FRIGHTENING FLIX BY KBATZ: Friday the 13th The Series Season Three

Friday the 13th: The Series Loses Steam in Season 3

by Kristin Battestella

The 1989-90 final twenty episode leg of Friday the 13th: The Series sputters as Micki Foster (Louise Robey) and Jack Marshak (Chris Wiggins) continue to retrieve cursed objects sold from the Curious Goods shop. Ryan Dallion (John D. LeMay), however, can no longer confront the evils they face, and Johnny Ventura (Steve Monarque) doesn’t fully comprehend the magical wrong doings of their terrible quarry.

Crosses, Madonna statues, religious paintings, and church festivals create Old World feeling in “The Prophecies Parts 1 and 2” as Jack is off to France claiming he’s researching spiritual phenomena – which isn’t that far from the truth. Creepy long nails, sharp teeth, evil eyes, and demonic voices accent 3:33 a.m. bells, prayers, and eponymous readings as priests cross themselves against possession, hell hounds, and evil tomes. If Lucifer can do his work in a holy place, what hope is there for the rest of us? Family reunions are bittersweet between miraculous visions, foretold fallen angels, and whispers of demons wanting a soul. Frightful falls, a pilgrimage blasphemed, scripture versus scripture – is the faith of a child enough to trap this evil in the protected Curious Goods vault? Though the good gone bad themes feel rushed in the second part, fiery thunderstorms and disturbing violence set off the big terrors for this opening twist. Upsetting injuries, gang violence, and shocking car accidents continue in “Crippled Inside.” It’s difficult to cope with the wheelchair bound result – until an antique pushchair provides some healing astral projection and gory doppelganger payback. What’s a little acid or a short walk off a tall building among rapists? This dilemma on an cursed quarry’s justified usage happens almost without the regular trio, establishing a pattern this season where our collectors are excused away or stumble onto the curio after an otherwise anthology style tale. Gross boils and a bloody hearing aid worming its way deeper anchor “Stick It In Your Ear” alongside magic tricks, blindfolds, guessing game schemes, and the ability to hear people’s thoughts. Camera revelations, scary editing, and vivid sounds make the audience fear this evil little amplifier! Had Friday the 13th continued, it would have been neat to see one elusive object reappear each season, and the standout “Bad Penny” revisits the ominous coin from Season Two’s “Tails I Live, Heads You Die.” The piece is found in the rubble with a skeleton or two alongside cops in the back alley, informant prostitutes, laundered briefcases, and shootouts. Jack and Micki are understandably upset to battle this piece again, and tender moments come between mistakes, conflicts, trauma, and car chases as a cop raises the wrong ghoulish person from the dead with dark magic he doesn’t understand.

Whoopsie, a car radio is sold from Curious Goods without checking if it is on the evil manifest while vintage automobiles, confederate flags, and redneck racism set the tone for “Hate On Your Dial.” Our villains were already nasty before the sale, using derogatory terms and shooting at children for funsies, and such murderous blood on the dashboard is a time travel catalyst for a black and white Mississippi trip. Again the social statements are mostly developed without the series stars, and the fictitious fears wrapped in real world horror is somewhat uneven thanks to the back and forth editing between the color present and the black and white past. The appalling racism issues, however, are both dated yet still relevantly disturbing. The eighties may have been thirty-five years from this past depiction, but we aren’t much better in the near thirty years since. More silver screen clips and vintage film reels provide a fallen Old Hollywood glitz in “Femme Fatale” as an aging actress’s screenwriter husband tosses young starlets into his cursed print. How many pretty face fatalities will it take for his wife’s young onscreen self to permanently exit the frame? The eighties does forties mood goes all out with film within a film classic movie retrospectives on lost youth and escapist ingenues willing to do anything to be in pictures. Samurai swords and family honor bring the 1945 Tokyo start of “Year of the Monkey” full circle with sensei instruction, a poisonous tea set, and our trio on the trail of some creepy little see no evil, hear no evil, speak no evil monkey statues. As is often the case, the Japanese motifs are slightly cliché exotic with calligraphy, rice paper screens, and guest Tia Carrere (Wayne’s World). Fortunately, the generational lessons and revenge mysticism prove themselves with each statue testing the telepathy, teleportation, and ritual suicide for a promised immortality. Satin lined coffins, somber organs, and Polaroids for the company scrapbook open “Epitaph For a Lonely Soul” between fluids, tubes, classical music, and some sherry while working on the gory wounds and ghoulish purple tissues. Vintage embalming equipment can reanimate bodies, and the candles, grave digging, and undressed corpses suggest a twisted desecration. Memories, decomposition, and the trauma of life renewed hold the undead pretty captive – and Micki may be next for our lonely mortician.

Perilous kids and dogs are quite graphic with very little for “Repetition” and the missing posters, confessionals, and hidden bodies add to the immediate guilt and personal dilemmas caused by a life trapping cameo necklace. Ghostly echoes and desperate kills repeat this swapping cycle as drinking and homeless shelters crisscross over dead mothers and fatal trades. Ironically, Micki isn’t even pursuing the locket and Curious Goods merely bookends the hour. Despite a reversed episode listing order, The Complete TV Series DVD Set has “Spirit of Television” next complete with swanky parties, thunderstorms, seances, and a madame calling on the deceased through a suspect vintage television. Unfortunately, the seemingly happy chats with the departed are followed by upset ghosts, and the subsequent blown up boob tubes and electrocutions in the bathtub renew our madame’s youth. The fantastic conduit, static white noise, and spooky nostalgia accent the psychic fraud as the team must both debunk and retrieve the cursed set – doing what Friday the 13th should with this supernatural late season redeemer. Likewise, the poolside bullies and strong arming of “Jack-in-the-Box” lead to floating bodies and one of Micki’s friends among the deceased. The surviving daughter acts out and rightfully slams the adults responsible. However, the titular toy turns her innocence and grief into vengeance. Drowning in alcoholism parallels set off the ghostly visits and fatal vignettes, but our curio trio can’t endorse this creative revenge no matter how justified. Ancient Gaelic languages, candles, charms, and oak trees open the 1984 prologue for “The Tree of Life,” but when a husband objects to this so-called mumbo jumbo as part of the prenatal regime, these druids cum nurses keep the baby. A present pregnant couple shopping for dolls at Curious Goods is also scheduled at this rigid clinic, and our collectors involve themselves in this sisterhood of spells and solstice sacrifices. Too bad Last Season’s white versus dark coven rivalries weren’t tied in among the disagreeing team and women versus women cult extremes. A shady professor also tells his female students to get in touch with their dark side in the series finale “The Charnel Pit,” and the blindfolded nightcaps lead to a two-sided, time traveling painting said to be done by the Marquis de Sade in blood. Torture, shackles, and a little loving pain leave Micki trapped in the eighteenth century disguised as a duchess and writing of her alluring predicament with Mr. MdS. The boys, meanwhile, must figure out which of the painting’s victims are from the past by looking for a lack of dental work. Fancy dressings add to the courtly facade, dungeon gallery, and willfully sinister charm, for after all, one learns a person’s true colors with a whip. Fortunately, there’s just enough room for one more cursed antique in the vault.

