs at 0:09–0:12.

Here’s the boobless version in case you’re curious: