Odds and Deadends : The Mummy (2017): A Universal Problem

I love a good monster movie. And when it was announced years ago that Universal Studios were reviving their classic monster movies, I, like the rest of the horror world, had a small heart attack. Then Tom Cruise got attached to The Mummy and we realised that they were going all in. It was going to be mind-blowing.

Until it wasn’t.

I’m going to outline my thoughts as to why the rebooting of the iconic collection failed, and I’m going to split it into the following three categories:

1) The film itself.

2) The heritage and genre.

3) The Marvel effect.

  • THE FILM ITSELF

The MummyThat the other two categories feed into this general discussion of the movie as a whole is not to be ignored, but this first category ignores that the film is part of a larger narrative and just focuses on the filmmaking and storytelling itself.

The first glaring issue is the over-reliance on CGI set pieces used to try and carry the film. From large green screen sandstorms to a plethora of unrealistic zombie mummies, the film might as well have been completed animated. The worst part of it all is that these set pieces come thick and fast, with no rhyme or reason, or sense of proper narrative timing. You look at a Marvel movie (such as the new Spider-Man: Far From Home), and you notice that they normally break it up into three main parts. A fight early on, one in the middle, then the big wind up for the third act. It’s your basic three act structure with a large action sequence in each, and it allows the movie to have the downtime to build on its characters. Even movies such as those in the James Bond or Mission Impossible franchises will do the same sort of thing, with a sprinkling of smaller sequences here and there, but it’s still just the three big moments. The Mummy has so many that the rhythm is off. It just doesn’t feel right.

And it also means that parts, such as the desert sandstorm near the beginning of the film, are irrelevant. We saw the crows take off after the sarcophagus when it is airlifted away, and it is these birds that will bring the plane down. Why is the sandstorm needed? To add a little hint of ‘danger’? To make sure the audience doesn’t forget we’re in the desert? It makes no sense. When the sandstorm blows through London in the final act, it was a wonderfully gothic image, capitalising on the fear of outsiders and things that shouldn’t happen. But having this be a singular, major event that cut out communication lines, throwing all the heroes into confusion, would have been wonderful, and saving the sandstorm for this moment would have made it seem much more threatening. As it is, we’ve already seen a sandstorm do nothing. Why should we be scared of this one? Short answer: we aren’t.

One of my other issues was the lack of subtlety in the film in any department. The scares were ham-fisted attempts at CGI skeletons that didn’t take the time to allow the tension to build. And the amount of exposition is ridiculous. Jekyll’s opening speech gives most of the plot away, and leaves no mystery as to what is to come. It’s bad filmmaking and bad storytelling at the best of times, leading to a picture that rushes from one big scene to another, and has to have things spelled out quickly in between each blockbuster moment to make sure we’re following along. It’s nowhere near efficient craftsmanship.

  • THE HERITAGE AND TONE

When Universal said they were reviving the monster movies, audiences wanted horror. They wanted to be scared, brought back to being a kid. Universal, wanting to compete with summer blockbusters, changed their classic horror into an all-out action thriller with a few horror elements scattered around. There’s even some funny moments scattered around, such as when Jenny yells ‘Get her, Nick!’ to Tom Cruise’s character as the newly revived Princess Amanet heads towards them in the forest. Really? ‘Ger her, Nick!’? It’s not the movie audiences wanted, or were promised.

Because the movie goes for a grander scale, the horror, when it is there, never really hits. Sure, give your plagues and your zombies an apocalypse to try and bring about, but even these focus on a small group of survivors. Think Night of the Living Dead or 28 Days Later. Horror is deeply personal, and you have to make sure it feels personal to a protagonist we connect with, in order to make us truly feel it.