Friday the 13th’s previous two seasons certainly had some duds, and there aren’t as many super bad clunkers in this shortened year. Most of these episodes are okay or decent, but no one really puts everything totally together to zing like the memorable years prior. Dated surveillance equipment and Aliens wannabe trackers in “Demon Hunter” are hammy early with hokey moonlight silhouettes and more Predator commando knockoffs. Power outages at Curious Goods, a museum returning a sacrificial dagger, and further dark secrets hidden beneath the vault that could have been explored more are shoehorned in like an A/B plot behind the laughable family vengeance meets monster puppet, and R.G. Armstrong’s annual Uncle Lewis appearance is sorely missed this year. The series also randomly plays with inconsistent time travel and flashback aspects with one episode’s flashbacks in black and white but another time travel hour in color. Rather than previous innovative technical attempts, the style doesn’t seem to matter. We also never spend enough time at Curious Goods, and “Midnight Riders” has our team star gazing while teens necking in a nearby car are accosted by a try hard phantom gang and local Sleepy Hollow biker legends. A ghoulish headless biker reattachment can’t save this one – oh, and Jack’s mysterious sea captain dad not seen in ten years is somehow in this backwoods on top of those annoying teens who, it turns out, are siblings! o_O A late night swimming pool in “The Long Road Home” is also an excuse for a juicy underwater lip lock between Micki and Johnny amid storm warnings, terrible flirting, and a tacked on yin yang charm with body transferring properties. Highway diners, cliché taxidermy, and country killers can be found elsewhere in horror, and Friday the 13th strays from its virtue once the protagonists use the evil object and its hammy body swaps when it suits them. The trio is actually more present and capable than usual in deducing the preposterous selfishness in “My Wife as a Dog” when a miraculous leash helps a whiny fireman make his ailing dog and soon to be ex-wife one and the same. Curious Goods being cited for not being up to fire code is the better story, and this is an unlikable, perverse little episode with major mixed messages on making your woman a bitch and moving your dog into the bedroom. Again, O_o

Our Micki may get groceries or stay at home and research, however she also continues on a case without Jack or Ryan and it is dumb to have her repeatedly call Johnny for unnecessary help when we’ve seen her face plenty of evil on her own. It’s also surprising she would let a man follow and attack her just to get an object – as if, not that it is her only plan, but rather just the best the writers could do. Micki is either the lovely victim or referred to as minding the store and doesn’t always have very much to do either way. “Bad Penny” has Jack give the past exposition rather than show Micki speaking about the experience herself, although she’s right to be afraid of dying in this fight against evil. The trio is also closer to the terror and within the investigation sooner for “Mightier Than the Sword” thanks to execution protests, pardons, and a pen that lets the author write what the guilty party will do while he gets the subsequent crime writer exclusives and literary glory. Jokes about word processors versus the good old pen and paper write themselves amid nom de plumes and slashers who don’t remember their fatal deeds. Unfortunately, Micki struggles to resist the scripted urge and uses a discreet straight razor to scratch her new murderous itch. She’s briefly smitten by a vampire again, trapped in a gangster movie, and sucked into a hellish painting for some 1790 saucy, too. There are consequences and nightmares as a result, but it’s understandable to see Micki snap – wouldn’t we all? Despite a brief Roxette mohawk meets I Love Lucy updo, one of those fake ponytail braids a la Madonna, and some lovely baroque feathers and period frocks; most of the time Micki’s style is maturely toned down with more nineties turtlenecks and business blazers. By the end of the season, she is once again independently strong, breaking in places and confronting people rather than letting these evils continue.

Once again, Jack’s continental battles have one wondering what Friday the 13th would have been like with him alone on the evil relic hunt. We don’t even get to see it when he’s said to be off recovering the Shard of Medusa from Year Two! The devil punishes him for all his good works, but Jack officially becomes part owner of Curious Goods on paper nonetheless. He’s the reluctant treasurer of the Antiques Association, too, but doesn’t like having its swanky party at the store when the other snobby dealers belittle his occult focus. Jack takes the lead in most cases, researching all aspects and utilizing his magic act connections or Druid knowledge. He also looks more nineties suave in more suit styles rather than his somewhat quirky trench coat and hat. Jack’s there for Micki as a fatherly shoulder, telling her to not let evil defeat her and even getting harsh with her when he has to be. He brings Micki food when she’s on a stakeout, too – even if that’s more about delivering some exposition. Jack waxes on good, evil, the gray between, and how their job never seems to get any easier in “Night Prey” thanks back alley bites, impromptu stakings, and one killer crucifix. Granted, some strobe effects are hokey, however those vampires floating outside the church’s stained class windows are eerily effective. If the show insisted on branching out from the object of the week format, it could have been cool to see Jack team up with such vampire hunters more often. This lone wolf monster vendetta with misused medieval relics feels like a rare Jack-centric episode, but the team is two steps behind as usual and Jack dictates information just as much as he gets in on the conflicted action. He admits that in their line of work, doing the right thing can be a little too weird sometimes, and Jack gets caught in the middle with twisted romance, then shocking innuendo, and murdered priests. It’s 1990 but these vamps are pretty indiscriminate on who they bite.

