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- Who’s a Goth and Who’s an Emo?
- The Goth Golden Era (1983-2001)
- Why Hollywood Can’t Make Edgy Characters Anymore
As a film enthusiast who grew up in the ’80s and ’90s, I can’t help but reminisce about the era when goth and emo subcultures flourished in mainstream cinema. I was one of those angsty teens, reading Nietzsche and watching films like “Near Dark” and “Beetlejuice,” feeling a strange sense of belonging to this darker side of pop culture.
As a movie enthusiast, I must confess that the abundance of horror sequels and reboots featuring iconic goth protagonists in recent years might lead one to believe we’re living in a golden age for emo culture. However, the reality is quite different. The attempts to preserve the legacy of the goth subculture and its offshoot, emo, have struggled to create new icons. This shortcoming is evident in the reception of remakes like “The Crow” and “Twilight Saga,” as well as Jared Leto’s portrayals of the Joker and Morbius. It must be a tough pill for Leto, who also happens to play in an emo band, to swallow. The children of our millennial parents had the likes of Eric Draven to aspire to. But what about today’s youth? We’ve been searching high and low, but finding a worthy successor to the edge-lord throne with spiked bangs is as elusive as a unicorn in a cornfield. If you’re looking for an alternative, anime might be your best bet.
It’s not wise to underestimate the goth/emo subculture as a temporary fashion; instead, it’s a lifestyle that endures. For instance, Robert Smith from The Cure, even in his sixties, still dresses entirely in black, demonstrating his genuine commitment. However, Hollywood studios capitalized on this trend and eventually overplayed it. While goth and its offshoot, emo, may have faded somewhat, they’ve never completely vanished. Bands like My Chemical Romance, Fall Out Boy, and Avril Lavigne are still touring and attracting large audiences worldwide. Yet, the lasting popularity of emo music and associated merchandise stands in stark contrast to the unimpressive portrayal of emo icons in recent movies, often reduced to repetitive roles or comic relief.
Members of Generation X are often depicted as being overindulged, and today, if you encounter a goth character in entertainment, it’s often used for comedic effect. This shift from high-concept films to comedy sketches can be seen in shows like “Portlandia” where they parody goth shopping. A single episode of “South Park” significantly impacted the perception of goth/emo culture, making black makeup and nihilism seem less credible. This was preceded by “Saturday Night Live’s” satire in the “Goth Talk” sketch featuring characters like Circe Nightshade and Azrael Abyss. Unfortunately for this fanbase, they struggle to find acceptance for emo leads in movies, as the concept of a ‘badass emo lead’ has become an unlikely pairing for many modern viewers.
Who’s a Goth and Who’s an Emo?
Distinguishing between Goth and Emo might seem tricky, but there are some key differences. For starters, both subcultures have a fondness for things that go bump in the night, like vampires. However, if someone frequently sports black attire daily and can recite at least one work by Edgar Allan Poe, they’re more likely to be identified as Goth. On the other hand, if their wardrobe includes pre-torn black clothing, they might be Emo. The Goth scene emerged in the late ’70s, arising from the punk music trends in the UK.
The typical subject matter was steeped in occult symbolism, gloomy motifs, and somber attire, earning the title of the first goth punk classic by referencing Bela Lugosi’s Dracula. The Hunger, released in 1983, merged classic horror with a punk soundtrack, essentially establishing the first goth film. Similarly, the protagonist of The Crow is an undead rock guitarist. The goth culture and cinema have always had a close relationship, drawing inspiration from each other and capitalizing on their shared identity, although it wasn’t until later that black eyeliner and concert T-shirts became the norm.
The Goth subculture paved the way for the emergence of the Emo movement, which was primarily driven by music enthusiasts, many years following the commercialization of early punk bands. Unlike its predecessor, Emo was more focused on personal emotions rather than occult themes and niche horror references, earning it the name ’emotional’. Though characters influenced by Emo occasionally made appearances in films and television, these portrayals were often used to adopt their unique fashion style.
2003’s film “Underground” leans more towards mainstream vampire movies rather than counter-culture ones, drawing inspiration from “Blade” instead of punk rock concerts, despite fan claims to the contrary. By this time, the classic gothic hero or heroine was starting to lose popularity. This is why the intense emo style became more common, replacing the subdued, basic goth look. In comparison to their goth predecessors, emo tends to be overlooked in movies and the media, with a greater chance of seeing an emo individual on social media giving a makeup tutorial rather than starring in a blockbuster film.
