Welcome to Pop Culture’s Curiously Defanged Goth Girl Autumn

As someone who grew up in the ’90s and was deeply captivated by the dark allure of shows like “Buffy,” I find myself reflecting on the enduring appeal of these gothic tales that intertwine supernatural elements with our very human struggles. Having navigated my own share of uncertain times, I can’t help but see a reflection of my own experiences in the stories we flock to when seeking escape.

Autumn, with its enchanting ambiance, delights our senses through soft sweaters, warm drinks, and the satisfying crunch of vibrant leaves beneath our feet. However, as soon as September 30 turns to October 1, we’re all reminded that autumn isn’t just about snuggling up in flannel; it’s a season filled with contrasts. It brings coziness alongside eeriness, Thanksgiving and Halloween, harvest and decay. The entertainment world follows suit, providing an assortment of fall-themed contradictions. Nestled between friendly fall baking contests and the ever-earlier, bland television Christmas movies is a serving of terrifying, gory, horror stories on both big and small screens.

Stepping into a hauntingly romantic and dark realm, I find myself captivated by the resurgence of the enigmatic subculture that’s been rekindled in this year’s highly anticipated sequel to the iconic supernatural comedy “Beetlejuice”, starring Tim Burton, Winona Ryder, and Michael Keaton – Goth. Originated from the gloomy atmosphere of pre-Victorian Gothic literature, Goth has evolved into a style that’s as dark as a moonless night, yet adorned with elements of romance and an obsession with the macabre.

The popularity of Goth culture has seen a resurgence, with a recent influx of dark media reaching its peak this autumn. A clear indication of this revival is The Cure releasing a new song for the first time in 16 years, just days after the autumnal equinox. In a recent Vogue essay, Tish Weinstock, author of “How to Be a Goth: Notes on Undead Style”, notes a “full-blown gothic resurrection” and welcomes us to “the season of the witch”. Indeed, witches are a fitting symbol of the 2024 Goth movement. As with every revival, this one has been adapted to fit the current era, from Beetlejuice to Agatha All Along, this year’s popular trend embodies a strong, aspirational girl-power spirit rooted in nostalgia for the goth-pop icons of the late ’80s and ’90s.

Investigating the roots of the goth style proves to be a futile task. Although the subculture emerged within the music scene that evolved from 1970s punk to 1980s new wave, it lacks a clear origin. It extends beyond iconic pre-goth references like “Rocky Horror,” the gloomy atmosphere of “The Velvet Underground and Nico,” Theda Bara’s silent-film vampirism, H.P. Lovecraft and Edgar Allen Poe’s eerie tales, “Dracula” and “Frankenstein.” The goth movement didn’t start with the Germanic tribes who attacked the decaying Roman Empire. If we consider its romanticization of death and the supernatural, the goth perspective might as well be as old as human civilization—a subconscious fascination with death that can be traced back to Ancient Egyptian funeral rituals as easily as it appears in Chappell Roan’s velvet, chainmail, and crucifix VMA outfit.

Modern Goth culture, as we understand it today, can be generally categorized into distinct periods. While the initial phase primarily revolved around music and nightlife, by the late 80s, Goth had evolved into a widespread pop culture phenomenon, giving birth to notable figures like filmmaker Tim Burton and author Anne Rice. The 90s saw this movement further expand with Marilyn Manson and Hot Topic producing mass-market versions of PVC rebellion for the mall generation.

In 1988, Burton introduced the audience to Lydia Deetz, an iconic character from Ryder’s film “Beetlejuice,” who resembled a smaller version of Siouxsie Sioux and lived in a secluded country house where only she could see the ghosts of its former owners. Later, Ryder became a unique romantic lead with her roles in Burton’s cult classic “Edward Scissorhands” (1990), the teen black comedy “Heathers,” and Francis Ford Coppola’s adaptation of “Dracula.” Following this trend, Christina Ricci gained prominence by reprising the enigmatic Wednesday Addams in “The Addams Family” and its sequel, developing a romantic bond with a friendly ghost in “Casper,” and joining the Burton universe in “Sleepy Hollow” (1999). By this time, the mysterious girl character was omnipresent, forming outcast groups in “The Craft,” battling supernatural villains in “Buffy the Vampire Slayer” and “Charmed,” growing up to take control and eliminate abusive partners in “Practical Magic.