Unfortunately, Ryan is clearly over all the death in his life, and close to home battles versus Lucifer interfere with a new chance to bond with the mother who abandoned him. Seriously, how do you explain this line of work to mom? Demonic corruption, violence that can’t be undone, guilt, and final heroics send the character off in an eerie and unique, if far fetched exit. It’s at once cathartic to see innocence win in a series where evil can’t always be defeated, however, continuing Friday the 13th with two thirds of the regulars and a tacked on pal shifts the show’s dynamic considerably. Johnny Ventura suddenly becomes Micki’s sounding board but he feels more like an intrusion rather than helpful. The hood from a few episodes last season is now supposedly the hero as if a stranger dropped in with no explanation when the series had other opportunities to involve better mystical support. Whether Johnny stays at the store or has his own car is inconsistent depending on if he is called for a lame reason or if his wheels are part of the plot. He remains a non-believer in the paranormal even as Jack tells him to make himself useful and warns Johnny to take these dangerous curios seriously. Johnny can’t retrieve an object alone nor mind the store without selling the wrong item, and takes an ax to an indestructible evil object when not trying to use the evil for himself. For being the young muscle, he gets knocked out a lot, too. Johnny does write fiction by getting ideas from the tabloids – which Jack calls rubbish even though earlier in the series he said the rags were the best place for tips. They discourage him from writing about the store, but an underground publication angle might have been neat instead of pushing this new character at the expense of the others when Jack and Micki get on as a duo just fine. Thankfully, Johnny is put to use climbing outside to adjust the television antenna. Heck, Jill Hennessy (Law and Order) pops up three times as a sultry vampire, snotty secretary, and a lifeguard. She could have kept around as an undercover regular disguised per antique.

Orange lighting, distorted bells, white out eyes, and wolves leaping through windows keep up the horror intensity alongside foggy cemeteries, stone crypts, religious iconography, fires, and red devils with the horns to match the ghoulish skeletons, gory flesh, and melting oozes. Underground tombs, torches, demon altars, rune manuscripts written in blood, and pentagrams beneath the vault help make Curious Goods by lantern light even creepier, and there’s a stained couch with a body in the pullout cushion! Mirrors assure those vampires have no reflection, there’s holy water on the shelves at Curious Goods, and the store’s business cards give its address as 666 Druid Avenue. Hearts pounding and distorted camera angles set off veiny prosthetic gore even if the period flashbacks and foreign locales are slightly under budget old looking. Fortunately, the retro designs make the most of the horror effects, building that patina mood with frock coats and frilly collars for some provincial time travel or green lighting, cigarettes, and noir styling for the vampire nightclub. The swanky cars, station wagons, mothers in sweaters and pearls, and thirty year old high schoolers with bad perms keep the nostalgia in the forefront, compensating for reused sets and locations or that same Tudor house used for everything. The early computer snooping is also somewhat fake. You couldn’t just type in a name on blank screen and get clues back in the day! What do they think this is, Google? This was the era of phone booths when folks still had black and white televisions, and Friday the 13th gets then edgy by using ‘bitch’ a lot – although such grit feels hollow when wearing those big eighties blazers and tiny bolero ties. Men in tight jeans, long scarves, duster trench coats, and mullets isn’t so timeless nor are the seriously purple eighties mod bathrooms with black fixtures and bloody bathtubs. Of course, rather than due to any letdown in syndication popularity, Friday the 13th: The Series was canceled at a time when sponsors and advertising were swayed by complaints on television violence and how far shows could push the envelope in prime time. In retrospect, it’s an ironic end knowing everything seen here is almost friendly fair compared to the excessive shocks across all the television viewing platforms today.

Season Three strays from the Friday the 13th formula as cast changes and a larger focus on plots of the week loose the ability to fully capitalize on the spooky ideas presented. Fortunately, enough late hour gems keep these terrible little tchotchkes entertaining for old school horror audiences and series completists.

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Chilling Chat Episode 154 Crescendo of Darkness with Emerian Rich

Emerian Rich is the author of the Night’s Knights Vampire Series. She’s been included in many short story anthologies and also writes romance under Emmy Z. Madrigal. She is the horror hostess of HorrorAddicts.net and Editorial Director for the San Francisco Bay Area magazine, SEARCH. She lives in the San Francisco Bay Area with her husband and son. Find out more about Emerian at: http://www.emzbox.com

Our lovely horror hostess is a real scream. She took time out of her busy schedule to chat with me about Crescendo of Darkness, editing and publishing, and the new HorrorAddicts.net submission call.

NTK: Welcome to Chilling Chat, Emz. Thank you for chatting with me.

ER: I am so excited to be on here. I never get to chat with you except about HorrorAddicts.net business.

NTK: Crescendo of Darkness is the eighth book in the HorrorAddicts.net series of anthologies. How did it come about?emz1small

ER: I had been thinking about doing a music-themed horror anthology for a while. I had read A. Craig Newman’s “Circe’s Music Shop” back in the 90s—Yes! The 90s!—as part of a crit group I was part of online. The story stuck with me. I just loved it. So when Jeremiah Donaldson E-mailed me to say he wanted to do a music anthology, I said, “Yes! Under one condition…We have to have this guy’s story in the book.”

NTK: So, “Circe’s Music Shop” set the bar for the anthology?

ER: Yes, in a way. However, Jeremiah has a much different view of music than I do. He knows more about guitar/rock and you will see that a lot of the stories go down that road. For me, music is more melodic and dramatic. My favorite stories in the anthology are the ones that put off a spookier piano-y vibe. I think we got a really nice mix because we were both reviewing them.

NTK: Did you look for stories to surround “Circe’s Music shop?” What was your criteria for the stories you chose?

ER: We did not look for stories that fit with A. Craig’s. He might have put the idea in my head but, when we were reading, we just graded them by how much they moved, scared, or touched us. We were open to all interpretations. HorrorAddicts.net Press has a system for populating our anthologies. We have a team of four readers. The Editor, me, and two others from staff. We all read and grade. Whichever stories get the top grades, we publish. The Editor has veto power and can fight for one if it’s not in the top of the list but, mostly, the highest graded ones (meaning the ones that all of us enjoyed) are the ones that ultimately get into the book. Except yours, which won an award when graded by pros. Congratulations, by the way.