The Goth Golden Era (1983-2001)
During the 80’s and 90’s, there were numerous characters with gothic influences, such as Edward Scissorhands, Lydia Deetz from Beetlejuice, Eric Draven from The Crow, Donnie Darko, and the character portrayed by Ally Sheedy in The Breakfast Club. Interestingly, the TV show version of The Addams Family might have been the initial spark for this goth culture as early as the 60’s, more than three decades prior to the movie adaptations, and a full six decades before the Netflix spin-off titled Wednesday.
John Hughes had a knack for creating unique characters, particularly teenagers. Tim Burton grasped the feeling of being an outcast struggling against societal norms (he was even let go by Disney). This might explain why certain characters resonate beyond their films and why particular movies strike a chord with viewers. The characters were original enough to keep us engaged and well-developed enough to avoid falling into stereotypes. As Michael Bibby and Lauren Goodlad discuss in their book Goth: The Undead Subculture, even tough guys can be sensitive and vulnerable.
…”The appeal of this subculture lies in the abundance of chances for men to showcase their emotional depth, creativity, and flair for the dramatic – traits that, within today’s predominantly macho society, are frequently perceived as feminine or even belittled when exhibited by men.”
It’s important to note that as Donnie Darko is set in the late ’80s, the main character can be categorized as gothic due to the era’s popular trend. Interestingly, this surge in popularity coincided with Tim Burton’s rise as a prominent director. However, we’ll delve into that topic another time. Sadly, the goth subculture became overly popular, leading to its downfall. The image of the disheveled, dyed hair, glassy-eyed, Nietzsche-reading, black trenchcoat-wearing characters who were portrayed as terrifying outsiders in the 1987 cult classic Near Dark lost their original connotations when every child started dressing up as Neo for Halloween following the release of The Matrix. If Lydia Deetz from Beetlejuice walked into a rave today without a nose piercing and fishnet stockings, she would be considered ordinary, or a “normie”.
Why Hollywood Can’t Make Edgy Characters Anymore
It’s unfortunate but common for emos to be viewed as followers who jump on trends, which can tarnish any actor adopting their style. The propensity to adopt the emo or goth appearance is perhaps most evident (or humorously exaggerated) in the widely-memed “emo Spider-Man” scene from Spider-Man 3. The character of “edgy” Peter Parker was not meant to be taken seriously, and while the movie itself wasn’t well-liked, the portrayal of an unflattering version of Peter Parker echoes the stereotype of emos as overly dramatic, angsty youths, which doesn’t make for a compelling hero.
The scenes where Peter Parker appears “emo” are even funnier since he isn’t truly emo at all. He sports black clothing and has an emo hairstyle, leading people to label him as such, demonstrating how the term was often used as a vague insult for those who try too hard to be deep or trendy. Abby Sciuto, played by Pauley Perrette on NCIS, is a character with gothic traits, but she’s essentially identical to any other character beneath her external features. Similarly, Robert Pattinson embraced the emo persona in the Twilight series, but whether his performance was valuable ultimately depends on his acting skills rather than his clothing or makeup.
In modern times, it’s hard to ignore the hypocrisy of goths criticizing yuppies for conformity when the emo subculture has its own set rules and limitations, such as a prescribed uniform, favorite bands, and preferred color schemes. Just like every fashion trend, from hipsters to greasers, eventually consumes itself, leading to a repetition of styles. Nowadays, goth characters often succeed by paying tribute to or directly imitating others’ performances. For example, Jenny Ortega’s portrayal of Wednesday Addams doesn’t stray far from Christina Ricci’s version in tone and delivery, which is a reinterpretation of the macabre character from the 1964 ABC comedy.
Characters born entirely from an author’s imagination may not have the same lasting impact or enduring popularity. To put it gently, I don’t think Lisbeth Salander will be a popular cosplay choice by the year 2050, much like how the famous emo kid’s words seem to foreshadow. This individual, often associated with death and candles, penned that things which shine incredibly bright tend to burn out faster. Given his fascination with darkness, he could be considered a goth. Regardless, his insight captures the poignant rise and cringe-worthy decline of Lisbeth Salander, the somber protagonist known for her black lipstick.
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2024-08-29 00:32