This is something Bram Stoker did wonderfully in his novel The Jewel of Seven Stars, a personal favourite novel of mine, and one I’ve already discussed on HorrorAddicts.net ( I’ll put a link to my analysis of the character of Queen Hera from the novel at the end of the article). Stoker’s tale presents an ancient Egyptian threat rising from the dead, like The Mummy, but for two-thirds of the narrative, everything is confined to one house and plays out like a murder mystery. It’s closed and confined, and because of this we empathise with the characters because we know them intimately. When the terror comes, we feel the fear because we’ve put ourselves in their shoes. As a result, the possible apocalypse after the book is finished feels much more worrying.

  • THE MARVEL EFFECT

The Dark Universe is Universal’s attempt to replicate the success Marvel Studios have had with the Marvel Cinematic Universe. The trouble is that Marvel seems to be the only ones that have really cracked the format. Disney tried it out into Star Wars, but the bad reception to Solo halted their plans for possible Obi Wan and Boba Fett films. The DC Universe has its fans, but has never really caught the approval like Marvel has, and only recently has Aquaman and Wonder Woman really hit the box office hard. One can only wait to see how the Godzilla monster-verse goes on, but if the reviews I’ve seen of Godzilla: King of the Monsters are anything to go by, it doesn’t look good.

The Mummy’s primary problem is that Universal threw all their chips in too early.

The film isn’t just about the eponymous mummy, but the introduction to the whole world. But rather than sneak in suggestions and nods, and build the whole thing up slowly, whilst still allowing each film to be its own unique piece, they’re already interconnecting everything at the very heart. The beating heart of this connection is the Dr Jekyll, head of the Prodigium organisation. However, instead of letting Jekyll just be an incidental part of the storyline, or his true identity being a big reveal at the end of the film, they made him integral to the movie.

This has multiple risks. It risks sidelining the main focus of the movie, the mummy herself, and it risks, if you’ll excuse the vulgar phrasing, Universal blowing their load too early. Universal didn’t keep their powder dry. Hold Jekyll and Hyde back and you’ve got a whole other movie in store to unleash. If The Mummy goes down, you’ve got another shot. Notice how Marvel, in the first Iron Man film, only announced Nick Fury in the post credit scene. They could easily have cut it had the test screenings been bad, and simply kept it as a one-off movie that made a decent splash, whilst also jettisoning the movie from a wider connected universe if they needed to. They can even bring Iron Man back into the storyline in 10 movies time if it takes them that long to get into their rhythm.

The Dark Universe, complete with logo at the beginning of the movie, announces very plainly that everything goes together. You’ve got obvious nods to Dracula and The Creature from the Black Lagoon in the jars Prodigum has in its stores, clearly showing Universal’s intention to use them at a later phase. In one, opening movie, we’ve got four of the classic monsters together. All we needed was someone to be invisible, and Jekyll to have a daughter marrying a doctor called Victor Frankenstein, and Universal would have taken down almost every monster they had in their arsenal in one go.

In a bid to outdo Marvel with their interconnected universe, the producers relied on the fan base of the monsters of the past to carry the movie with references and nods all by themselves. In the end, when these fans didn’t get what they wanted, Universal were left canning the other projects they had set up. Their interconnected world had crashed at the first hurdle, and because the rest of their plans were integral to the first film being a hit, it set up a chain of dominos that knocked the other films down.

One can only hope that Leigh Whannell (and Blumhouse, I believe) will have the sense to work slowly, building up a series of films that are tense, scary, and operate by themselves, which have the potential, but not the necessity, to interlink later on. Whannell has already established himself (along with James Wan, ironically directing movies in another connected universe, having released Aquaman last year), at being able to bring about an interlinked horror franchise with The Conjuring universe. Let’s hope that he can learn from the mistakes that Universal made with The Mummy, and slowly bring us the spectacle we all wanted, and still want, to see.

-Article by Kieran Judge

-Follow him on Twitter: KJudgeMental

My article on Queen Hera from The Jewel of Seven Stars can be found here: https://horroraddicts.wordpress.com/2018/09/05/odds-and-dead-ends-resurrecting-the-queen/

Bibliography

28 Days Later. 2002. [Film] Directed by Danny Boyle. United Kingdom: 20th Century Fox.

Aquaman. 2018. [Film] Directed by James Wan. USA: DC.