NTK: Thank you! “Audition” was a fun story to write for the Next Great Horror Writer Contest and I’m so honored to be included in Crescendo. We have another NGHW finalist included in the anthology. What attracted you to Daphne Strasert’s story?

ER: Well, as you know, we were only allowed to publish one story from the competition, that being yours, which we felt was the best out of the group. However, we allowed the other contestants to submit something else. When Daphne’s new one came in, I was happy to see it, because she is also a great writer. We graded hers just as all the others and she rang in to the top grades as well. I can’t speak for the others on the submission team, but for me, not only was Daphne’s so different from the others—starring a music box, not an instrument—but it’s also a really creepy story. Daphne’s voice is so fresh and contemporary. I could see this story being made into a movie like The Ring.

NTK: There are fourteen authors included in the anthology and you have a wonderful variety of stories. Can you give us a quick run-down of what the reader can expect to see within these pages?

ER: First, we have a good number of guitar-based stories. Your story, “Audition,” “Circe’s Music Shop” by A. Craig Newman, “Loved to Death,” by Sam Morgan Phillips, “While My Guitar Gently Bleeds,” by Benjamin Langley, “Six String Bullets,” by Cara Fox, and “A Whisper in the Air,” by Jeremiah Donaldson really reflect the cover. Then, we have piano themes in “Solomon’s Piano,” by Jeremy Megargee and “They Don’t Make Music Like That Anymore,” by Kahramanah. There are cursed objects like Daphne Strasert’s, “The Music Box,” and Sarah Gribble’s, “The Legend of Crimson Ivory.” “Lighthouse Lamentation,” by R.A. Goli involves a haunted lighthouse, while Calvin Demmer’s, “Keep the Beat,” is about a cursed village. H.E. Roulo’s, “Become the Music,” is about a child who is allergic to music and my story, “Last Lullaby,” is a re-imagining of the Phantom of the Opera tale.

NTK: Emz, as I mentioned before, this is HorrorAddicts.net’s eighth anthology. What made you become an editor and publisher?

ER: I’m not sure when I fell into all this. When I was in my 20s, I had a local ‘zine called Dark Lives. I would publish horror/goth authors and artists. In the early 2000s, I decided I better stop and get to work on my own novels. When I started HorrorAddicts.net as a podcast, I never even dreamed it would be what it is today. As you know, we are populated by fans and the staff that come to help spread the horror goodness. We became a blog and a site and a lifestyle for so many craving horror that publishing just seemed like a natural progression. Also, I love reading horror and I read so much by authors that haven’t been published before that I’m like…THIS is the stuff I want to read. But if no one is publishing it, then it can’t be enjoyed by other horror enthusiasts like me. I’m really interested in publishing things I like that may not fit the mainstream publishing system. Cool things I haven’t heard before. New ideas that aren’t the same rehashed formula we get in industry anthologies.

NTK: So, what is your favorite kind of horror? What movies, novels, and TV shows do you enjoy?

ER: I like classic horror. By classic, I don’t mean I always have to crouch by the light of the black and white set, straining my eyes to make out the grays of the darkly lit forest, I mean what we think of as classically spooky. The shutters banging, the ghost in the tower, the creaking doors, and melodramatic music. The Woman in Black, The Others, and Ghost Ship are some of my favorites. For TV, I am more into humorous horror themes like Reaper and Dead Like Me. But, I’m also a fan of shows like Ghost Whisperer, The Others (TV show from the 90s), and Midnight Texas. Reading is a whole different story. I really like Anne Rice and Andre Neiderman. My favorites of those two are Anne’s Pandora and Andrew’s Bloodchild. But, it’s been so long since I’ve been able to just sit and read for fun, it’s hard to pin any new author’s down. I am either reading shorts for anthologies reviewing a book for the show, or working on my own stuff. Oh, for the days of laying in bed or on the porch swing and reading! I want all those bored hours from my childhood back!

NTK: Do you write classic horror? Do your books and stories fit in that category?

ER: Now, that is something I haven’t been called on! Wow. I never thought about that. I have written a book like that, Artistic License. A woman inherits a house where anything she paints on the walls comes alive. My vampire work would probably be considered more like dark urban fantasy. Gritty, street kids, and Hell kind of stuff. However, now that you mention it. I think my love of classic horror is really coming out in my work in progress. I am re-imagining Jane Austen’s Northanger Abbey in modern times. The heroine is now a goth girl who adores horror media. So, I’ve been injecting lines from movies, excerpts from classic books like The Grey Lady by Elizabeth Gaskell, and Witch House by Evangeline Walton, and even creating a little myself when seeing through the character’s eyes. Jane Austen is thought of as a romance writer but, this book (while it does have romance in it) is more like a love letter to all my favorite horror creators.

NTK: As you know, Emz, Season 13 is CURSED! We’ve talked about your favorite horror, what is your favorite curse?

ER: This is so tough! Omg…so many to choose from! Well, I can’t give you just one. I really like studying the curses surrounding the Titanic. I think it’s fascinating and just can’t get enough of the conspiracy theories there. I really like the Egyptian and mummy lore and the scarab devouring thing creeps me the hell out. But the coolest curses, I think, are the book curses. The ones we’ll be talking about later in the season about the books that have curses written inside them…“Those who lay their eyes upon this manuscript and have not pure intentions, shall be struck down by their maker,” kind of stuff. I had something happen to me in real life where I witnessed someone unable to read or decipher a book. It was a magick book that had an inscription in it about if the person didn’t believe or wasn’t pure of heart, they would not be able to read it. I could read every word as plain as day but, she was like…“What does it say? Is it some sort of code?” Really made an impact on how I consider book curses today. If that could work, why wouldn’t a curse in a book work?

NTK: What awesome curses! And, speaking of books, HorrorAddicts.net has a new submission call coming up. Could you tell us a little about Kill Switch and what you’re looking for?

ER: Yes, Kill Switch is Dan Shaurette’s brainchild. I will be looking for interesting, new, Black Mirror-like stories. I think Dan will have a more sci-fi accepting view, but they all must be horror, so I’m looking forward to reading some really great things. Tech horror is so interesting because we are living in an age where things like implanted chips and bionics are so close to us. Tech is going so fast and it’s not even the future anymore. It’s NEAR future. How will your tech terrorize the world?

