Twilight's "werewolf loves baby" storyline just got creepier

Twilight: ewwwww.

Twilight, the vampire-werewolf-phenomenon, has always had some questionable elements. The entire plot of the first film, for instance, is basically "I love you but we can't sleep together because I'm a Christian and we're not married you're a vampire and your super vampire strength means you may accidentally kill me in the passion of the moment".

A few films in and the main character, Bella, and her vampire boyfriend Edward have got married and done the dirty. Unfortunately, Bella insisted on having sex once as a human before Edward completed the vampire wedding ritual, which of course means that she gets super-pregnant with a vampire baby which eats its way out of her womb after coming to full term after just a week or so.

We aren't even on the weird stuff yet.

All caught up? Enter Jacob. Jacob is a werewolf who's also totally in to Bella, creating a tense love-triangle dynamic (or so I've been told). What you have to know about werewolves is that they "imprint" on people: when one of them sees their soul-mate, they know immediately that they are destined to be together. So naturally, Jacob imprints on Edward and Bella's baby daughter, Renesmee.

Now, they refer to it as imprinting throughout the series, but whenever you see any other "imprinted" werewolf, it's all couples who are snuggling together and kissing a lot. And, at least in the film, Jacob's imprinting is followed by a flash-forward where he talks about how he'd do anything for Renesmee because he's so in love. With a baby.

Today, the set photos from Twilight: Breaking Dawn Part Two came out. Now that you are fully caught up, I hope you will agree that the following photo, of Taylor Lautner as Jacob and 11-year-old Mackenzie Foy as his love interest Renesmee, is the creepiest thing ever.

Twilight: The teaser poster for Breaking Dawn Part Two

Alex Hern is a technology reporter for the Guardian. He was formerly staff writer at the New Statesman. You should follow Alex on Twitter.

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Cabinet audit: what does the appointment of Karen Bradley as Culture Secretary mean for policy?

The political and policy-based implications of the new Secretary of State for Culture, Media and Sport.

The most politically charged of the culture minister's responsibilities is overseeing the BBC, and to anyone who works for - or simply loves - the national broadcaster, Karen Bradley has one big point in her favour. She is not John Whittingdale. Her predecessor as culture secretary was notorious for his belief that the BBC was a wasteful, over-mighty organisation which needed to be curbed. And he would have had ample opportunity to do this: the BBC's Charter is due for renewal next year, and the licence fee is only fixed until 2017. 

In her previous job at the Home Office, Karen Bradley gained a reputation as a calm, low-key minister. It now seems likely that the charter renewal will be accomplished with fewer frothing editorials about "BBC bias" and more attention to the challenges facing the organisation as viewing patterns fragment and increasing numbers of viewers move online.

Of the rest of the job, the tourism part just got easier: with the pound so weak, it will be easier to attract visitors to Britain from abroad. And as for press regulation, there is no word strong enough to describe how long the grass is into which it has been kicked.

Helen Lewis is deputy editor of the New Statesman. She has presented BBC Radio 4’s Week in Westminster and is a regular panellist on BBC1’s Sunday Politics.