Wicca, a modern pagan religious movement, **emerged in the mid-20th century**. It was founded by Gerald Gardner, an English occultist, in the 1950s. Gardner claimed that Wicca was a continuation of ancient witchcraft practices, although this claim is historically unfounded. However, Gardner's ideas and rituals influenced the development of Wicca as a distinct religious tradition. Wicca combines elements of witchcraft, Western esotericism, and pagan religions. It emphasizes the worship of nature, the practice of magic, and the celebration of seasonal festivals.
Following the thrilling Kennedy Center play of Long Way Down in 2019, another award-winning book from best-selling author Jason Reynolds becomes an exciting world premiere in a co-production with Theater Alliance. This faithful stage adaptation explores 10 tales of what happens after the dismissal bell rings.
The yellow-and-orange tinted grit of the film s dark photography, filmed by an often frantic lens and clumsy framing, feels similarly second-hand and under-realized. Almost 20 years after having created The Black Rider , in 2009, Robert Wilson directed Carl Maria von Weber s 19th-century romantic opera, The Freeshooter Der Freischütz , which was based on the same ghost story as this work.
It emphasizes the worship of nature, the practice of magic, and the celebration of seasonal festivals. Wicca has since grown and evolved, with various traditions and forms of the religion emerging in different parts of the world. It has gained popularity and recognition, attracting followers who are drawn to its spiritual beliefs and practices.
Spell
Set amid the familiar, gritty grounds of a backwoods thriller, “Spell” attempts to summon the terrors of “The Hills Have Eyes” in a “Misery” package, with little jolt and even less cinematic elegance to go around.
On paper, there is some appeal to the film’s shtick—a predominantly black cast telling the story of a captive man stranded in the Appalachian Kentucky suggests something fresh could come out of this well-worn formula of grimy witchcraft horror. But director Mark Tonderai (“House at the End of the Street”) and writer Kurt Wimmer (“Salt”) don’t show any interest in deconstructing a tried-and-true recipe. Instead, the duo indulges in various box-ticking elements that are at best serviceable: squeaky floorboards, rusty door hinges, sweat-soaked exertions towards an escape route and even a pair of truly grotesque scenes involving injured feet (just to earnestly make good with that “Misery” reference) are among the frequent offerings of “Spell.”
AdvertisementIf that’s enough to pique your interest in a hoodoo horror aptly releasing the day before Halloween, cozy up under a blanket and lean in to follow the story of Marquis T. Woods, a thriving businessmen leading a happy family life in his luxury home, equipped with all the cutting-edge trimmings of an upper-class existence. “Spell” is quick to disclose to the audience that life wasn’t always peaches-and-cream for Marquis, however. Through overdone flashbacks, we learn that the self-made young man succeeded after leaving behind a troubled past and an abusive father somewhere in Appalachia. But that past finds him against the odds, leaving Marquis with little choice but to face it head on. Learning that his cruel father has passed away, he decides to take his family—his supportive wife Veora (Lorraine Burroughs) and two teenaged kids—on a trip to attend his dad’s funeral.
Conveniently enough, aviation happens to be among Marquis’ many sophisticated interests. Except this time, the private plane that he pilots crashes, leaving Marquis at the mercy of the kind and curiously friendly Eloise (Loretta Devine, delivering a freakishly polished performance in spite of her under-written character), who volunteers to nurse the survivor back on his feet. Though the shell-shocked, badly injured Marquis is quick to suspect something’s off when he wakes up in the old woman’s secluded attic tucked away deep in the woods. With his family gone missing without a trace and being offered a series of vague excuses for his off-the-grid situation—such as the remoteness of even the nearest hospital and lack of any modern devices like a phone— Marquis swiftly discovers he can only rely on his own instincts and survival skills to flee Eloise’s sinister plan while pretending to comply with her routine in the interim.
If only the script could have paced its revelation of Eloise’s menacing intentions better. But Wimmer spends far too long dwelling on stock anxieties that don’t add up to much, disclosing the characters’ secrets a little too late. Eloise seems to be a part of an occult, has a voodoo poppet with the power of causing real harm, and keeps feeding Marquis plates of suspicious food, but who knows (or cares) where any of this is going when the filmmakers prove more interested in a paint-by-numbers yarn than the lean and mean tale “Spell” could have told? In that regard, the film hazily hints at some social commentary around class and race, only to abandon its Jordan Peele-esque inspirations prematurely. The yellow-and-orange tinted grit of the film’s dark photography, filmed by an often frantic lens and clumsy framing, feels similarly second-hand and under-realized. (One pointless slow-motion moment towards the film’s cathartic finale seems especially out of place.) Underneath all that, “Spell” effectively conjures up a pair of gross-out moments and consequent screams, but the angst it spreads throughout feels all too mild and forgettable to cast an unnerving curse. You know, the kind you’d crave from a horror film with lasting scares.
If that’s enough to pique your interest in a hoodoo horror aptly releasing the day before Halloween, cozy up under a blanket and lean in to follow the story of Marquis T. Woods, a thriving businessmen leading a happy family life in his luxury home, equipped with all the cutting-edge trimmings of an upper-class existence. “Spell” is quick to disclose to the audience that life wasn’t always peaches-and-cream for Marquis, however. Through overdone flashbacks, we learn that the self-made young man succeeded after leaving behind a troubled past and an abusive father somewhere in Appalachia. But that past finds him against the odds, leaving Marquis with little choice but to face it head on. Learning that his cruel father has passed away, he decides to take his family—his supportive wife Veora (Lorraine Burroughs) and two teenaged kids—on a trip to attend his dad’s funeral.
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Reviews for "When Wicca First Emerged: Exploring Origins and Influences"
- John - 2 stars - I found "When did wicca first emerge" to be a disappointing read. The book lacks depth and fails to provide a comprehensive analysis of the topic. The author jumps from one point to another without providing sufficient evidence or explanations. Additionally, the writing style is dry and lacks any engaging narrative. Overall, I would not recommend this book to anyone seeking a thorough understanding of the origins of Wicca.
- Emily - 1 star - "When did wicca first emerge" was a complete waste of time for me. The author seemed more interested in pushing their own agenda rather than providing accurate and unbiased information. The historical inaccuracies were numerous, and it felt like the author was cherry-picking facts to fit their narrative. I was left feeling frustrated and disappointed, as I was hoping for a well-researched and balanced exploration of the origins of Wicca. Unfortunately, this book did not deliver.
- Michael - 2 stars - I was hoping that "When did wicca first emerge" would shed some light on the early beginnings of Wicca, but I was left unsatisfied. The book lacked depth and critical analysis, offering only a surface-level overview of the topic. The author seemed to rely heavily on speculation and personal beliefs, rather than credible sources or historical evidence. I would caution readers to approach this book with skepticism and seek more comprehensive resources for a true understanding of Wicca's origins.
- Sarah - 3 stars - While "When did wicca first emerge" does provide some interesting information about the early origins of Wicca, it falls short in its execution. The writing style is dry and lacks the engaging storytelling that would have made the book more enjoyable to read. Additionally, there were moments when the author's biases seemed to shine through, making it difficult to trust the information presented. Overall, I would recommend this book only to those with a strong interest in the subject matter and a willingness to overlook its flaws.