Something new we are trying is a blind submission process. We will be grading stories before we know who wrote them. I’m interested to see how that turns out.

NTK: What does the future hold for you, Emz? What do we have to look forward to?

ER: Wow…you do ask the hard questions huh?

My goal is to keep writing and publishing unique and exciting horror with new ideas that we can all geek out on. Also, I plan to continue to support new horror writers and get their voices heard.

NTK: Thank you for chatting with me, Emz! It’s nice to talk to the lady behind the scenes of our favorite podcast and blog.

ER: Thank you for the interview! It’s rare that I get to be on the other side of the couch!

Crescendo of Darkness is available for purchase now. The submission call for Kill Switch ends on October 31, 2018.

Press Release: Tales From The Lake by Crystal Lake Publishing

The Legend Continues…

 

Twenty-four heart-rending tales with elements of terror, mystery, and a nightmarish darkness that knows no end.

 

Welcome to my lake. Welcome to where dreams and hope are illusions…and pain is God.  

 

  • This anthology begins with Joe R. Lansdale’sThe Folding Man, one of his darkest stories ever written.
  • Kealan Patrick Burke’sGo Warily After Dark pulls us into a desolated world, and reminds us of the price of survival: a guilt that seeps into the marrow.
  • Damien Angelica Walter’sEverything Hurts, Until it Doesn’t places us in the middle of a family whose secrets and traditions are thicker than blood.
  • Jennifer Loring’sWhen the Dead Come Home explores a loss so dark, that even the stars are sucked into its melancholic vacuum.

 

In the spirit of popular Dark Fiction anthologies such as Gutted: Beautiful Horror Stories and Behold: Oddities, Curiosities and Undefinable Wonders, and the best of Stephen King’s short fiction, comes Crystal Lake Publishing’s Tales from The Lake anthologies.

 

This fourth volume of Speculative Fiction contains the following short stories:

Joe R. Lansdale – The Folding Man

Jennifer Loring – When the Dead Come Home

Kealan Patrick Burke – Go Warily After Dark

E. Grau –To the Hills

Damien Angelica Walters – Everything Hurts, Until it Doesn’t

Sheldon Higdon – Drowning in Sorrow

Max Booth III – Whenever You Exhale, I Inhale

Bruce Golden – The Withering

JG Faherty – Grave Secrets

Hunter Liguore – End of the Hall

David Dunwoody – Snowmen

Timothy G. Arsenault – Pieces of Me

Maria Alexander – Neighborhood Watchers

Timothy Johnson – The Story of Jessie and Me

Michael Bailey – I will be the Reflection Until the End

E.E. King – The Honeymoon’s Over

Darren Speegle – Song in a Sundress

Cynthia Ward – Weighing In

Michael Haynes – Reliving the Past

Leigh M. Lane – The Long Haul

Mark Cassell – Dust Devils

Del Howison – Liminality

Gene O’ Neill – The Gardener

Jeff Cercone – Condo by the Lake

 

With an introduction by editor Ben Eads. Cover art by Ben Baldwin. Proudly represented by Crystal Lake Publishing – Tales from The Darkest Depths.

Press Release: The End: An Apocalyptic Anthology

The End: An Apocalyptic Anthology

The End Has Finally Arrived…

Available Now Available on Amazon

https://www.amazon.com/dp/1979682712

The End Has Finally Arrived… We all knew it was coming…an Apocalypse to end all things. But how exactly will the world end? Will it be slow or fast? Will it be a zombie plague? A nuclear holocaust? Death from above? Or perhaps something less predictable, like a shocking discovery in an ancient tomb or an unnamed evil stalking us in the shadows? We asked several talented horror writers to deliver their best Dystopian fiction and Apocalyptic stories, and we were horrified by what they predicted. So open up these pages at your own peril, for the End is nigh, and you may discover it is more terrifying than you could have ever imagined!

The End contains short stories by talented writers, such as Shauna Klein, Dona Fox, Andrew Bell, Marisha Cautilli, Joe Cautilli, Brian Barr, D.J. Doyle, Howard Carlyle, Roma Gray, Essel Pratt, Michael Fisher, and G.H. Finn.

This is not your average apocalyptic anthology.  Sure, there are zombies inside, but the end is not always foretold by your favorite television program.

FRIGHTENING FLIX BY KBATZ: Friday the 13th The Series Season 2

More Freaky Good in Friday the 13th The Series Season Two

by Kristin Battestella

 

The 1988-89 Second Season of Friday the 13th The Series boasts twenty-six more episodes featuring antiquing cousins Micki Foster (Robey) and Ryan Dallion (John D. LeMay) alongside occult expert Jack Marshak (Chris Wiggins) as they face increasingly scary retributions in their ongoing quest to retrieve the evil objects sold from the Curious Goods store by the late Lewis Vendredi (R.G. Armstrong).

The snakes, violent patients, and rowdy mental wards escalate in “And Now the News” as one greedy doctor uses an innocuous looking old time radio to scare patients to death and pin the rising fatalities on those in the way of her medical glory. Retro hospital greens and white uniforms add to the paranoia, analysis in fear, and suspicious research for a warped dose of self-fulfilling prophecy. Sure there’s electroshock therapy, but our collectors have become a little more professional, making an appointment, handing out business cards, and explaining how they buy back antiques for their shop – if not why. Grave diggers and thunderstorms accent the robes, chanting, torches, and rituals of “Tails I Live, Heads You Die” while one handy gold piece raises decomposing bodies from the dead. Black masses and alchemy history hit home the occult danger and gruesome horror movie atmosphere for our bold team as backward prayers and coin tosses determine one’s fate. Granted, the concert with a ghoulish monster below in “Symphony in B#” immediately screams Phantom of the Opera knockoff. However, the masked, mostly hidden and morose villain matches the well-edited suspense, and the cursed violin music creates a melancholy theater mood as doubts about a lovely violinist luring Ryan put him and Micki on opposite sides of the case. More behind the scenes strife, jealousy, and temperamental stars make for a fun picture within a picture in “Master of Disguise.” Curious Goods rents their non-cursed décor on set, and the dolly zooms, soft focus, and back glows play with the movie making charm while a handsome actor with a sinister make up kit is desperate for fresh blood. Gossip rags, lookalike costumes, toasters in the bathtub – the Chaney ‘Man of a Thousand Faces’ and William ‘Karloff’ Pratt references wink at the steamy smoke and mirrors and life imitating art. Only on Friday the 13th could one drop studio lights on an extra’s head and bludgeon an actress with her own award.

