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'Longlegs' is a terrifying serial killer — who never touches his victims

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'Longlegs' is a terrifying serial killer — who never touches his victims

Lauren Acala plays a girl who encounters the satanic serial killer known as “Longlegs.”

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I have friends who can handle just about any kind of horror movie, except for the ones involving demonic possession and the occult. Oddly enough, that’s the subgenre I’ve always found the most comforting.

Some of these movies, like this year’s Immaculate and The First Omen, may exploit religion for easy scares. But they can also confront and affirm matters of faith with a sincerity that Hollywood rarely attempts. That’s why The Exorcist is not just one of the great horror films, but also one of the great religious films. It gives the devil his due, but it puts the fear of God in you, too.

There’s nothing remotely comforting, however, about the occult activity going on in Longlegs, a tense and frightening new movie in which evil is everywhere and God seems entirely absent. Part of what makes the film so effective is that it doesn’t really depend on secrets or surprises. The writer and director Osgood Perkins summons an atmosphere of dread so intense, it’s practically spoiler-proof.

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We meet the nightmarish villain known as Longlegs in the very first scene. He’s a small-town oddball played with a big fright wig and creepy prosthetic makeup by an almost comically terrifying Nicolas Cage.

The authorities are stumped by Longlegs, a satanic serial killer who never once lays a finger on his victims. His crimes all appear to be clear-cut murder-suicides, in which a husband and father kills his family before taking his own life. But at each crime scene Longlegs leaves behind a letter, written in a code reminiscent of the Zodiac Killer, that makes clear there will be more murders to come.

To help crack the case, the FBI taps an upstart agent — that’s Lee Harker, played by Maika Monroe — who has psychic abilities. The clairvoyant detective is a cliché, but Perkins treats it with a conviction that makes it feel almost fresh.

Monroe came to fame fleeing supernatural terrors in the movie It Follows, and she was quietly mesmerizing a few years ago as a woman being stalked in the Hitchcockian thriller Watcher. Here, even when she’s playing the hunter instead of the hunted, she seems terrified — even haunted — by what she uncovers.

Of all the movies that inspired Longlegs, the clearest influence is The Silence of the Lambs, with its serial-killer cat-and-mouse games; Harker is basically the Clarice Starling to Longlegs’ Hannibal Lecter. Reinforcing the connection between the two movies, Longlegs is set in the ’90s, which explains the lack of cell phones.

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That’s not the only way in which Perkins’ movie seems to have emerged from an earlier era. You’ve seen bits and pieces of this story countless times before: the crime-scene photos, the indecipherable puzzles, the killer’s sadistic taunts, the detectives’ dogged persistence. Longlegs reminded me of many other mysteries in which killers take an insidious hands-off approach, from Agatha Christie’s 1975 novel Curtain to Kiyoshi Kurosawa’s brilliant 1997 thriller, Cure.

But if elements of the story can feel derivative, Perkins’ filmmaking rarely is. Using eerily precise compositions and dimly lit interiors, he finds a brooding menace in seemingly ordinary places. Even when he unleashes a jump scare or a sinister home-video-style flashback, his control of tone never wavers.

Perkins gets sharp performances, too, from actors like Alicia Witt, as Harker’s fanatically religious mother, and Kiernan Shipka, as the one known survivor of Longlegs’ crimes. As for Cage, he’s as memorable as you’d expect. The actor may be no stranger to going wildly over-the-top, but I can’t recall him ever having played a figure of such pure, unmitigated evil.

And it’s that sense of evil, with no hope of escape or redemption in sight, that gives Longlegs its unsettling power. Even so, some of that power does dissipate in the closing stretch, when it’s finally revealed, so to speak, what the hell is going on. The solution makes a certain sense, but it’s also a little deflating. And it’s a reminder that, sometimes, an explanation has a way of ruining things — a joke, a mystery and even a good scare.

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What worked — and what didn’t — in the ‘Stranger Things’ finale

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What worked — and what didn’t — in the ‘Stranger Things’ finale

Sadie Sink as Max Mayfield.

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Yes, there are spoilers ahead for the final episode of Stranger Things

On New Year’s Eve, the very popular Netflix show Stranger Things came to an end after five seasons and almost 10 years. With actors who started as tweens now in their 20s, it was probably inevitable that the tale of a bunch of kids who fought monsters would wind down. In the two-plus-hour finale, there was a lot of preparation, then there was a final battle, and then there was a roughly 40-minute epilogue catching up with our heroes 18 months later. And how well did it all work? Let’s talk about it.

Worked: The final battle

The strongest part of the finale was the battle itself, set in the Abyss, in which the crew battled Vecna, who was inside the Mind Flayer, which is, roughly speaking, a giant spider. This meant that inside, Eleven could go one-on-one with Vecna (also known as Henry, or One, or Mr. Whatsit) while outside, her friends used their flamethrowers and guns and flares and slingshots and whatnot to take down the Mind Flayer. (You could tell that Nancy was going to be the badass of the fight as soon as you saw not only her big gun, but also her hair, which strongly evoked Ripley in the Alien movies.) And of course, Joyce took off Vecna’s head with an axe while everybody remembered all the people Vecna has killed who they cared about. Pretty good fight!