In recent times, there have been brief revivals of this style (such as Twilight), but it’s primarily this type of goth that is fueling the current wave of nostalgia. For instance, September’s Beetlejuice Beetlejuice introduces Lydia’s teenage daughter, portrayed by Jenna Ortega, who resembles Ryder’s contemporary Gen Z counterpart. Ortega also plays the lead in Burton’s highly acclaimed modern take on the Addams Family for Netflix, titled Wednesday. An older Ricci (who has been revisiting her ’90s eccentric character in Showtime’s Yellowjackets), appears as one of Wednesday’s teachers. Fans yearning for a tangible piece of Ricci’s dark aesthetic can check out her recent West Elm collaboration, which includes tarot cards. A stage adaptation of the 1992 goth-camp comedy Death Becomes Her, where Meryl Streep and Goldie Hawn clashed in an extravaganza of cartoon violence, is set to open on Broadway. Sabrina Carpenter’s “Taste” music video, featuring Ortega, pays tribute to the same movie. If you simply want to watch classic Ryder, the Criterion Channel is dedicating an October retrospective to her work.

In contrast to how sequels, reboots, and re-releases are often seen as the backbone of Hollywood’s nostalgia machine, the resurgence of goth is more than just reviving old titles. The new Disney+ series Agatha All Along showcases a level of originality that is rare for Marvel shows. Kathryn Hahn’s character Agatha Harkness, the villain from WandaVision, gathers a group of witches to accompany her on a dangerous journey aiming to restore her lost powers. The show playfully explores various witchy archetypes, introducing a ’70s-style singer similar to Stevie Nicks and a wellness influencer brewing harmful concoctions.

When we’re drawn to these seemingly contradictory celebrations of monsters, magic, mortality, and the afterlife, what exactly are we searching for? In an interview with the Guardian, Weinstock, author of “How to Be a Goth,” suggested that “there’s increasing sadness and violence in the world, and it’s starting to impact and mold our culture. It’s a means of escapism, but it also serves as a wake-up call, reminding us that we’re navigating through frightening, unpredictable times.

I have my doubts about that. The trinkets associated with today’s gothic style, which some might describe as feminine and dark, are remnants of a more optimistic period. This was a time when the economy was thriving, the Cold War was concluding, and the daughters of second-wave feminists were pioneering new ways to express their power. Although there will always be an attraction towards the gloomy and supernatural, the primary motivation behind this resurgence seems to be nostalgia for the not-so-distant past. The allure of the goth subculture, with its Victorian fashion and Expressionist makeup, lies in its capacity to free participants from the constraints of the present. As critic Simon Reynolds explains in his post-punk history book Rip It Up and Start Again, the appeal of goth could be seen as a rejection of current events or pressing issues. Instead, it offers an escape into timeless, dark fairy tales that are detached from real-world problems.

As a movie enthusiast, I must say that Goth ca. 2024 offers an enchanting sense of familiarity, reminiscent of savoring a warm, comforting beverage on a crisp autumn day. Unlike Taylor Swift’s Folklore/Evermore era, it may not have the visual aesthetics of cardigan-core, but its charm is undeniably captivating.

Perhaps that’s why many of these top-performing titles have been resonating with audiences much like any other seasonal horror flick, entertaining yet forgettable, akin to Hallmark Christmas specials for those who prefer Halloween vibes. Just as we get our annual flu shots in the autumn, we may crave these grim fantasies, each offering its own comforting sensory indulgence, as a sort of emotional shield against the harsh realities of war, misogyny, and political turbulence. Remarkably, the content itself is relatively harmless. What’s truly chilling is the instinct that compels us to seek it out.

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2024-10-10 22:06