 

Wax Magic” pulls out all the Freaks meets House of Wax eighties carnival stops with Gravitron and music montages updating the familiar horror themes for this boys night out including eerie effigies, Lizzie Borden weapons, and murderous handkerchiefs. The sculptures hide warped love, magic tricks, and some good old fashioned murder, but it’s nothing a little fire and icky good melting special effects can’t fix. Ventriloquist dummies in horror are always suspect, and this one takes on a sassy little life of his own for “Read My Lips” by getting too fresh with his handler’s fiancee and driving him to murder and madness just to keep their act in the spotlight. Talk about biting the hand that feeds you! Is it the dummy itself – there’s no such doll in the Curious Goods manifest – or killer clothing used to reanimate something monstrous? Naturally there is some bemusing dummy violence with heads in the freezer and puns to match – “Death is easy, it’s comedy that’s hard” – but while some delight in their cursed objects, most are destroyed by them indeed. Elaborate bee boxes, swarming visuals, and buzzing audio lead to rural honey stands, proprietary blends, and killer insects in “The Sweetest Sting.” Although this perhaps isn’t an unusual plot – and the real thing is frightful enough to many – the youth elixirs come with elaborate elevator deaths and fatal farm equipment mishaps. The abusive home of two destitute children, unfortunately, is just as bad as the deceptive allure of the titular Victorian charmer in “The Playhouse.” Ominous facades and warped fun house visuals answer the desperate necessities of the tender young players, making this curse a not so cut and dry reluctance with true to life horrors, abductions, and inept investigations. Will the police believe the evil truth? How’s that big, indestructible playhouse going to fit in the Curious Goods vault anyway?

Confederate letters, battlefield hospitals, and a greasy doctor who’s really a contemporary collector stealing Civil War artifacts anchor “Eye of Death” as an evil lantern’s three hour visits to the past creates some greedy antiquing competition. Rather than black and white, this episode has a gritty wartime and old photograph patina to match the captured moment in time and the power trip it provides. Instead of being an episode any series can do, Friday the 13th shows its unique investigations and eerie artifacts with the well done history and horrors here. Likewise, “Face of Evil” returns to the killer compact of last season’s “Vanity’s Mirror,” although enough is happening with models fearing wrinkles and has been status without the flashbacks to the previous episode. The team races to stop the photo shoot disasters and on set accidents while addressing our ageism obsessions, for a few lines and second best won’t do. Of course, there’s nothing a wicked syringe can’t solve in “Better Off Dead.” Classical music irony accents the science abominations, brain fluids, and creepy transfusions for the AIDS era while a wild tumble down the staircase, shocking car accident, and freaky experiments threaten Micki and company with twisted serial killer medicine and Jack the Ripper tools. Along with winking clips from The Wolf Man, “Scarlet Cinema” provides more film within a film scares, school lectures, youth escapism, and old fashioned projector glows. The mockery of nerdy students and onscreen lycanthropy debate early film superiority and underrated horror film milestones while addressing the blatant rip offs and copycatting homages even as the episode does the same thing. Although the emo student can be annoying, and maybe Friday the 13th does rely too much on the archival footage, the vintage cameras, gray-scale touches, and retro framing techniques reveal the killer wolfy in a bemusing be careful for what you wish for turnabout. Plus that silver nitrate film comes in handy!

Swanky jazz, hot dames, risque kills, and then steamy near nudity spice up “Mesmer’s Bauble” alongside the late singer Vanity, a music montage or two, and wow look at that record store! A lucky charm making an obsessive fan’s dreams comes true isn’t all that different from today’s star worship in new mediums coughtumblrcough, but being a talented artist and selling a lot of records are not necessarily the same thing – except to the number one fan who’s not like all those other crazies. Screaming crowds knock each other over to be one step nearer, and our trinket inches toward Single White Female in her skin insanity. Buenos Aires crimes, passions, and a rare snow globe also spell trouble for “Wedding In Black.” The devil is pissed that Curious Goods is collecting his tricks, and a disembodied voice, hellish scenery, and inside or outside the snow globe twists escalate the vengeance. Although this episode has an unusual format, it might have been neat to see this evil rival trio out to undo our team more often, and it’s superb to see a cast-centric hour dealing with the consequences of their collecting complete with rapacious revenge and what you don’t see worse. The eighties modern interpretative dance and off the shoulder Fame get ups in “The Maestro” won’t be for everyone. However, the ballet scenes are lovely – if fatal as this eponymous choreographer drives his talented but imperfect subjects to risk life and limb with music from an old symphonia. Is sacrificing for great art and success worth it? This music box embellishes a ruthlessness already present, and it’s deadly demands cross the line between brilliant artistry and abusive fanaticism. Satanic effigies and parallel white magic up the ante in the “Coven of Darkness” season finale, pitting shaman energy and protection spells against Uncle Lewis’ former coven and a witch’s ladder omen. A little cut from a witch’s ring or some blood on a ritual handkerchief and our trio is arguing on who’s bewitched, whether they are safe in the store with their evil relics, or if one of them has possible magic powers. Did they expect no retribution for their good works against evil? Possessions, counter spells, candles, and great horror imagery strengthen the character focus, and I wish Friday the 13th had spent more time with its players rather than the curses of the week. Warring covens fighting to get their cursed curios back and developing psychic strengths for the battle could have been ongoing storylines. But hee, calling the object of your incantation on the telephone right in the middle of the chanting, oh how eighties!

