<p><span style="background-color: transparent; font-family: inherit; font-size: inherit; font-variant-ligatures: inherit; font-variant-caps: inherit; font-weight: inherit; text-align: justify; letter-spacing: 0px;">Annabelle isn&#39;t the only doll to plague Hollywood.</span></p>

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<p data-start="0" data-end="550" style="text-align: left;">Recently, &ldquo;The Conjuring: The Last Rite&rdquo; has just closed one of the most influential horror universes of contemporary cinema. James Wan called this the &ldquo;most terrifying&rdquo; final chapter as a gift for the believers who have accompanied the metaphysical world he created for more than a decade. Previously, &ldquo;Annabelle Comes Home&rdquo; &ndash; the seventh part of the series &ndash; was considered the most gentle part of the entire saga. Most of the story is wrapped up in the Warren couple&rsquo;s house, a static space, little movement and also does not indulge in explaining the origin of evil entities in detail. If &ldquo;The Nun&rdquo; and &ldquo;Annabelle: Creation&rdquo; delved into demonic mythology, &ldquo;Annabelle Comes Home&rdquo; chose to return to the classic structure of haunted house films by building a moderate rhythm, not tense to the extreme, sometimes even revealing a bit of mockery between the scary scenes. On the other hand, the original &ldquo;The Conjuring&rdquo; remains the epitome of pure horror, completely serious about its fear-mongering.</p>
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<div class="text-center" style="text-align: left;">With the end of <span style="text-align: justify; letter-spacing: 0px;">"The Conjuring: The Last Rite</span> <span style="background-color: transparent; font-family: inherit; font-size: inherit; font-variant-ligatures: inherit; font-variant-caps: inherit; font-weight: inherit; text-align: justify; letter-spacing: 0px;">," audiences not only said goodbye to Ed and Lorraine Warren, but also to the horror icon of the 21st century: Annabelle. However, Annabelle is not the only doll that brings nightmares to Hollywood. For decades, cinema has spawned a whole universe of haunted dolls that continue to haunt viewers long after they leave the theater.</span></div>
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<p>“Chucky” – Child&#39;s Play (1988)</p>

<p data-start="83" data-end="376" style="text-align: left;">From East to West, dolls &ndash; humanoid figures lacking souls &ndash; have long been seen as easy targets for supernatural possession. In horror cinema, they embody the primal fear of something inanimate that can suddenly see, laugh and kill.</p>
<p data-start="378" data-end="943" style="text-align: left;">Among the countlessa variations of that motif, <em data-start="413" data-end="427">Child's Play</em> (1988) is still considered a classic film when discussed. "Chucky" is a toy that was possessed by a fanatical murderer with a voodoo ritual before his death. His soul resides in the body of a plastic doll, and ironically, the toy is given to a boy on his birthday. From there, Chucky begins to act, spreading violence with a twisted smile and a shrill voice, opening the universe of iconic killer dolls of the slasher genre.</p>

Child's Play (1988) - Official Trailer (HD)

<p data-start="945" data-end="1286" style="text-align: left;">The first three (1988-1991) form the original <em>Child's Play trilogy,</em> depicting the tragic bond between Chucky and Andy. In that relationship, Andy sees Chucky as a close friend, while Chucky haunts and hunts him. At a deep level, it reflects the fear of humans giving affection to inanimate objects, and then that ambiguous affection will destroy them.</p>
<p data-start="1288" data-end="1814" style="text-align: left;">By <em data-start="1292" data-end="1309">Bride of Chucky</em> (1998) and <em data-start="1320" data-end="1336">Seed of Chucky</em> (2004), filmmakers shifted their focus from traditional horror to black comedy and satire. Chucky suddenly became a "star" in the horror film world, knowing how to joke with his own image and the legend he created. It was not until <em data-start="1613" data-end="1630">Curse of Chucky</em> (2013) that the series returned to its original dark identity, building a spiritual world between spirits and objects and the childish game would be a ritual to summon demons.</p>

Curse Of Chucky Official Trailer #1 (2013) - Chucky Sequel HD

<p>“Billy” – Dead Silence (2007)</p>

<p data-start="91" data-end="569"><em data-start="266" data-end="280">Dead Silence</em> (2007) tells the story of Mary Shaw, a puppet maker who was framed and murdered. After her death, she returns with hundreds of puppets, including Billy, to take revenge. If Annabelle is the porcelain face that is forever frozen in a daze, then Billy is the mouth that never closes even when the hand controlling it turns to dust.</p>