Creature from the Black Lagoon. 1954. [Film] Directed by Jack Arnold. USA: Universal Pictures.

Dracula. 1931. [Film] Directed by Tod Browning. USA: Universal Pictures.

Godzilla: King of the Monsters. 2019. [Film] Directed by Michael Dougherty. USA: Legendary Pictures.

Iron Man. 2008. [Film] Directed by Jon Favreau. USA: Marvel Studios.

Night of the Living Dead. 1968. [Film] Directed by George A. Romero. USA: Image Ten.

Solo: A Star Wars Story. 2018. [Film] Directed by Ron Howard. USA: Lucasfilm.

Spider-Man: Far From Home. 2019. [Film] Directed by Jon Watts. USA: Marvel Studios.

Stoker, B., 2009. The Jewel of Seven Stars. United States of America: Seven Treasures Publications.

The Mummy. 2017. [Film] Directed by Alex Kurtzman. USA: Universal.

Wonder Woman. 2017. [Film] Directed by Patty Jenkins. USA: DC.

 

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Chilling Chat: Episode 165 David Leinweber

chillingchat

David Leinweber is a historian with over 25 years of experience in the college classroom. He has published numerous articles, reviews, essays, and academic reference worksDavid Leinweber (including works on folklore, the occult, mythology, magic, and religion.) Dr. Leinweber is also a lifelong guitarist and pianist whose music has been featured in numerous venues, ranging from festivals and clubs to television, radio, theaters, and art galleries.

David is an amazing professor and an accomplished musician. We spoke of horror, inspiration, and the legacy of Dracula.

NTK:  Welcome to Chilling Chat, David. Thank you for chatting with me today. Could you tell us about A Song of Dracula? What is it about?

DL: A Song of Dracula is a romantic musical, loosely based on the classic 1897 novel by Bram Stoker, and also Jane Eyre.  It features a collection of original spooky songs, along with a few tavern singalongs.

It is about a young girl named Madeleine who arrives as a governess at a great estate in England, like Jane Eyre.  There is a romantic interest with the head of the estate (also like Jane Eyre).  However, witchcraft, vampirism, and a ghost enter into the story.  I really wanted it not to be gory or sensationalistic, however—no hissing or blood.  It’s a romantic story.

NTK: What inspired you to write this musical?

DL: Well, I’ve been a lifelong horror fan, especially of the old Victorian novels like Carmilla and Dracula, as well as the classic horror films.  I wanted this to be a production that evoked the romance and the historical/geographical settings of the old films, especially Hammer Films.  I also wanted it to be something that could range in targeted audiences from adult theater groups to community or high-school productions.

Interestingly, the word vampire does not appear in the story, though it’s obvious that is what is going on.

NTK: How much research went into A Song of Dracula? Did you try to incorporate songs appropriate to the time period?

DL: I would say that the play/musical reflects my long interest in horror, romance and gothic lit, if not flat-out research.  I did try to evoke spooky songs that have the spirit of a gothic estate.  There are also some tavern tunes that would be good for sailors or other port-city type characters right out of central casting (Laughs.)  However, I think the songs could be interpreted in a number of different ways.  I mostly envision them as spooky, romantic ballads.  But several could be done in a range of styles, including a few that could be hard-rock with electric guitar, and a light show.  I think a lot would depend on the director’s ideas.  For me, though, it’s a romantic Victorian gothic story, first and foremost.

NTK:  What do you think the attraction to Dracula is? Why does he have such a lasting legacy?

Bela LugosiDL: Great question.  I certainly think one could point to the classic psychological themes, like the fear of death, or subliminal sexual desires.  I also think that a good vampire story often has a folklore quality to it, and evokes a sense of being bound in time.  I sometimes think the classic elements of the Dracula tale don’t appear as much in vampire stories of the present-day when so many film studios want to update the classic elements.  Call it cliche if you want, but some of the classic horror tropes were very powerful and we should try to transmit them to the next generation.

