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Soon after this, in 1824, he married. This was one of the most favourable periods ever for scholars and men of letters in France, and Michelet had powerful patrons in Abel-François Villemain and Victor Cousin, among others. Although he was an ardent politician (having from his childhood embraced republicanism and a peculiar variety of romantic free-thought), he was above all a man of letters and an inquirer into the history of the past. His earliest works were school textbooks. Between 1825 and 1827 he produced diverse sketches, chronological tables, etc, of modern history. His précis of the subject, published in 1827, is a sound and careful book, far better than anything that had appeared before it, and written in a sober yet interesting style. In the same year he was appointed maître de conferences at the École normale supérieure. Four years later, in 1831, the Introduction à l'histoire universelle showed a very different style, exhibiting the idiosyncrasy and literary power of the writer to greater advantage, but also displaying, in the words of the Encyclopedia Britannica, Eleventh Edition, "the peculiar visionary qualities which made Michelet the most stimulating, but the most untrustworthy (not in facts, which he never consciously falsifies, but in suggestion) of all historians."

A place was offered him in the imperial printing office, but his father was able to send him to the famous Collège or Lycée Charlemagne, where he distinguished himself. Instead it features a declaration of feminine independence that both provokes puritanical America and inspires a tradition of spiritual transgression.

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How The Witch Became a Huge Hit with Satanists

The film had a solid box office victory thanks to film critics, Stephen King, and a certain Satanist sect.

The big movie news again this weekend is Deadpool which—even without the benefit of the lucrative Chinese market—pulled in nearly $500 million at the worldwide box office in just two weeks. But with box office analysts wondering what—short of sorcery—could have given the R-rated superhero film such a boost, a smaller story of actual witchcraft walked away with an impressive opening weekend of its own. The Witch—A24’s first foray into the word of wide release—took home a solid $8.7 million domestically. That’s a success story for any film with a modest $3.5 million budget, a first-time director, a relatively-unknown cast, and a seemingly gentle marketing push from A24. So who can A24 thank for The Witch’s success? Well, they can give thanks to Stephen King and the near-unanimous praise from critics, but, apparently, there was also a groundswell of support from a certain satanist sect and A24 had a hand in making that happen.

A Puritanical tale with fastidious attention to period design and language from director Robert Eggers, The Witch tells the story of a devoutly religious family in 17th century New England who wind up turning on each other thanks to creepily atmospheric paranoia that has a foundation in some very real witchcraft. While the film certainly condemns some of the rigid thinking associated with Christian zealotry, one interpretation of The Witch could, also, be pro-Satanist. That, it seems, was the interpretation of the Satanic Temple.

“The themes in the film mirrored the things we talk about in our work,” Jex Blackmore, a spokesperson for the Satanic Temple and the head of its Detroit chapter told Variety. “It’s a criticism of a theocratic patriarchal society and a fair representation of the stresses that puts on a community.” A24—a relatively new film company behind the likes of Ex Machina, Room, Spring Breakers, and Obvious Child—cannily sent Blackmore a screener of The Witch last December with a note that, according to Variety, “said the company thought she would enjoy the picture.” Blackmore not only enjoyed the screener, she decided to mobilize the power of the Satanic Temple to build anticipation for The Witch’s February premiere.

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Blackmore and A24 worked in concert to put on advance screenings with an interactive element. A24 paid for the screenings but Blackmore and her team conceived and executed the Satanic flair. “They’re not after-parties,” Blackmore said of the demonstrations. “They were intended to provide an interactive experience so our guests would feel empowered. There were ritualistic elements and speeches that were intended to get people to awaken to their primal selves and rebel against a system of control based on an archaic reality.” No word on whether any goats were harmed in the making of these rituals. (Sadly, we can’t say the same for the fictional goats in the movie itself.)

This is the first time the Satanic Temple has opted to endorse any film and A24 is quite pleased with the collaboration. The Satanic Temple, it should be noted, does not actually worship Satan. In fact, Blackmore told Variety that her group is trying to repurpose the world “satanist.” “We consider ourselves a religion with a shared history and aesthetic rituals minus the God element,” Blackmore said. “Our hope is to give a greater understanding of what it means to be a Satanist. Free thinking individuals, out spoken women, nontraditional sexuality are all things that have been deemed ‘satanic’ by members of our legislatures and communities. What we are trying to do is to prevent the term from being a pejorative.”

But not everyone saw The Witch in the same light as the Satanic Temple. The Temple released the following endorsement earlier this month:

While the patriarchy makes witches of only the most socially vulnerable members of society, Eggers’ film refuses to construct a victim narrative. Instead it features a declaration of feminine independence that both provokes puritanical America and inspires a tradition of spiritual transgression. We are empowered by the narrative of The Witch: a story of pathological pride, old-world religious paradigms, and an outsider who grabs persecution by the horns. Efforts to oppress and demonize the heretic prove to be a path to destruction. The witch does not burn but rises up in the night.

Some spoilers for The Witch to follow.

There has been some divided opinion from filmgoers about the ending of The Witch. Certainly, the stringent Puritan culture takes a knocking, but what are we to make of Thomasin’s conversion to the coven? Anya Taylor-Joy’s face is flush with pleasure and power as she launches into the air with her new-found sisters. But what message does the film send in equating female liberation with some of the vile acts perpetrated by this particular coven? Nimona author Noelle Stevenson tweeted her displeasure: “very pretty/atmospheric movie for sure but weirdly lacking in subversion, which when dealing with ‘female sexuality = devil worship’. . .seems pretty irresponsible to me.”

Are we meant to celebrate Thomasin becoming another pulper of babies? No, The Witch’s message is more morally complex than that. But if the Satanic Temple read a positive message of celebrating individual liberties between the blood-spattered lines, then who are we to argue?

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