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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.
Blade Runner director's cut

What is the Purpose of a Director’s Cut?

By Meg Shields 

Watch a video essay explaining the idea and how it became so commonly accepted as the most authentic version of a film.
Alien Aliens Ellen Ripley

A Tale of Two Ripleys: Gender and Genre in ‘Alien’ and ‘Aliens’

By Meg Shields 

What’s better, a relatable final girl or an ’80s power fantasy? Here’s a breakdown of why each Ripley, in ‘Alien’ and ‘Aliens,’ is perfect for her film.
THX 1138 Ending

The Ending of George Lucas’ ‘THX 1138’ Explained

By Meg Shields 

1970s science fiction isn’t known for being hopeful. THX 1138 is the tentative exception.
Sound Of Metal Sound Design

The Brilliant Sound Design of ‘Sound of Metal’

By Meg Shields 

From the dropped frequencies to the powerful contrast, here’s how the film uses sound to convey its protagonist’s subjective experience with hearing loss.
The Rider Chloé Zhao

The Beginner’s Guide to Chloé Zhao

By Meg Shields 

The indie darling is set to become a household name with Oscar buzz and an upcoming Marvel film. Here’s a guide to her early work:
cinema in the age of streaming

Where Does “Cinema” Happen in the Age of Streaming?

By Meg Shields 

The pandemic has intensified concerns that streaming poses a threat to the cinematic experience. Here’s a video essay explaining why.
Slither

The Genuinely Horrifying Horror Comedy of ‘Slither’

By Meg Shields 

James Gunn’s directorial debut is as repulsive as it is underrated.
Horror Streaming March 2021

All the Horror You Need to Stream in March 2021

By Meg Shields 

Wondering what’s good, gory, and gothic in streaming this month? We’ve got you covered.
Jidlo Food Jan Švankmajer

The Morbid Delights of Jan Švankmajer’s ‘Food’

By Meg Shields 

It’s a real gut-buster. In more ways than one. Here’s a video essay on the absurdist short film’s tonal tightrope walk.