NTK:  How did you discover horror? How old were you?

DL: Pretty young.  There was a guy on TV in Detroit when I was a kid called Sir Graves Ghastly—a Saturday matinee movie host who came out of a coffin hosted old horror movies, told bad horror jokes, read kids’ birthday cards, and all that.  I used to watch him every Saturday.  I remember all the “House of” horror movies he showed, which were truly classics, among many others.  I also was a big Dark Shadows fan, though pretty young at the time.

NTK: Do you have a favorite horror film?

DL: Another great question.  Hard to answer though (Laughs.)  I actually like some of the quiet, spooky films like Let’s Scare Jessica to Death.  But I think the Hammer films are my favorite, especially the three horror films they did that were loosely based on CarmillaThe Vampire Lovers, To Love a Vampire.  There was something special about the horror films of the late sixties and early seventies—it was still the hippie era, with all the creativity and mood that came out of it.  The fact that there were Drive-in Movies back then also created a big demand for lots of movies.  They weren’t all exactly Citizen Kane or The Godfather, but they were usually pretty fun to watch, and often surprisingly good.  That was also before Star Wars came out, which changed Hollywood into more of a Blockbuster mindset and the tasteful little movies, including B films and Drive-in Movie titles, became less common.

NTK: As a musician, did you find these soundtracks inspiring?

DL: Yes, a lot of those films had fine soundtracks.  The film I mentioned Let’s Scare Jessica to Death, in particular, had a really distinct soundtrack— quiet piano and flutes and guitar lines that really created that sense of loneliness, haunted locales, and, towards the end, isolation and fear.  That soundtrack really gave that sense of going back in time.  The Hammer Film, Lust for a Vampire, also had a really strange, very ‘sixties’ sounding tune—“Strange Love.”  It’s almost comical to watch it today because it can seem dated and out of place in the film, but it was actually a pretty eerie musical effect.

NTK: Who do you think portrayed the best Dracula?

DL: Of course, I like the Lugosi and Lee Draculas.  But Lon Chaney also did a good job and John Carradine.  But a sometimes underrated and/or less noted version was the Frank Langella 1979 Dracula, a very fine production.

NTK:  Do you have a favorite horror novel?

DL: Well, I guess the obvious choices would be Dracula and Carmilla.  But beyond those two classics, I remember that Stephen King’s Salem’s Lot really scared the heck out of me when I first read it, along with the 1979 miniseries.  When I was a kid, I used to read a lot of the cheap paperback horror novels, too, though I don’t have time for that anymore and I’m not sure if there is as big a market for them as there used to be.  Horror novels were kind of like horror movies.  They made a lot of them, which meant that there were often some quite good ones mixed in with others that weren’t’ so good, but it was always fun to read through the find the gems.

NTK: Do you think there’s any truth to be found in the folklore surrounding vampires? Do you think there are personalities who could be considered vampiric?

DL: Another great question.  Well, I certainly can see how the folklore had its roots—all the classic fears of premature burial, blood-borne diseases, or wasting away.  I also think the classic vampire motif that mixes terrible fear with desire is very powerful, for everybody.

And yes, I do think there are people who could be considered vampiric.  Not sure I want to give any names (Laughs.)  I think there are people who have a way of draining your energy and vitality.  They get stronger and richer, while you get weaker, more uncertain, and lose your zest for life.  But I guess the most classic vampire is a romantic attraction, and sometimes even kind of tragic and sad in the way they kill what they love.

NTK: David, what does the future hold for A Song of Dracula? Where can Horror Addicts see the musical? And, do you have any other upcoming horror projects?

