They are the heroes too. In one delicate scene on “1994,” when Sam finally stops denying her feelings for Deena just before she becomes obsessed, Deena makes a crucial vow on Sam. “Tonight, even though we’re in Hell, I feel like I have another chance with you,” she tells her. “I won’t lose you again. Because you and I are the way out. “
This simple statement is often heard with horror, but it is usually made by a man about his feminine love interest. In Fear Street, the promise of a future feels more meaningful: it signals a change that requires Deena to be sent back to 1666. There, as Sarah Fier, the queer woman who was persecuted as a witch and hanged for her love for another woman (also played by Welch), she can seek justice against the same kind of hatred and violence that Deena and Sam show in the Presence separates.
In “1666” Janiak wanted to highlight the idea that women who were then accused of being witches simply weren’t up to standard.
They were called witches “because they were different, because they looked at the other girl for too long, or because they didn’t want to get married,” she said. “They didn’t fall in line with any social lines.”
As it turns out, the animus of mankind – as in Solomon (also played by Zukerman), who gathers an entire city to haunt Sarah in “1666” – is as deadly as a witch’s curse, if not more deadly. It allowed Janiak to look beyond the supernatural horrors to examine the evils of our fellow human beings. “That’s always the scariest thing for me,” said Janiak. “I thought this was a cool opportunity to visit wacky genre villains, but then finally to the underlying thing of ‘Who’s the real monster here?’ get.”
Ultimately, the “Fear Street” films are worth striving for – although there is obviously a lot of carnage along the way. Deena and Sam help save the city, but more importantly, they keep their love for one another. “The trilogy allowed us to create a bit of hope that I don’t think normally exists in horror films,” Janiak said, adding with a laugh, “If you only have an hour and a half, you just have … to kill everyone. But experimenting with the films made it possible for us to push things a little further and to question and change them. “
And it was necessary.