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What should you do if you catch a 10-year-old looking at porn on the Internet? (brian kersey / getty images)
Q: I recently found my 10-year-old daughter looking at pornography on the Internet. When I asked her why she was looking at this, she said, "The devil made me do it!" I am appalled and don't know how to handle this.
A: The Help for Families panel understands you are upset, but wonders whether saying you are "appalled" may be a little harsh.
Pornography is rampant on the Internet, says panelist Michael Daniels. He suggest it may have been innocent. A 10-year-old could've been doing a report or looking up something simple and could easily comes across a pornographic site, he says.
"It is scary how pervasive it is and how accessible it is," he says. "But as a parent you need to get a handle on it and be a parent, to be effective."
The panel guesses from your daughter's reference to the devil that you are a religious household.
For the future, you can put controls or filters on your computer to control what sites she can access on the Internet, says panelist Pam Wallace.
You need to sit down with her and explain that pornography is something that isn't for children, Wallace says.
"She is at a developmental age when many kids start to be curious about sex," says panelist Denise Continenza. "Have an open conversation with her and give her information that aligns with your family's values."
She may be looking for answers to questions she has but will be directed in an inappropriate way, Daniels says.
"You don't want to squelch her curiosity," he says.
Talk to her to find out what she may be curious about, says panelist Rhoda Stoudt.
She also recommends you keep the computer in a public place so you can see what sites she is going on.
"Look at it objectively," says Continenza. "Put your emotions aside. This is one of the hardest parts of raising adolescents. Don't judge or condemn her."
If you feel you can't talk to her about these issues, find someone else who can talk to her," Wallace says.
You do know what to do, Daniels says.
"Love her and step back," he says. "Look into your own experiences. Pornography has been around for a long time, although it was not as accessible in the past as it is now," he says. "How you respond to this will determine whether your relationship with your daughter grows or not. She has obviously internalized your family's values and from a religious standpoint she's right."
She is showing she knows it's not the best thing to do, agrees Wallace.
"This is an opportunity to strengthen your relationship with your daughter," says panelist Suzanne Mulhern. "She is a whole individual and this is just one small aspect of that."
Keep the communication open with her, Daniels says.
"This could always be a door to the next level," he says.
Parenting experts and guest panelists who helped this week:
Pam Wallace, program coordinator for Project Child, a program of Valley Youth House.
Denise Continenza, family living specialist for Penn State's Lehigh County Cooperative Extension, South Whitehall Township.
Michael Daniels, adolescent and attachment therapist, Bethlehem.
Rhoda Stoudt, Lehigh County Office of Children and Youth Services.
Suzanne Mulhern, The Arc of Lehigh & Northampton Counties, Bethlehem.
Help for Families is a collaboration between The Morning Call and parenting professionals brought together by Valley Youth House's Project Child

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We list our favourite cinematic stalkers, growlers, slashers and biters
By Tom Huddleston, Adam Lee Davies, Paul Fairclough, David Jenkins and Time Out Film Posted: Tuesday June 8 2021
What makes a monster? If you were to ask Charlize Theron in 2003 while she was filming serial killer movie Monster, she may have said men who commit monstrous acts. Chris Pratt might suggest that the creatures created specifically for the Jurassic World movies constitute as monsters (he would be right). And what about the characters from Disney Pixar’s Monsters, Inc? A monster Mike Wazowski might be, but monstrous he is not.
In the end, while constructing this list we decided to keep things simple. In our opinion, Zombie and vampire movies are out, mainly because both genres are so filled with so many choices that they warrant their own lists. Instead, we opted for all the killer rabbits, killer plants, killer fish, killer clowns (‘We all float down here’), killer aliens and killer desserts. The result is a list of films that spans the modern (2018’s ‘A Quiet Place’) to the classic (‘The Blob’ – 1958’s original of course). Here are the best monster movies of all time.