Yet this Sophomore Season is tough to get rolling with a rocky “Doorway to Hell” premiere referring to the First Season’s finale, which was itself a bottle episode clip show with a weak frame. Ghostly reflections, broken mirrors, cobwebs, and dark realms fall prey to stereotypical gas station crimes and nonsensical goons. Likewise, the Caribbean clichés, unacceptable racial misunderstandings, exotical fetishism, and snobby white boys playing at real magic in “The Voodoo Mambo” gets lol wut with a montage explaining voodoo like its something rare and mysterious. The what would you do with an extra hour premise of “13 O’Clock” is very cool with a fine technical execution mixing color, black and white, stills, and film movement for its freeze frame pauses in time. Unfortunately, the seedy music, back alley bludgeons, and standard daddy’s princess gold digger with a side piece planning murder compromise the freaky pocket watch with eighties obnoxiousness. I mean, gangs having dance offs on the subway platform? Such filler makes Friday the 13th feel like it should have been a half hour show with only the good horrors necessary. Traditional in store antique sales and Uncle Lewis connections are lost among the laughably bad acting, chicken races, hot rods, and cursed car keys in “Night Hunger,” and the killer zapping qualities of a 1919 World Series ring in “The Mephisto Ring” are just goofy. A bum villain and anonymous heavies beating up old ladies over bad betting tips can’t carry the double duty sports and crimes, and too much is happening between the odd A/B plots in “A Friend to the End.” Is this about the bittersweet sepia and undead child tales or the edgy pain as art with a sculptor turning models to stone? These aren’t the worst stories – though the middle school bike tricks are silly and the evil lesbian subtext typical – but the curses here are stylistically too different and each deserved its own hour. There’s merit in the bickering surgeons and alternative Native American medicines with “The Shaman’s Apprentice” and an Indian grandson caught between his calling as a native healer and his job as a white man’s doctor. However, the outsider belittled for his ideas is a repetitive story with redskin insults, warpath jokes, and dated racism on top of another misfire object and ethnic spins made evil.

The crimped hair, victory rolls, and retro fads also don’t do Louise Robey justice, and former gymnast Micki puts on some giant glasses to go undercover as a journalist when not skimming the fashion magazines for new looks. She repairs and redecorates the store, doing the research and leaving the boys to the big action, but Micki says Curious Goods has no charm. She still hopes to get on with her life, be happy, and not battle evil forever. Her visiting BFFs often pay a terrible price, and each loss is tougher on Micki than the next. Her nephew is also ditched at the store by her divorcing sister, and the family interference in the curio collecting could have been dealt with more. Micki’s jealous and sometimes suspicious of Ryan’s dalliances, but her saucy times are filmed in much more romantic detail. Unfortunately, she is attacked by a creepy mental patient, leaving Micki throwing up and quite shaken before more terrible close calls late in the season. I don’t like that Friday the 13th went there – the fantastics are enough without real world violence. However, these experiences give Micki more doubts about if what they do and the risks they take are worth it, and she even argues the morality of letting an evil doctor die so her friend can live in a slightly uncharacteristic but consequential request. The eighties white shirts with big belts and skin tight pants early in the year also switch to loose fitting darker fashions, big overcoats, and objects in front that seem like television hiding pregnancy tricks. It’s a noticeable one-hundred and eighty degree change, yet it’s nice to see Micki become more than just being there to look sexy with psychic opportunities and white magic potential in the season finale.

Everyone always presumes John D. Le May’s Ryan Dallion is Micki’s boyfriend, and although he apparently carries her picture in his wallet, he’s always ready to party or romance the lady of an episode. He’s bored at the symphony and afraid he’ll fall asleep – until he spots a babe at second violin, that is. Ryan gets over one girl and moves onto the next one in a few episodes as required but can move even quicker, sometimes putting on the ritz in the same show! Thankfully, he does get into vinyl, putting on some records for his music education, and he dresses up eighties fancy, too – with a then rad ear piercing. Though prominent in the weak cool cars hour, it does feel like Ryan is here much this season. However, he doesn’t suddenly become a Civil War expert when he’s caught in the past. Some future knowledge would have helped him for sure, yet he can’t remember anything but the burning of Atlanta. He’s strangely reluctant to believe in werewolves even after all they’ve seen, but he can still be reckless – like climbing the fence of a high security institution and getting electrocuted. He says he remains so loose and celebratory after facing such evils because they got through it, but Ryan is seriously effected when loved ones are presumed dead. He blames Jack and increasingly contests what they do and why. The characters here don’t stand pat, as Friday the 13th plays with their fates early and often. Ryan says Curious Goods puts him through enough pain and he’s had enough of these cursed antiques and the deaths they cause.

 

The late Chris Wiggins’ Jack Marshak saves the day to start Year Two but is referred to with a postcard by the third episode, and his absence is apparent in several weaker shows mid season. Jack’s reputation as an occult expert precedes him, but the heavy mantle of their righteous collecting often puts him and his friends in mortal danger. Despite the risks, he puts on a brave face, often rescuing our cousins – who are somewhat aimless without him – or sends them to cover while he handles the beastlies alone. Jack dictates the course of action and delineates the team, however, he can be wrong about the object they seek and what it does. Fortunately, his old magician ties and show biz connections are more fun, and the trio has a lighthearted, teasing banter – sick in bed Jack is stuck with the paperwork but he rings a bell so Micki will wait on him but his awkward stuffiness drags down his boys night out on the town with Ryan. It would have been neat to see more of their in store dynamics, and why does Jack get the crappy cold room downstairs next to the vault? Occasionally his absence isn’t even addressed, but brief mentions of him off collecting Nazi materials remains interesting. I would have loved to see these occult aspects or secret societies and paranormal investigation plans as Friday the 13th allegedly intended to include, and “The Butcher” provides such German quotes, period accents, Norse mysticism, frozen Nazi escapes, and resurrection amulets. Torturous dreams delve into Jack’s World War II past as he’s reluctant to investigate the strangulation revenge, Neo Nazi thoughts, and extremist talk show hosts turned politicians unfortunately eerily relevant today. It’s a frightful mix of real world horrors and fantastics explaining why Jack does what he does at Curious Goods and there should have been more episodes like this.

