I really like the reading that Loomis is the origin for all this. A melodramatic asshole that projects his feelings onto Michael and helps create The Shape.

Funny enough, my favorite summation of Michael came from Jay Bauman from good ole' RedLetterMedia:
"No, no. He doesn't like killing, he doesn't need to kill.
He just kills."

now my head canon is that dr. loomis was taking myers out for sunday driving lessons to set up his own predictions.

In my headcanon Michael runs and doesn’t teleport, just doesn’t run during the chase. And when he does run he is just as fast as Linkara.

Loomis' insistence on Michael "coming home" through the entire movie, and forcing this climactic narrative where he and Michael are sworn biblical rivals whos flesh will crash upon one another in the home of his first great evil deed is hilarious considering Mikey not only doesn't give a shit about him, but also seems throughout the movie to be much more pragmatic in his approach.

He uses the house as a base of operations, sure, but Loomis' insight feels so awkwardly self serving and pompous as he spends an entire night camped out with some doofy local police officer as an actual, genuine psychopath is out harming teenagers.

I think the reason Michael wears a mask is because that is still the one part of him thats still childlike. What do you do on Halloween? You dress up. You need a mask. Thats the last piece of whatever innocence he might have had be present.

I'm convinced the ideal horror villain always has threads and hints at a motive (or many) but never commits to one.

I can't wait for Plague to analyze the deep serious meaning of Snake Plisken surfing in Escape from LA

Reminds me of those memes showing how Micheal moves when he's off camera and it's always some wild go-pro looking footage.

I really love the idea of deep dives into other silent characters in media. Not just villains, just silent characters and piecing together their psyche

I like to think that when no one's looking at Michael, he's sprinting, diving, and prone rolling around like Venom Snake

25:00 My interpretation has always been thus:

Michael intended to go trick or treating. His parents told Judith to take him. Judith said she would but wasn’t actually going to.

Judith’s boyfriend comes over, takes Michael’s mask because “ha-ha stupid kid” And they go off out of sight.

Michael leaves in a huff intending to trick or treat, only to realize that it’s dark out, there are no children, the pumpkins are dim. Halloween is over and he didn’t get anything.

He’s upset, whatever’s inside him takes hold.

And then the film begins.

It is extremely funny to imagine Michael taking her bag / keys, unlocking the door, running back inside to put the bag / keys back, and then dashing back out to the garage before she returns

The duality of man, I feel bad for you because of YouTubes AI shenannigans but then again watching such quality content without the hindrance of ads makes me happier, this feeling makes me confused.

I love how the opening scene plays out. It initially gives the impression that it's an outsider with ill intent trying to break into their house but clues are slowly dripfed as to what's really going on. Like how the perspective is actually from a child and not an adult, the residents knowing him, and that he's dressed up for Halloween. From those around him, nothing seems amiss at all which is why everyone reacts with confused horror when he suddenly grabs a knife and stabs a girl to death and is caught red handed and unmasked. And that's when it's revealed that we aren't seeing this violence through the eyes of an intruder but that of a 6 year old boy, one that just violently murdered his own sister.

1:11:45 my theory is that Michael didn't sprint straight down the path, but he may have sprinted diagonally towards the porch that's behind another set of bushes. Then he would just need to hop up a few steps and duck behind the other bushes and no one would be able to see him.
That being said, imagining Michael trying that maneuver and then slipping on the steps and eating shit right when the girls walk around the bushes is incredibly funny to me.

Personally to me, I always thought of Michael as just doing what he does. The idea he WANTS to feel powerful to me, genuinely removes an aspect of his power. I've always liked how much he's done things with intention and intelligently throughout the first Halloween, the only one I'm a MASSIVE fan of to be fair. The others make him a rampaging monster with brute force. He has brute force and monstrous actions in the first Halloween but he's smart, he waits, he stalks. He's pretty much figuring Laurie out because she showed up in front of his door, forced some kind of fixation or opportunity and that one unfortunate move she took at the behest of her father, got a lot of people killed. There was no rhyme or reason, but once it was started it was all intelligently orchestrated. He watched her every move, he fixated on people in her orbit and killed everything that was relevant to that and JUST that.

He didn't kill the neighbours, he didn't murder the random kids outside the school, he didn't let the parents see him. It was intimate, personal and all very specifically planned including entrances to houses and sealing exits. He had been planning for the night the ENTIRE movie before that point. He's never returned to being that unexplainable man after that. His fixation is always rationalised, but the randomness of the violence I think is important and definitely part of the fears of the 60's-80's.

I also like the ambiguity between him being supernatural or just a normal person, I'm CERTAINLY not a fan of the idea of him sprinting between these places. Sort of like how the Blumhouse movies showed him moving between one place and the next, is how I personally envision his movement between each place but not having a solid or real explanation in spite of my preference is definitely the better option.

Also at the end where he's DESPERATELY putting the mask back on I think speaks miles, Michael NEEDS the mask. Without it he clearly feels vulnerable, not himself. Its a layer removed from him he's uncomfortable without. I think that also makes him fascinating. I think all other movies have sort of just made it part of him, without the almost humanising response this first movie gave him to losing the mask to begin with.

It appears that PlagueGripe's John Carpenter arc is in full swing.

Sorry you had so much trouble with YouTube as far as publishing this video. This really is fantastic work Eli!

I'm glad you mentioned the ending.  When we watched it in October, it really stuck with me.  Think I'd attribute that mostly to the script being written by Carpenter's wife first, before being edited by himself.  The grounding of Michael being a stalker first makes him much more real and terrifying.  But if he were totally grounded, then he wouldn't vanish at the end and we wouldn't have that ending.