RECOMMENDED: The 100 best horror films
That rabbit’s got a vicious streak a mile wide, it’ll do you up a treat
‘Attention! Ladies and gentlemen, attention! There is a herd of killer rabbits headed this way, and we desperately need your help!’ Yes, narrowly beating out ‘Frogs’ and ‘Grizzly’ to take the coveted No 50 spot is this bright-eyed, bushy-tailed bunnysploitation classic. You may assume there’s nothing particularly terrifying about rabbits, but that’s exactly what Janet Leigh and Mr Burns’s fetish icon Rory Calhoun thought until those twitchy-nosed, floppy-eared hell-fiends started taking over their town, leaving destruction in their...holy shit, that’s Bones McCoy with a handlebar moustache! – Tom Huddleston
Superfreak!
After his success with the inimitable ‘Hellraiser’ (see No 19), it was inevitable that erstwhile novelist Clive Barker would secure a deal to direct again. Unfortunately, Barker’s experiences on ‘Nightbreed’ – intended, in the words of its author, to be ‘the “Star Wars” of monster movies’ – was a far less happy one. Recut and dumped on a disinterested public, ‘Nightbreed’ remains a shadow of Barker’s original vision. Or so he claims: with the Director’s Cut still locked in the vaults, there’s no way to tell if there’s more to the film than a lot of pissed-off mutants hanging about in a cave. Given Barker’s subsequent work as a writer – including ‘Coldheart Canyon’, surely one of the most awful books ever written – it could be unwatchable. But we’re still keen to find out. – Tom Huddleston
Keep your mouth shut
Actor-turned-first-time director John Krasinski shows an almost Hitchcockian command of tension in this post-apocalyptic horror about a family’s attempts to survive in a world patrolled by aliens. Sounds fairly simple, right? Not quite: these aliens hunt by sound, like some kind of satanic land dolphin or an extra-terrestrial bat. The necessity of silence for survival makes for a novel concept, especially for a monster movie where one has come to expect creatures making as much noise as a convoy of Harley-Davidsons driving through a tunnel. However, when there is the slightest creak or accidental spillage and the slathering hell-beasts descend it makes for genuinely frightening stuff.
Danger: heavy plant crossing
As anyone who watched TV this Christmas knows only too well, the definitive version of John Wyndham’s template-setting apocalyptic masterpiece has yet to emerge. The reasons for this are manifold, but one stands out: there’s just no way to make plants scary. Just ask M Night Shyamalan. This British effort makes a decent fist of it, particularly in the eerie early scenes in which the entire global population is blinded by a convincingly psychedelic meteoric light show. But once the real villains show up, things fall to pieces: okay, they’re eight feet tall, homicidal and blessed with a multiplicity of variegated blood-red suckers. But they’re still, you know, plants. – Tom Huddleston
Whatever you do, don’t trust a clown
For some, Tim Curry will always embody Pennywise the dancing clown, a manifestation of fear itself. But in this 2017 adaptation of Stephen King’s epic novel, replanted in the 1980s instead of the ’50s, it’s Bill Skarsgård who scares you witless. As Pennywise, Skarsgård’s eyes roam in two different directions, making the character look truly monstrous and deranged. When he interacts with the children, he drools, as if starved, ravenous to consume them and their fear. Great performances from the young cast also prevent any ‘child acting’ awkwardness, while the themes of friendship and the loss of innocence are reminiscent of ‘Stand By Me’ (another King adaptation) and ‘ET’. It might be sentimental at times, but when it scares – and it really does scare – it’s a chilling reminder that, no matter your age, clowns are terrifying.
Not to be confused with ‘Dragonheart’, ‘Dragonlance’ or ‘Dragon: The Bruce Lee Story’
Before Peter Jackson gave Sword and Sorcery (for it is they) an irresistibly sexy sheen, this 1981 effort took a proudly cod-medieval stomp through damsel/dragon territory, becoming the lodestone of dark-tinged family fantasy. In a world, the trailer might have intoned, where the dung hovel is the standard unit of social housing, a boy on the brink of manhood is all that stands between a great fire-breathing beast and a rather fey cadre of aristocrats bent on offering up their virgins to the monster. Not an ideal arrangement, but one that worked well enough until Sir Ralph Richardson’s permanently flummoxed wizard turns have-a-go pensioner and sets up a nice revenge saga for his young apprentice. Richardson steals the film despite his early immolation, but the Industrial Light & Magic special effects come a close second and, nearly thirty years on, have an ethereal charm that CGI-drenched descendants like Beowulf can't match. Disney's graphic mash-up sequel, 'Pete’s Dragon Slayer', was pulled after test screenings left young audiences in states of extreme distress. – Paul Fairclough
The movie that time forgot
Seemingly inspired by the kind of logic-free games enjoyed by eight-year-old boys, this rarely seen gem pits cowboys against dinosaurs in a stark New Mexico. It was based on an unrealised project of King Kong creator Willis O'Brien, and the great man's protege Ray Harryhausen lent eerie life to a host of prehistoric gobblers as a two-bit Wild West show discovers a herd of tiny prehistoric horses in a remote desert valley. Unfortunately for the dollar-eyed cowpokes, the little equine wonders are the prey of the 'Gwangi', a ravenous Allosaurus intent on bringing Jurassic mayhem to the Old West. – Paul Fairclough
Directors: Michael Herz and Lloyd Kaufman
Don’t you know that you’re toxic?
