When The Exorcist was released in 1973, it not only shocked audiences with its terrifying portrayal of demonic possession but also revolutionized the horror genre, setting new standards for psychological terror, special effects, and storytelling in cinema. Directed by William Friedkin and based on the bestselling novel by William Peter Blatty, The Exorcist remains one of the most influential and chilling films ever made, with a legacy that has endured for decades.

The film begins with a seemingly peaceful setting: a young actress named Chris MacNeil (Ellen Burstyn) and her daughter, Regan (Linda Blair), are living in Washington D.C. while Chris is filming a movie. However, when Regan begins to exhibit strange and violent behavior, including unexplainable physical changes and disturbing language, Chris turns to medical professionals for help, but none can provide an explanation. As Regan’s condition worsens, Chris seeks the ᴀssistance of Father Karras (Jason Miller), a Jesuit priest and psychologist who is struggling with his own crisis of faith. What begins as a search for medical answers soon leads to the terrifying realization that Regan is possessed by a demon, and an exorcism may be the only way to save her.

What makes The Exorcist so effective is its slow-burn buildup of dread, which gradually intensifies into sheer terror. The film doesn’t rely solely on jump scares or gore but instead crafts a sense of foreboding and unease that lingers long after the credits roll. The gradual unraveling of Regan’s transformation into a demonic enтιтy is both disturbing and deeply unsettling, and Friedkin’s direction perfectly captures the psychological and emotional toll on the characters involved. By taking the time to develop the characters and their relationships, The Exorcist makes the horror feel all the more real, as viewers become invested in their plight.

Ellen Burstyn’s performance as Chris MacNeil is a cornerstone of the film’s success. As a mother desperately trying to save her daughter, her portrayal is both vulnerable and fierce, embodying the emotional heart of the film. The sheer desperation she conveys when she realizes that her daughter is beyond medical help is palpable, and her interactions with Father Karras and the medical professionals are filled with a heartbreaking sense of helplessness. Linda Blair, as the possessed Regan, delivers a chilling and convincing performance that is often cited as one of the most iconic in horror history. Her ability to transform from a sweet, innocent child to a monstrous and terrifying enтιтy is nothing short of remarkable, especially given her young age during filming.

However, it is the presence of Father Karras, played by Jason Miller, that adds an essential layer of complexity to the film. Karras’s own internal struggle—his loss of faith, his guilt over the death of his mother, and his emotional conflict about whether he can truly help Regan—adds a spiritual depth that transcends the typical religious themes of exorcism films. His journey from doubt to conviction, as he faces the literal and figurative demons within himself, provides the emotional backbone of the story. The final scenes between Father Karras and the demon inside Regan are both heart-wrenching and profoundly moving, elevating The Exorcist from a simple horror story to an exploration of faith, redemption, and the human condition.

The film’s technical achievements are equally impressive. Friedkin’s direction and the script by William Peter Blatty, who also wrote the novel, strike a perfect balance between horror and drama. The pacing is deliberate, allowing the tension to build organically without ever feeling rushed. The film’s use of sound is another standout feature—often subtle, but immensely effective in creating an oppressive atmosphere. The iconic, eerie score by Mike Oldfield, particularly the haunting theme “Tubular Bells,” has become synonymous with the film’s chilling vibe and is used sparingly to enhance the sense of dread rather than overwhelm the audience.

The special effects used to depict Regan’s possession are still considered groundbreaking for their time. The image of Regan’s head spinning 360 degrees, the levitation, and the violent contortions of her body were all accomplished with practical effects and makeup, which, given the era in which the film was made, were revolutionary. The realism of these effects, combined with the intensity of the performances, creates a visceral sense of horror that is both unsettling and unforgettable.

A Farmer’s Misplaced Hammer Led to the Largest Roman Treasure in Britain

Hoxne Hoard treasures. Photo by Helen Simonsson CC by SA-2.0

November 16, 1992 was the day which changed Suffolk-resident Eric Lawes’ life in a huge way. What he thought would have been an innocent search for a hammer he had misplaced on his farm in Hoxne Village, Suffolk, England ended up bringing him much more than he had bargained for — namely, uncovering the hiding spot of a long-hidden treasure. Based on the Guardian’s coverage of the story, Eric Lawes had been previously gifted a metal detector upon his retirement as a parting token. He decided to put his retirement gift to good use in order to locate the hammer which he had had some trouble finding. According to a 2018 Smithsonian Magazine article, when the device started recording that there was a strong signal coming from the earth, he knew that he was about to discover something big. As he started digging, it soon became clear to him that he had unearthed a treasure trove.

