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Meg Shields

Based in the Pacific North West, Meg enjoys long scrambles on cliff faces and cozying up with a good piece of 1960s eurotrash. As a senior contributor at FSR, Meg's objective is to spread the good word about the best of sleaze, genre, and practical effects.
The Wolf House Horror

How ‘The Wolf House’ Uses Fantasy to Confront the Horrors of History

By Meg Shields 

Warren Zevon be like “awoooo wolf houses of historical trauma.”
Cinema A To Zeotrope Hugo

From A to Zoetrope: A Look at the Ancestors of Cinema

By Meg Shields 

Before the moving image, there was … the slightly slower moving image.
One Cut Of The Dead Group Shot

Why ‘One Cut of the Dead’ Is a Bloody Love Letter to Low Budget Cinema

By Meg Shields 

Pom!
Jeopardy Shot in The Gold Rush (1925)

From Painted Glass to Green Screens: The Jeopardy Shot Explained

By Meg Shields 

Let’s talk about the glass shot. (No, not the kind you pour tequila into).
Alana Haim Cooper Hoffman Licorice Pizza

The Cinematic Ingredients of ‘Licorice Pizza’

By Meg Shields 

More like West San Fernando Valley Graffiti.

Sean Baker Color Theory

A Tangerine Dream: Colors in the Films of Sean Baker

By Meg Shields 

Pretty cool when they make movies in color, huh?
Food Movies

Coffee and Arepas: How Food Defined the Oscar Movies of 2022

By Meg Shields 

Okay, but why do the ‘Nightmare Alley’ eggs look so darn good?
Movie Camera Sensor Size

Bigger Isn’t Always Better: An Introduction to Movie Camera Sensor Size

By Meg Shields 

Put on your “tech-talk” pants, it’s time to talk sensor size.
Twin Peaks Explained Screaming

Emotional Sense, TV Reflexivity, and Divining Sense Out of ‘Twin Peaks’

By Meg Shields 

The owls are not what they seem.