Remember when low-budget horror movies were more interested in wit and invention than flat-out gore? When Toxie ruled, his straight-to-video adventures capturing the hearts, minds and guts of a nation of splat-crazy horror heads? Well, those days are long gone, but their sweet memory remains: a time when a carload of drunk disco-jocks could reverse over a kid’s head for kicks, when an extra could poorly conceal his supposedly ripped-off arm under his camo jacket without anyone batting an eyelid, when a grotesque, musclebound nuclear-wastoid could have rough sex with a bubble-permed blonde and audiences just went with it. Halcyon days. – Tom Huddleston
Because two heads are better than one
Doesn’t the two-headed monster in ‘Willow’ resemble a pair of generic 'Spitting Image' puppets balanced on the end of two camouflage sleeping bags? For a kids’ film (c’mon nerds, it is!) it’s a pretty scary beastie to plonk just prior to the final good (dwarf) versus evil (old woman) showdown, especially when it chooses to wolf down some of the extras between fiery breaths. It’s kind of a shame that a mild flesh wound – okay, a sword through the brain – causes its head to explode (a nagging physiological shortfall if ever there was one) but any monster that allows you to use the term ‘straddled by a stop-motion Kilmer’ in your write-up has got to be worth its SFX-money-shot salt. – David Jenkins
It’s not easy bein’ green
You know that green pulp you get when you leave spinach boiling for too long? Well, that appears to have been the inspiration behind embittered bogman Swamp Thing, originally created for the pages of DC comics to suggest that when we discuss the environment, we must consider hideous mutated avenging vegetable men as well as majestic redwoods and fresh bunches of azaleas. Out to save the quagmire of effluent pond weed he calls home from evil government agents, Swampie made his way into two films: 1982’s beloved original directed by Wes Craven, and 1989’s inevitable ‘The Return of the Swamp Thing’ featuring Heather Locklear, the cinematic equivalent of the expression ‘nuff said’. – David Jenkins
Kids resurrect the darnedest things
Essentially another version of box-office behemoth ‘Ghostbusters’ except with apple-cheeked little leaguers replacing Lower East Side slobs, Fred ‘Night of the Creeps’ Dekker’s much-loved kiddie caper allows a panoply of stock, classic-era ghouls free reign of a Delaware suburb. The make-up work looks like something you might see at a fancy dress party on an Essex housing project, and thus doesn’t really stand up to some of the more inventive creations on this list. Yet it’s such a fond paean to the potent imaginary worlds of impressionable, errant children that that we’re throwing it in there anyway. – David Jenkins
1981’s other werewolf movie
Following a decade-long apprenticeship with Roger Corman and New World Pictures which bore ample fruit in the shape of ‘Piranha’ (see No 22), Joe Dante knuckled down and got serious with this heartfelt tribute to werewolves he had known and loved. Which, it transpired, was precisely what the public didn’t want, as proven by the massive global success of ‘An American Werewolf in London’, in which John Landis indulged in all the subversive slapstick splatter which Dante had so conscientiously avoided in his own movie, but which would later come to define his career. ‘The Howling’ is, however, notable for having one of the most magnificently seedy and unsettling openings in cinema; shame it can’t quite maintain that level of tension. – Tom Huddleston
Good fun until someone loses an eye
Another movie which, like ‘The Howling’ (see above), actually gets less scary once the monster shows up. The opening 30 minutes of this surprise old-school sleeper hit are something truly special: first a thunderous, ‘Duel’-inspired truck chase, followed by one of the all-time great ‘you’ve got to be kidding’ sequences, as our plucky teen heroes descend a grimy, gore-spattered pipe which leads directly into the beast’s lair. Very little in Noughties horror comes close to the authentically clammy, claustrophobic dread of this sequence – but sadly, director Victor Salva can’t quite apply the same atmosphere to the remainder of the film, and once the winged fiend shows up things trundle towards an enjoyably bleak but hardly breathtaking finale. – Tom Huddleston
Does this look ‘inanimate’ to you, punk?