<p data-start="571" data-end="956" style="text-align: left;">The horror James Wan sows is not that the dolls can talk, but that people have lost the ability to listen. Billy represents the voices that have been muffled, misunderstood, erased from the collective memory. When those voices emerge, they are the shadow of justice, distorted, twisted, but still insisting on being heard.</p>
<p data-start="1152" data-end="1361" style="text-align: left;">James Wan also subtly inserted into the film the image of a puppet riding a bicycle, a familiar symbol in <em data-start="1241" data-end="1246">Saw,</em> as a reminder that all horror, ultimately, comes from people losing the right to speak the truth.</p>

Dead Silence Official Trailer #1 - Ryan Kwanten, Bob Gunton Movie (2007) HD

<p data-start="1405" data-end="1676" style="text-align: left;">In <em data-start="1411" data-end="1420">The Boy</em>, an aristocratic couple who lost their son in a fire create a porcelain doll named Brahms and live with it as if he had never died. A young woman is hired to be the &ldquo;child&rsquo;s&rdquo; nanny, and gradually discovers strange things in the house.</p>
<p data-start="1678" data-end="2116" style="text-align: left;">At first glance, this is a traditional &ldquo;demon doll&rdquo; horror film, but <em data-start="2444" data-end="2453">The Boy</em> is actually a much more sophisticated psychological dissection. In the second half, the film &ldquo;turns&rdquo; to expose the evil that resides in the human obsession with loss. Brahms is the figure of loneliness, proof that if sadness is not properly buried, it will become a living entity and corrode our minds.</p>

<p>“Annabelle” – The Conjuring (2013)</p>

<div class="relative basis-auto flex-col -mb-(--composer-overlap-px) [--composer-overlap-px:28px] grow flex overflow-hidden"><div class="relative h-full"><div class="flex h-full flex-col overflow-y-auto thread-xl:pt-(--header-height) [scrollbar-gutter:stable_both-edges]"><div class="flex flex-col text-sm thread-xl:pt-header-height pb-25"><article class="text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [&amp;:has([data-writing-block])&gt;*]:pointer-events-auto [content-visibility:auto] supports-[content-visibility:auto]:[contain-intrinsic-size:auto_100lvh] scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]" dir="auto" data-turn-id="request-WEB:85b034fe-ac6f-40d8-badf-9beb6e826d07-4" data-testid="conversation-turn-10" data-scroll-anchor="true" data-turn="assistant" tabindex="-1"><div class="text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] thread-sm:[--thread-content-margin:--spacing(6)] thread-lg:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)"><div class="[--thread-content-max-width:40rem] thread-lg:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn" tabindex="-1"><div class="flex max-w-full flex-col grow"><div data-message-author-role="assistant" data-message-id="a68cd2ba-07de-4dac-aea6-90656d42fd25" dir="auto" class="min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+&amp;]:mt-1" data-message-model-slug="gpt-5"><div class="flex w-full flex-col gap-1 empty:hidden first:pt-[1px]"><div class="markdown prose dark:prose-invert w-full break-words light markdown-new-styling"><p data-start="2958" data-end="3372" style="text-align: justify;"> Annabelle first appeared in <em data-start="2992" data-end="3007">The Conjuring</em> (2013), which was based on a real case that the exorcists Ed and Lorraine Warren worked on. In contrast to her porcelain appearance in the film, Annabelle was actually a rag doll, the Raggedy Ann &amp; Andy model, produced by Playskool.</p><p data-start="3374" data-end="3740" style="text-align: justify;"> The opening of <em data-start="3390" data-end="3401">Annabelle</em> (2014) recreates the moment the heroine receives a gift from her husband. But when tragedy strikes, the doll becomes the source of disaster. <span style="background-color: transparent; font-family: inherit; font-size: inherit; font-style: inherit; font-variant-ligatures: inherit; font-variant-caps: inherit; letter-spacing: 0px;">For nearly forty minutes, the film uses no scares. There are only squeaky hinges, fearful glances, and fleeting shadows in the background. Wan leaves the audience to create their own fears in their own imagination. What makes <em data-start="3173" data-end="3188">The Conjuring</em> truly memorable is the pure sensory experience it creates. Like a haunted house in a theme park, we know everything is staged, but still react when the doors open. In that moment, <span style="background-color: transparent; font-family: inherit; font-size: inherit; font-style: inherit; font-variant-ligatures: inherit; font-variant-caps: inherit; font-weight: inherit; letter-spacing: 0px;">Annabelle is both an industrialized product of motherhood and a metaphor for blind faith in laughing objects.</span></span></p></div></div></div></div></div></div></article></div></div></div></div>

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