Unfortunately, Steve Monarque’s (Under the Boardwalk) appearances as Johnny Ventura in two episodes this season don’t bode well for his regular status to come in Season Three. It’s odd to place “Wedding Bell Blues” back to back with a similar title, as the episodes are drastically different and the empowered pool cue, smoky billiard halls, and big haired bridezilla spend too much time away from team. The cliché hustling and filler, almost a spin off tone are apparent and so is Johnny’s street wise attitude. He says he’s not some dumb kid and wants to immediately know all the curse details – but he looks eighties old and figures out the secrets by breaking doors down, asking questions later, and missing the body in the freezer. The brief mention of Ryan and Jack on the hunt for evil snow shoes sounds more interesting than this laughably bad debut, for the best thing about this episode was my husband and I debating whether a mere pool cue stab through the torso could actually be so quickly fatal or if a good jam through the eye into the brain would have been better. Of all the ways for Friday the 13th to bring on a new character, the basic cool guy is the lamest way to go, and the robberies, shootouts, and penitentiaries gets worse in “The Prisoner.” Inmates trading a bloody invisibility bomber jacket, oh my! Johnny’s nondescript in the joint solving a phantom murder over double crossed loot, everybody talks like James Cagney, and I don’t care about a ridiculous crime of the week with a curse afterthought. R.G. Armstrong’s lone appearance as the late Uncle Lewis is better trouble in the uneven premiere, and Elias Zarou’s Rashid should have become a regular, creating a second mature duo with Jack to investigate more Old World occult. Likewise, Joe Seneca (Silverado) deserved more as a recurring voodoo expert. Certainly the budget was low, but more Curious Goods staff would have made recovering artifacts faster and built in more adventures to keep Friday the 13th going with the forthcoming cast changes.

 

Understandably, the Friday the 13th: The Series – The Complete TV Series DVDs are not perfect remasters with an often dark print and uneven, low volume. The then-rad cars, bedazzled leather jackets with sleeves rolled up, and big sunglasses at night are still eighties steeped alongside tight white leggings, off the shoulder shirts but giant shoulder pads, and high-waisted acid wash jeans. But wow those poofy huge wedding dresses and patterned ties on top of super shiny dress shirts and striped sports jackets – woof! When not faced with crimped side ponytails and convertibles driven by yuppies with yellow sweaters tied over their shoulders, the forties-esque glam and Stray Cats mini fifties revival create a neo noir mix with moody red lighting, blue neon, flashlights, and spooky fog. Basic green screen effects, old school shadow schemes, and the somewhat unfinished looking visuals remain eerily effective while the gray-scale moss, webs, and vines hit home the swampy underworld design. Sepia tints, snap shot still frames, and old style filming techniques add to the retro reels, classic clips, and pop music photo shoots – and folks had to go to a camera shop to rent a giant camera! Piles of papers, dusty old books, undeveloped film rolls, newspapers, mini cassettes, and tape recorders did research pre-internet the hard way, but record players, horseshoe phones, hefty televisions, and big answering machines invoke a bemusing nostalgia. Listening to the radio for news! Pharmacies that deliver? That car phone is just a receiver with a cord?! Look at that old five dollar bill as evidence one is from the future! Although some houses and locations are clearly revisited and the Fred Kreuger pizza face gore is good but common, the slightly cheap and fun styling embraces its low budget horror roots. That racy lingerie on the prostitutes, however, is actually a lot of clothing compared to today’s uber skimpy!

Friday the 13th’s Second Year is slow to start with more of the same cool cursed objects of the week repetitiveness thanks to a lot of episodes and a few letdowns. Despite its syndication success, the series missteps slightly by not going far enough with character developments or the full potential of its evil love, greedy wealth, and eternal youth opportunities. Fortunately, Friday the 13th‘s mix of horror, humor, nostalgia, and dark morality plays remains impressively ghoulish for old school audiences and scary anthology fans.

Kidnapped! Siren’s Call: Horror: Odd and Bizarre

 

Horror: Odd and Bizarre

Take two steps to the left of normal and you’ll find the type of stories offered in Horror: Odd and Bizarre. Consider them the red-headed stepchildren of the genre…

From a museum process that not only preserves the dead but brings them back to life to a phone that warns you of the impending apocalypse, each tale hits on a different level of the bizarre. Maybe a killer clown epidemic that preys on everything you hold dear, or a painting that subtly changes to spell out your doom, piques your odd meter instead—don’t worry, they’re in there too.

If you like horror with a unique spin, a bizarre thread that straddles the line, or a tale that just a little off, you’ll definitely enjoy each odd morsel and bizarre bite contained within!

Featuring:

Phantom Pain — Kayce Bennett

All Aboard — C.R. Langille

Self Portrait — Ben Pienaar

The Process — Georgina Morales

A Man Called Cup — Jason A. Wyckoff

Fingers — Maynard Blackoak

A Clown of Thorns — Ken MacGregor

Into The Dream Never — S.E. Foley

Hi — Calypso Kane

Beep — Kristal Stittle

A Clown and a Dragon Walk Into a Bar — Rob E. Boley

Ivy’s First Kiss — Matthew R. Davis

Horror: Odd and Bizarre can be found online at:

Amazon: US | UK

Amazon Print: US | UK | Canada

Kidnapped! Siren’s Call: Twisted Yarns

Twisted Yarns

Twisted Yarns is a collection of eleven depraved stories that will warp your mind and spark your curiosity for tales best muttered in hushed tones and dark corners.

Imagine finding a baby in a dumpster; how far would you go to protect it? Picture yourself trapped in a maze with a monstrous creature that wants nothing more than to spill your blood while others bet on the outcome of your life; would you run to survive? Do you think you could – run or survive? Perhaps you’re clinging to a lost love so strongly that your rational mind doesn’t realize how strongly it’s clinging to you; is it bliss or torture? Come to think of it, is it safe to accept that tasty sample the kindly gentleman who works at the grocery store is offering you? It couldn’t be anything but harmless, could it?

If you prefer your horror twisted with a bit of grit sprinkled on top for flavor, this is the perfect anthology for you!

Featuring:

Blood Oranges — R.k. Kombrinck

Polandrio — Trevor Firetog

Kin — Elizabeth Allen

Dumpster Baby Blues — Bob Macumber

Dead World Protocol — Glynn Owen Barrass

The Road Less Taken — J.T. Seate

Countdown — Danielle Allen

A Walk in Moonlight — Sharon L. Higa

David — John Mc Caffrey

Geo — Micheal Lizarraga

The Garden of Love — Kevin Holton

Twisted Yarns is available on:

Amazon: US | UK

Amazon Print: US | UK | Canada