DL: Well, I’m really hoping to have a good theater production do the musical.  Of course, Dark ShadowsI’d even love to have it turned into a film.  But first and foremost, it’s a theatrical production.  I’m still working on finding the right theater to debut the show, but hopefully soon.  I also enjoy writing ghost songs and am compiling a list of ghost songs to release as a song cycle.  My song “Daphne,” about the Kate Jackson character Daphne Harridge on Dark Shadows, remains my favorite song and it was the ghost song I wrote that got me the most inspired along these musical and storytelling lines.  Kate Jackson loves the song, which was encouraging.

NTK: Thank you so much for joining me, David. It’s not often we gain insight from an awesome educator like yourself.

DL: Thanks again for your interest in my musical and thoughts about horror.

Terror Trax: David Leinweber

David Leinweber
Guitar, Piano, Lyricist
https://www.facebook.com/david.leinweber.73

Album/Song/Tour you are excited about right now.

I played some of my ghost songs like “Daphne and Little Sarah” at the Popular Culture Association Annual Meeting in Washington D.C. in April.

What singers or bands inspired you growing up?

I grew up listening to Eric Clapton, Cat Stevens, and hard rock like Led Zeppelin, Deep Purple, and Mott the Hoople.  I was also raised in Detroit and love a good bar band.

Who are your favorite artists today?

I think some of the best music today, that I come across, is in films.  I enjoyed “Shallow” by Brad Cooper and Lady Gaga.

What non-musical things inspire your music?

Movies, books, memories of people and past times, history.

Is there a place where you go to be inspired?

Detroit, Spain, and long walks.

What’s been the greatest achievement of your band?

When Kate Jackson, the star of Dark Shadows who played the beautiful ghost Daphne Harridge, called to tell me how much she loved my song “Daphne”.  We talked for about thirty minutes. She told me a lot of inside stores about the old Dark Shadows show and some of the stars.  She loved the song Daphne and said it really captured the spooky, atmospheric, romantic nature of the character.

Where was the coolest place to play? Where did you enjoy yourselves the most?

Also, I was invited two times to perform as the Flatpicking Professor in Scotland for the Scottish Bluegrass Association.

What are your favorite horror movies?

The Vampire Lovers with Madeleine Smith, Dracula with Frank Langella, The Wicker Man, and almost anything by the old Hammer studios.

What was the scariest night of your life?

Walking home from partying at a friend’s house after seeing the Salem’s Lot TV miniseries.

If you could play anywhere in the world, where would it be and who would be your opening band? 

An English pub with Eric Clapton.

What are you working on now for future release?

I’m hoping to get my musical Dracula finished and done.  Also, I’m working on a new cycle of story songs.

Final thoughts:

It’s all about the song, and every song has a story.

 

Guest Blog: Vampires-Animated Corpses-By Brian McKinley

Vampires – Animated Corpses by Brian McKinley

This is what most people in Western culture think of when they hear the word vampire. But, as you’ll see, there are nearly as many varieties of animated corpse vampires as there are every other kind.

The Vetal of the Indian subcontinent is an example of a vampire who straddles categories. It’s a spirit that possesses and animates corpses and in many tales it has sorcerous powers. In the Tibetan Book of the Dead, the Vetal are said to be a race of divine vampiric beings who appear half human and half bat. However, like other vampires we’ve seen, the Vetal can possess a human corpse in order to disguise itself, using fresh blood to keep the body from decay. Feeding on the intoxicated, the insane, and others whom society would not be likely to believe, the Vetal enters a home by use of a magic thread down the chimney—so those of us with central air are safe. Not content simply with blood, it consumes intestines and excrement as well.

Despite this unsavory aspect, the Vetal is far from a mindless killer. In fact, its’ most famous appearance is in the tale of King Vikram in which one of these creatures thwarts twenty four attempts to capture it by telling tales which all end in a riddle. Later, the vampire gives the king advice on how to turn the tables on a trap which his enemy has planned.

In some versions, a Vetal is created when a child dies and doesn’t receive proper funeral rites. This is similar to creation methods found in vampires of surrounding regions like the Greek peninsula, China, and the Balkans. Turning our attention to China, no survey of vampire folklore would be complete without the Jiangshi, the infamous hopping vampire.

