Is The Babysitter Urban Legend An Insidious Feminist Plot To Frighten The Working Class?
Friday, June 11th, 2010Each week, Weird Things’ own Matt Finley breaks down one of the oddest elements of our culture in a feature we call Monster Of The Week. This week we pity the poor Babysitter. Monday we found out why these darlings are hunted. Wednesday we look at how the legend survived the digital age.
Babysitter. Killer. Telephone. We’ve taken a neatly assembled story and plucked off the buttons, ripped the stitching and unloaded fistfuls of stuffing. Might as well see it the rest of the way through. Parents. Children. Let’s add them to this strewn mess of analog technology, gender stereotyping, Aquarian culture wars and artificial maternity.
I had briefly mentioned that, in many versions of the Babysitter and the Stranger Upstairs, at least one of the sitter’s employers is a doctor. In almost every version, the parents, doctorate holding or not, are wealthy. On the surface, this seems a mere plot device – the teenaged kid-herding neophyte is lured into the job by the promise of healthy dividends while, at the same time, the couple’s sizeable home fulfills certain narrative logistics. In other words, it would be difficult for the killer to call the babysitter from inside a single-phone apartment, or sneak unnoticed through a ranch-style house. And that makes enough sense. But let’s say we take a moment to get cynical:
Even if we accept many folklorists’ assertions that, when deconstructed, this urban legend takes on gender oppression and warns girls away from fast-tracking themselves toward some sort of patriarchically enforced homemakership and oppressive motherhood – that it’s a GRRL power ballad played in the key of independent womanhood – we need to consider the story’s intended demographic. After all, “gala-bound rich couple seeking responsible teen for one-night babysitting job $$$” rarely bypass the nearby middle-class McMansions and make a beeline for the barrio. Likewise, many blue collar families comprise two working parents who are beholden to shift work, and older children who are busy enough looking after each other, or working themselves. (Obviously, these are gross generalizations, but remember, we’re applying them to a story in which the main characters are Rich Couple, Attractive Teenage Girl, Sleeping Children, and Anonymous, Motivationless Killer.)
Get the rest AFTER THE JUMP…
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variety of parental concerns – from education to discipline to gender imprinting to sexuality – all within a fast-paced and suitably creepy 103 minute runtime.
I don’t know how the story of the intercourse-interloping hook murderer plays out these days – the inset latch that adorns most modern car doors doesn’t seem especially conducive to bloody-hook dangling. Likewise, “hitchhiker” is a distinctly 20th century identifier. Vanishing or not, a trail-schlepping wayfarer with a hopefully extended thumb would confound even the hippest wagoneer or pony express messenger. So that whole police- or phone company-traced call coming from inside the house thing? Nothing to worry about, right? The legend is quarantined in the 1960s, a primitive ape of a horror story, thwacking an analog phone receiver against a monolithic switchboard to the swelling soundtrack of a droning dial tone.
It’s happening again. This time, though, it’s all about the Mothman.
“We’ve traced the calls! They’re coming from inside the house!” Not exactly a shocking twist these days. Let’s face it: the elements that make urban legends so compellingly repeatable and readymade for national ubiquity (not to mention fun) – bloodshed, panic, sexual disaster, embarrassment and grotesque coincidence – are the same things that make them so falsifiable. Only so many people’s cousin can have the same friend who got a cheek full of spider eggs, a candy apple full of razors or a snizz full of frozen hotdog before folks start wising up. The legends manage to live on because each new generation of kids represent blank slates upon which someone’s gonna scratch out a Pepsi and Pop Rocks death equation or caricature a hook-handed killer. At the same time, these legends undergo the inevitable cultural makeovers required to ensure that they neither outstay their welcomes nor develop unsightly anachronisms.
Prohibition was a drag. And not just because all the legal booze had been flushed down congress’ toilet. While destitute souses gave up their livers to searing shots of fuel-ready methyl alcohol, white-collared sots hired like-minded chemists to re-nature chemically denatured alcohol into an unforgivably potent, though non-toxic-ish, liquor (the “girly drinks” of the modern college campus have roots in this era as the alcohol was so potent that upper class juiceheads turned to all nature of seltzers, tonic waters, juices and citrus to sand the edges off their cocktails), and the government, desperate to stay one step ahead of the socialite-employed Dr. Feelgoods, pursued increasingly elaborate denaturing schemes, involving the addition of powerful toxins, including cyanide, to large shipments of industrial alcohol. Poor drinkers were often permanently blinded or killed by low-quality, high-proof poisons while the wealthy, egged on by the once-passive activity’s newfound lawlessness, descended into new levels of decadence. Despite the controversial ratification of the eighteenth amendment, alcoholism in America was at an all time high. 
A couple weeks back I wrote a series of posts about Kuchisake-onna, Japan’s infamous slit-mouthed woman. For the third installment, fearing that, owing to my relative ignorance of Japanese culture, I was woefully misrepresenting/misinterpreting an important folktale, I used Google translate to read authentic (and grammatically butchered) versions of the tale on the Japanese-language Wikipedia site. Then I looked up the Japanese take on the Jersey Devil. Why? To make myself feel better about butchering the country’s canonical urban legends (or, as I’m sure I would have argued at the time, to revel in the inherent mutability of oral tradition that exists between cultures, even in a media-saturated, post-post-modern age). I was not disappointed. The Japanese version, or, more accurately, understanding, of the Jersey Devil was awesomely nutty and involved a bunch of kids finding a big, crazy egg in the forest. Probably they thought they were hatching a Yoshi. 
On the barest cultural level, if you strip away the membranous wings, packed wallet and any over-eager pseudo-anthropological interpretations, all the tooth fairy really amounts to is the narrative spoonful of sugar that helps the inevitable biological medicine – specifically, the terrifying reality that all of one’s teeth are about to loosen and drop out – go down. Quite simply, kids are less apt to be scared by the unique and uncomfortable process of losing their teeth if that process comes with its own smiling, magical (and accordingly wealthy) benefactor. On a literal level, if you strip away the glittery trappings, all the tooth fairy really amounts to is an otherworldly home invader with a cryptic agenda and a free pass into a nation’s worth of children’s bedrooms.
Walk it Off – an abridged compendium of ye olde folk remedies and archaic antidotes culled from UCLA’s Archive of American Folk Medicine
The tooth fairy started life as a mouse that started life as a fairy. Or, in some tellings, a fairy who started life as a mouse. I know. Not the radiation-laced tale of shame and vengeance for which most of you were probably jonesing. And the fairies’ nemesis? An evil, tyrannical king. For our purposes, though, he’s an evil, tyrannical king with a plasma cannon for a hand. So, according to this French fairy tale (called “La Bonne Petite Souris,” meaning “The Good Little Mouse”), there was a happy queen who was all crepes and smiles until the evil king from a different castle started blowing up all the cafes and boulangeries with his triple-barrel plasma arm. Fortunately, the queen was friends with, depending on the version, a good little mouse or a just-above-average fairy who agrees to lend a helping paw, or tiny, unsettling fairy hand with creepy little painted fingernails. The mouse then proceeds to transform into a fairy (or vise a versa), plant itself under the king’s pillow and, come nightfall, knock out all of the king’s teeth, thereby, chasing away the shadows of war (You’d think that this would just make the king angrier, but for some reason it drives him crazy and topples his empire. Maybe the diamond power cells for the plasma arm were hidden in his molars.)








