Clive Barker’s short story ‘The Forbidden’ is not too different from Candyman (1992), but the movie certain expands on the Candyman and creates a backstory for him. The movie also develops

Clive Barker's short story "The Forbidden" is not too different from Candyman (1992), but the movie certain expands on the Candyman and creates a backstory for him. The movie also develops a sense of purpose by focusing on people of color in a notorious (real life) Chicago housing project.

The second Candyman (2021) movie goes even deeper and makes the relationship between Candyman and the injustice that has befallen people in this specific area more explicit. In fact, the ending scene of the movie blurs one of the most accepted moments in movies (and American society): The police saving the day. Candyman (2021) is bookended with police shootings.

The documentary Horror Noire goes into some detail about the original Candyman movie (45:15-52:42) and elaborates on what worked– and some of the problems. Later, the documentary examines where the Black characters "shifted from being the focal point of the fear…" (1:10:30). In Candyman (2021), the monster is still, technically, Black… but something indeed shifts.

Using Cohen's "Monster Culture," Horror Noire, and at least one other reading from this semester, present 2-3 paragraph argument for what the ending to Candyman (2021) does to subvert the role of villain (or victim) typically prescribe to Black characters. Who is the monster in this movie?

A successful argument will look beyond people and find the deeper argument. Responses should be 2-3 structured paragraphs (approximately 500 words). Generalization, short answers, or answers without supporting evidence and analysis are not acceptable.