One of the most distinctive and memorable tales from around the globe, the Jiangshi is created in a number of ways: cats jumping over fresh corpses, moonlight shining down on fresh corpses, and black magic. In its early form, it is literally just a corpse stiff with rigor mortis who hops around and attacks either on its own or under the command of a sorcerer. It is difficult to destroy in this form, but relatively easy to capture or elude, as it fears running water, can’t move in anything but a straight line, and has a compulsion to stop and count rice, peas, or iron filings thrown in its direction. While doing that, you sweep them away and the Jiangshi follows so that it can resume counting.

As it ages, however, it is said to grow long white or green fur, limber up, and gain the ability to fly and shape-shift into mist and animals. Now, a lot of these traits—aside from the fur—sound pretty familiar, right? My personal theory is that the Chinese incorporated elements from other vampire legends into their own. Anyway, by this point, Jiangshi are nearly indestructible and need to be burned completely in order to be rid of them.

Which brings us to Greece and the Vrykolaka. These can be created by a person living a bad life, being excommunicated by the church, committing suicide, and many of the other typical methods we’ve seen. One unique method is simply by being a werewolf in life, which is a condition one is born with in Greek culture. When those come back from the dead, they’re called Varkolaks. When Vrykolakas rise from the grave, it looks every bit like the bloated, animated corpse that it is. It will go to the homes of the people it knew in life and knock upon their doors. Whoever has the misfortune to answer, the vrykolaka will ruthlessly attack by day or by night. Victims who happen to survive the attack of a vrykolaka will become this type of vampire themselves when they die unless they eat some of the dirt from the grave of the body that attacked him.

The vrykolaka can be prevented from attacking if its resting place is found. Decapitating the vampire and hiding its head where it cannot be found is used in modern times, but the traditional method of rendering the body to ash is the most certain and effective. The only way to destroy a vrykolaka that was created through excommunication is to have a priest perform a special ceremony over the body followed immediately by either of the methods of destruction previously mentioned. Honestly, though, this one has more regional variations than almost any other.

The Draugr of Iceland was a fearsome revenant exists solely to guard its treasure, which Viking warriors were traditionally buried with. Draugrs could do strange tricks like increasing their body weight and growing or shrinking, move freely through earth and stone, conjure storms, and see the future. What’s more, draugrs were said to be impervious to mundane weapons and that the only way they could be killed was by being wrestled into submission by a hero and then beheaded. Some scholars believe that Grendel of the Beowulf saga was a draugr, and others think that we get the concept of the ogre, troll, and dragon from these legends as well.

Finally, we come to the guy that most of us think of when we think of a traditional vampire: the Upyr. Known by many regional variations including Upire, upior, upiri, vapir, and wampyr, this is most likely the word that eventually gave us the term vampire. Russia’s version has iron teeth that allow it to chew out of its grave and eat the heart from its victim’s chest. Unlike our modern version, though, it tends to be active between noon and midnight—kind of like me. The Polish variety has a stinger on the end of its tongue to drain blood with and it likes to sleep in a bath of blood. In Germany, it resembles the Greek Vrykolaka but needs to be destroyed with a stake made of mountain ash in a single blow. Call Buffy for that one. In other Slavic countries, the body has to be dug up and re-buried face-down so that the suspected vampire can’t dig its way out anymore. In other areas, you hear about garlic, prayers, and holy water.

And that most famous of vampire terms, Nosferatu? Where’s he? Well, there’s some debate about that. The term itself comes from Greek and means plague-bearer; many believe that it had nothing at all to do with vampires until Emily Gerard used it in her book on Transylvania, which Bram Stoker based much of his folklore in Dracula on. Others insist that there is a particularly sexually oriented vampire by that name in central and Eastern Europe, known to return to its home and try to resume its old life. To me, this also sounds a lot like some of the stories of the Vrykolaka, but I could be wrong.

