The Infamous Story of Halloween II Siblings and Why It Works

With any long-running franchise, there are bound to be aspects that fans can’t agree on, and when it comes to Halloween, this aspect is a short scene in the 1981 sequel. Halloween 2 follows two important storylines – that of Dr. Loomis searching for Michael and that of Laurie at Haddonfield Memorial Hospital. It is towards the end of the film, in a scene with Loomis and his colleague Marion Chambers, that the reversal of the situation is revealed: Laurie Strode is the sister of Michael Myers. The moment those words were spoken, the franchise was changed forever. Subsequent sequels would continue to dig deeper into this plot point, creating convoluted storylines and excessive lore, until it was fully retconned into David Gordon Greenthe 2018 film. But was it really necessary?


Some argue that the script diminished Michael’s villainous character and diverted the franchise down a path that destroyed the carefully crafted story. John Charpentier starts with. However, not everything is bad. I argue that the addition only made it scarier, and its absence from the 2018 timeline feels shockingly empty.

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As we’ve seen in previous franchise sequels such as 4, 5, and 6, Michael is determined to wipe out his bloodline, and he’ll add anyone who gets in his way. The most common complaint about the bloodline plot is how it makes Michael less scary, but the sheer determination he has to find his family members is terrifying enough on its own. Especially considering that his most significant victim aside from Laurie Strode was Jamie Lloyd, who was just 7 years old in Halloween 4: The Return of Michael Myers. Michael’s killer instincts truly know no bounds and he doesn’t let anyone get in his way when he takes part in one of his kills.

He accumulates more than a body count through friends of his intended victims, so to speak he’s no longer scary because he’s got his mind set on someone who’s feeling a bit dramatic . This makes him feel more deadly, like a predator hunting his prey and settling for anything that crosses his path in the meantime. Stripping out sheer determination, her pursuit of Laurie seems a lot less important, that and the fact that there weren’t really any stakes there to begin with, but we’ll get to that later.

Many scruples stem from John Carpenter’s own distaste for plot. He’s been very vocal about how much he hates Halloween 2 as a whole, even going so far as to call it an “abominable and horrible film” in a 1984 interview with Cinema Showcase. For the creator of the original film to show his distaste for the story so publicly will naturally leave a sour taste, but he clearly did something right, as the film spawned countless sequels and even a remake.

The Recognition

David Gordon Green’s trilogyHalloween (2018), halloween kills and Halloween ends) made the bold decision to not only make a direct sequel to the 1978 film, but also to re-enact the story of the siblings. The retcon is mentioned through somewhat forced dialogue between Allyson and her friends, and while the decision is stylistic and can be respected, it also makes the film feel a bit disjointed.

H18 shows Laurie as a survivor, suffering from the trauma she suffered from Michael 40 years prior. She lives in the middle of the woods in a house with more locks than one might imagine and has a shooting range on her property filled with countless creepy mannequins. It’s also revealed in the film’s final hour that her home is booby-trapped – prepared for the day Michael returned for her as she inevitably knew he would. But if this is just a direct sequel to a movie whose events took place 40 years before and diminished any lore that had accumulated about Michael, then why would he care so much about finding Laurie?

As we know, he is only brought to Laurie by Dr. Sartain who has a strange fascination with her and Michael’s case. Without him, it’s likely that Michael wouldn’t have come to Laurie’s house and then targeted her and her family, and when you think about it, that makes it sound a bit silly. Also, since Michael was locked up for those 40 years and considering how Laurie went from a teenager to a woman in her 50s during that time, is it really realistic that he know who she is? Even less stalk her?

Which is why reinstating the bloodline plot feels a bit like an oversight in retrospect, especially now that Halloween ends hit theaters and we know how the trilogy ends. If the writers had kept it, there could have been much higher stakes. Of course, Michael was going to kill whoever he wanted anyway, but his pursuit of Laurie would have seemed more focused, and it would also have put Karen and Allyson in a much more perilous situation. Sure, they were eventually targeted by Michael (and Karen was unfortunately added to his kill count), but it was more of a “wrong place, wrong time” situation, and it never seemed that there was a lot of weight behind them. It all sounds cheesy and overly complicated without the added lore.

That’s not to say the sibling storyline is perfect or can fix the franchise’s problems, but it does seem like retconning it added extra work for the new timeline and sometimes demeaned Laurie’s character. It feels like a slap in the face when Officer Hawkins tells Laurie that Michael isn’t there for her because why is there so much focus on their specific confrontation if it’s not about she ? It feels like the movie feeds into the “crazy” the town thinks of as Laurie, making her seem erratic thinking that Michael is still coming for her, rather than properly processing the trauma she’s been carrying with her since that night- the.

The sibling story may not be everyone’s cup of tea, but without it, the franchise as we know it would have been completely different. Possibly John Carpenter and Debra Hill would have pursued their initial plan to transform Halloween in a series of anthology films and gave us a completely different franchise than we know. Whichever side you land on, there’s no denying that the Halloween the films are highly entertaining and remain a staple of the horror genre, regardless of the messy story that precedes them.

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