Final Girls & Galentine’s: Friday the 13th Fun!

Valentine’s Day, a holiday steeped in the rather gruesome history of a beheaded saint, continues to dominate the cultural calendar. But for those of us who find the saccharine sentiment… exhausting, a counter-programming movement is gaining traction. This year, coinciding with a Friday the 13th, that movement finds a particularly sharp edge, leaning into horror as a form of anti-Valentine’s celebration. It’s a fascinating shift, reflecting a broader cultural appetite for authenticity – even if that authenticity is bloody – over manufactured romance.

The curated list of “final girl” films, assembled with artist/author/filmmaker Pia Thrasher; actor/singer/playwright Sarah Alida LeClair; poet/artist/podcaster Gaby Moreno; and artist Jennifer Cooksey, isn’t just about genre preference. It’s a statement. Heather Langenkamp’s Nancy Thompson, particularly in “Wes Craven’s New Nightmare,” resonates because it acknowledges the toll of trauma and the complexities of survival. Sigourney Weaver’s Ripley, championed by Thrasher, is a foundational figure in action cinema, proving women can be both vulnerable *and* incredibly capable. The selections from LeClair (“Scream”), Moreno (“Friday the 13th Part VII”), and Cooksey (“Evil Dead” 2013) all emphasize agency and resilience in the face of terrifying odds – qualities often sidelined in traditional romantic narratives.

The anti-Valentine’s picks are equally telling. The choice of “The Honeymoon Killers” is a particularly astute one, highlighting the dark underbelly of “love” and the dangers of idealized romance. Pia Thrasher’s selection of “Midsommar” speaks to a generation grappling with heartbreak and the desire for cathartic release, even if that release is… extreme. Sarah Alida LeClair’s “Fright Night” and Gaby Moreno’s “Companion” tap into anxieties about control and the blurring lines between reality and artificiality. Jennifer Cooksey’s “Paranormal Activity” is a pointed critique of toxic relationships, framing a neglectful boyfriend as the true monster. These aren’t simply “scary movies”; they’re cultural touchstones reflecting contemporary anxieties and frustrations.

This trend isn’t just about individual preferences; it’s a savvy PR move for the horror genre itself. By positioning horror as an alternative to Valentine’s Day, studios and streaming services can tap into a previously underserved audience. The shared experience of watching a scary movie, particularly with friends (as Galentine’s Day encourages), offers a different kind of connection – one built on shared adrenaline and a collective rejection of romantic expectations. Expect to see more targeted marketing campaigns leveraging this anti-Valentine’s sentiment in the years to come. The success of these films will likely fuel further exploration of female-led horror and subversive narratives, solidifying the genre’s position as a powerful force in contemporary culture.