This film version of the stage adaptation of the low-budget Roger Corman original should have been a complete trainwreck, but ex-Muppet man Frank Oz somehow delivered one of the greatest intergalactic carnivorous plant musicals of the '80s. Lovelorn Big Apple florist Rick Moranis breeds a nondescript houseplant into a ravenous monster with a taste for human blood and doo-wop music before realising that it is in fact a ‘mean, green muthah from outer space’ with plans to colonise Earth. Funnier than Abel Ferrara’s ‘Body Snatchers’ and with catchier showtunes than M Night Shyalaman’s ‘The Happening’, ‘Little Shop...’ is still the Big Boss Daddy of violent vegetation vehicles. – Adam Lee Davies
It creeps, it crawls, it slithers up the walls…
One may fondly remember it as a cheesy, fusty proto-teen romp featuring a young Steve McQueen, but ‘The Blob’ did nothing less than lay the groundrules for every mega-budget disaster movie that came after: gloopy alien force whose survival rests on annihilating humanity (‘The Thing’, ‘War of the Worlds’); disbelieving authorities (‘Jaws’, ‘Volcano’); stultifying deus ex machina (‘Knowing’, ‘Mars Attacks!’); impossibly jaunty theme song (erm…). The actual Blob itself is about as scary as a clear plastic bag full of mixed-fruit jam, but this cracking little film nonetheless oozes thrills and drips with charm. – Adam Lee Davies
What a croc!
Let us, for a moment, pause to examine the career of Steve Miner. Having brought cheap thrills to the masses with ‘Friday 13th’ Parts 2 and 3, and much-loved skeletons-in-the-closet charmer ‘House’, he decides to try his hand at a little social comedy with notorious race-relations misfire ‘Soul Man’. Miner spends the rest of the '80s wandering in the wilderness of ‘The Wonder Years’, before bouncing back with daft timeslip romp ‘Warlock’. More fruitful years follow, until Miner, again, makes a major misstep: the US remake of French comedy hit ‘Mon Père ce héros’, in which Gérard Depardieu lumbers threateningly after his nubile daughter through a series of lurid tropical locations. Once again, teen TV beckons: this time its ‘Dawson’s Creek’, at least until deliverance arrives in the form of the severely underrated franchise instalment ‘Halloween: H20’, the success of which leads directly to this superbly cast, solidly entertaining giant-croc tale. Why am I telling you all this? Because ‘Lake Placid’ is nothing if not the work of a reliable, hardworking journeyman: occasionally inspired, occasionally flat, always fun, never dull. The work, in fact, of a man equally at home in Camp Crystal Lake or Dawson’s Creek. God bless you, Steve Miner, and all the other unsung Hollywood heroes. We even forgive you for ‘Soul Man’. – Tom Huddleston
Shut up and comb your face
The humble werewolf has received an enviable number of screen outings in modern times, from Jack Nicholson prancing around as a hirsute sex pervert (insert gag here) in 1994’s ‘Wolf’, through murderous menstrual tension in the underrated ‘Ginger Snaps’ (2000) and wishy-washy teenwolf traumas in ‘Twilight: New Moon’ (2009) to Joe Johnston’s brand new megabudget remake, ‘The Wolfman’, but it’s this rock-solid olde-worlde charmer we’ve chosen for this list. As usual with these classic horror films, the tragic curse comes into play when the hapless Talbot (Lon Chaney Jr) gets scratched while fending off an attacking wolf, then as the full moon rises, a revolting transformation takes hold and as quick as you can say ‘those slacks are going to need a new crotch’ he’s hot on the trail of human blood. – David Jenkins
Hello darkness, my old friend
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