Hoxne Village. Photo by Duncan Grey CC BY-SA 2.0

The Guardian reports that, when Lawes saw that his preliminary digging had yielded a few gold coins and silver spoons, he immediately contacted both the local archaeological society and the police department. Archaeologists came to the property the following day and had the area of earth holding the treasure carefully sectioned-off and removed. Their hope was that at a later stage, in their laboratory, they could examined the items in order to identify both their age and how they were stored.

Hoxne Hoard: Display case at the British Museum showing a reconstruction of the arrangement of the hoard treasure when excavated in 1992. Photo by Mike Peel CC BY-SA 4.0

When all was said and done, close to 60 pounds of items made from silver and gold were found on the site. These included more than 15,000 Roman coins, 200 gold objects, and several silver spoons. For archaeologists, this find — which later became labeled as the Hoxne Hoard — was an incredible discovery. AP News reported that archaeologist Judith Plouviez was over-the-moon about the discovery, saying that it was “an incredibly exciting and amazing find.” What’s more, another archaeologist, Rachel Wilkinson, told Smithsonian Magazine that this discovery was “the largest and latest ever found in Britain.”

Hoxne Hoard: Coins. Photo by Mike Peel CC BY-SA 4.0

Ordinarily, archaeologists would use radiocarbon dating as a means of identifying the age of ancient relics. However, they couldn’t locate any suitable material from the haul. Consequently, they determined the age by examining writing on the coins, as well as the ruler carved into them, estimating that the treasure was probably buried in either 408 or 409 AD.

The silver “Hoxne Tigress” – the broken-off handle from an unknown object – is the best known single piece out of some 15,000 in the hoard. Photo by Mike Peel CC BY-SA 4.0

Roman-era archaeologist Peter Guest told Smithsonian Magazine that “if you look at them a little more carefully, then they should be dated to the period after the separation of Britain from the Roman Empire.” He offers as part of his evidence the fact that almost all of the coins found in the Hoxne Hoard were clipped – in other words, small chunks of their edges had been taken off. These clippings would have been used to create coins which were similar to the Roman coins of that era.

A silver-gilt spoon with a marine beast from the Hoxne Hoard. Currently in the British Museum. Photo by JMiall CC BY-SA 3.0

Guest has a logical reason for this, arguing that “The Roman Empire wasn’t supplying Britain with new gold and silver coins, and in light of that, the population tried to get over this sudden cutoff in the supply of their precious metals by making the existing supplies go further.”

Reconstruction of the Hoxne treasure chest. Photo by Mike Peel CC-BY-SA-4.0

Archaeologists also believe that the treasure belonged to a Romano-British family. During that time, considering that there was so much societal discord and upheaval, it was common for Romans who had settled in Britain to bury their most prized possessions.

Two gold bracelets from the Hoxne Hoard, in the British Museum. Photo by Fæ CC BY-SA 3.0

That said, one archaeologist is of the belief that the hoard had a lot of sentimental value for the Romano-British family to whom it is believed to have belonged. In her book The Hoxne Late Roman Treasure: Gold Jewellery and Silver Plate, Catherine Johns claims that the manner in which the treasure was kept supported this claim. Some of the items which were recovered had been packaged in small, wooden boxes which were lined with leather. What’s more, pieces of wood, locks, and nails, among other things, surrounded the gold and silver pieces. This leads Catherine to assert that the package was carefully buried and not simply chucked away in a rush.

Three silver-gilt Roman piperatoria or pepper pots from the Hoxne Hoard on display at the British Museum

Interestingly enough, the items unearthed might shed some light on the identity of the family who owned them. They cite a gold bracelet bearing the inscription “UTERE FELIX DOMINA IULIANE,” which roughly translates to “use this happily Lady Juliane”. A second name “Aurelius Ursicinus” has also been discovered. This has consequently led some to believe that Juliane and Aurelius were the couple and the original owners of the treasure. That said, that has yet to be confirmed.

Two toiletry items, one in the shape of a crane-like bird; the other with an empty socket, probably for bristles for a makeup brush. Photo by Fæ CC BY-SA 3.0

All in all, the discovery was a real treasure for archaeologists, and by extension, for Lawes. According to Smithsonian Magazine, in recognition of his discovery and willingness to contact authorities, the British government rewarded him with over £1.7 million, an amount which he shared with the farmer whose land was dug out in order to get the treasure. Funnily enough, apart from the treasure, Lawes also found his lost hammer — which now resides in the British Museum.