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Did not work: Too much talking before the fight

As the group prepared to fight Vecna, we watched one scene where the music swelled as Hopper poured out his feelings to Eleven about how she deserved to live and shouldn’t sacrifice herself. Roughly 15 minutes later, the music swelled for a very similarly blocked and shot scene in which Eleven poured out her feelings to Hopper about why she wanted to sacrifice herself. Generally, two monologues are less interesting than a conversation would be. Elsewhere, Jonathan and Steve had a talk that didn’t add much, and Will and Mike had a talk that didn’t add much (after Will’s coming-out scene in the previous episode), both while preparing to fight a giant monster. It’s not that there’s a right or wrong length for a finale like this, but telling us things we already know tends to slow down the action for no reason. Not every dynamic needed a button on it.

Worked: Dungeons & Dragons bringing the group together

It was perhaps inevitable that we would end with a game of D&D, just as we began. But now, these kids are feeling the distance between who they are now and who they were when they used to play together. The fact that they still enjoy each other’s company so much, even when there are no world-shattering stakes, is what makes them seem the most at peace, more than a celebratory graduation. And passing the game off to Holly and her friends, including the now-included Derek, was a very nice touch.

Charlie Heaton as Jonathan Byers, Natalia Dyer as Nancy Wheeler, Maya Hawke as Robin Buckley, and Joe Keery as Steve Harrington holding up drinks to toast.

Charlie Heaton as Jonathan Byers, Natalia Dyer as Nancy Wheeler, Maya Hawke as Robin Buckley, and Joe Keery as Steve Harrington.

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Did not work: Dr. Kay, played by Linda Hamilton

It seemed very exciting that Stranger Things was going to have Linda Hamilton, actual ’80s action icon, on hand this season playing Dr. Kay, the evil military scientist who wanted to capture and kill Eleven at any cost. But she got very little to do, and the resolution to her story was baffling. After the final battle, after the Upside Down is destroyed, she believes Eleven to be dead. But … then what happened? She let them all call taxis home, including Hopper, who killed a whole bunch of soldiers? Including all the kids who now know all about her and everything she did? All the kids who ventured into the Abyss are going to be left alone? Perfect logic is certainly not anybody’s expectation, but when you end a sequence with your entire group of heroes at the mercy of a band of violent goons, it would be nice to say something about how they ended up not at the mercy of said goons.

Worked: Needle drops

Listen, it’s not easy to get one Prince song for your show, let alone two: “Purple Rain” and “When Doves Cry.” When the Duffer Brothers say they needed something epic, and these songs feel epic, they are not wrong. There continues to be a heft to the Purple Rain album that helps to lend some heft to a story like this, particularly given the period setting. “Landslide” was a little cheesy as the lead-in to the epilogue, but … the epilogue was honestly pretty cheesy, so perhaps that’s appropriate.

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Did not work: The non-ending

As to whether Eleven really died or is really just backpacking in a foreign country where no one can find her, the Duffer Brothers, who created the show, have been very clear that the ending is left up to you. You can think she’s dead, or you can think she’s alive; they have intentionally not given the answer. It’s possible to write ambiguous endings that work really well, but this one felt like a cop-out, an attempt to have it both ways. There’s also a real danger in expanding characters’ supernatural powers to the point where they can make anything seem like anything, so maybe much of what you saw never happened. After all, if you don’t know that did happen, how much else might not have happened?

This piece also appears in NPR’s Pop Culture Happy Hour newsletter. Sign up for the newsletter so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.

Listen to Pop Culture Happy Hour on Apple Podcasts and Spotify.

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The Best of BoF 2025: Conglomerates, Controversy and Consolidation

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The Best of BoF 2025: Conglomerates, Controversy and Consolidation
The beauty industry’s M&A machine roared back into action in 2025, with no shortage of blockbuster sales and surprise consolidation. It was also a year with no shortage of flashpoint moments or controversial characters, reflecting the wider fractious social media and political climate.
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Sunday Puzzle: P-A-R-T-Y words and names

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Sunday Puzzle: P-A-R-T-Y words and names

On-air challenge

Today I’ve brought a game of ‘Categories’ based on the word “party.” For each category I give, you tell me something in it starting with each of the letters, P-A-R-T-Y.  For example, if the category were “Four-Letter Boys’ Names” you might say Paul, Adam, Ross, Tony, and Yuri. Any answer that works is OK, and you can give answers in any order.

1. Colors

2. Major League Baseball Teams

3. Foreign Rivers

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4. Foods for a Thanksgiving Meal

Last week’s challenge

I was at a library. On the shelf was a volume whose spine said “OUT TO SEA.” When I opened the volume, I found the contents has nothing to do with sailing or the sea in any sense. It wasn’t a book of fiction either. What was in the volume?

Challenge answer

It was a volume of an encyclopedia with entries from OUT- to SEA-.

Winner

Mark Karp of Marlboro Township, N.J.

This week’s challenge

This week’s challenge comes from Joseph Young, of St. Cloud, Minn. Think of a two-syllable word in four letters. Add two letters in front and one letter behind to make a one-syllable word in seven letters. What words are these?

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If you know the answer to the challenge, submit it below by Wednesday, December 31 at 3 p.m. ET. Listeners whose answers are selected win a chance to play the on-air puzzle.

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