In any event, you’ve probably noticed that almost none of these types fit all the tropes of the modern vampire archetype and that’s true. Today’s vampire is an ever-changing amalgamation of various folklores and that’s what makes them so captivating.

__________________________________________________________________________________________________________________________

Brian McKinley doesn’t really exist. He’s a constructed mortal identity used by a relatively young Vampyr in order to publish the truth about The Order. Due to the world-wide influence of The Order and its minions, these accounts must all be published as fiction. Sometimes the names and sequence of events have been changed to protect the innocent, the guilty, and to keep from getting sued.

Guest Blog: Irish Vampires by Brian McKinley

Irish Vampires by Brian McKinley

Ireland is not particularly known for its vampire legends. Strange, in a way, because the Emerald Isle gave birth to two of the best-known and most influential vampire authors in history: Bram Stoker and Sheridan LeFanu. The authors of both Dracula and Carmilla, respectively, were both born and raised in Ireland and likely owe some of their literary creations’ characteristics to stories they heard growing up.

The most famous of Ireland’s vampires is a specific woman known as the Dearg Due (dar-ag dua) or “red blood sucker” said to be buried in Waterford, Ireland. The story is told of a beautiful young woman who, forced to marry a cruel and abusive clan chieftain, committed suicide. At the anniversary of her death, she rose from the grave with a blood lust. She began with her father and former husband, but her rage and thirst could never be sated. She sings to men in their sleep, luring them from their homes and draining the blood from their bodies.

In their earlier, pre-Christian forms, many fae creatures had distinctly vampiric characteristics. The first of these is called the LeananSidhe (Lee-awn She). They appear as beautiful women, often invisible to everyone but their intended victim, who seduce men and try to cause them to fall in love. If successful, the Leanan-Sidhe will drain him of life energy during sex, similar to a succubus, and feeds small amounts of her blood to him so that he is inspired to write love poetry to her. Slowly, he is drained to a husk. If, however, the man does not fall in love with her, the Leanan-Sidhe will strangle him and drain his body of blood. In some versions of the legends, resisting the seduction of the Sidhe causes her to fall in love with her intended victim and serve him as a slave.

Rather than simply drink the blood like most vampires, this creature has an element of the vampiric witch to her. She keeps her victims’ blood in a large red cauldron, which is the source of her ability to shape-shift into animals, become invisible, and remain youthful. The Sidhe in this creature’s name is a word traditionally associated with the fae in Irish folklore and refers to the ancient burial mounds Celtic people used for centuries. These mounds were often believed to be gateways between the land of the living and the dead. Some early beliefs about the origin of the fae mention not Arcadia, but rather the underworld.

A variation on this theme is the Baobhan Sith (Bavaan Shee). Technically a revenant, created when a woman died in childbirth and the body rose as a fae—again we see references to the underworld origin of fae—this vampire was unusual in that it would attach itself to a specific family and live among them normally. In fact, prior to the arrival of Christianity in Scotland, it was considered a sign of status to have one in the family. Most likely a precursor to the Banshee, the Baobhan Sith warned of impending death by wailing and, if a group of them came together to wail, then the death would be of a great person. After Christianity took hold, however, the Baobhan Sith took on a more evil role.

Described as a beautiful, tall, pale woman in a green dress (which hid cloven hooves), this vampire would appear to lone shepherds or travelers as a woman they knew or lusted after and lead them away to dance. Once the man was exhausted, the Baobhan Sith would attack and drink his blood. They could also transform into crows and, like most fairies, it was vulnerable to iron.

Similarly, people from Great Britain to Brazil to Eastern Europe and the United States all tell tales of White Ladies whose appearance boded death on the nights of the full moon. Originally ghosts of noblewomen who had been murdered or died an otherwise tragic death, and later associated with any local tragedy, they could be seen wandering cemeteries, crossroads, and the castles and manors where they died. Dressed in period finery and carrying chalices filled with poison, it was said that they would call out with hypnotic voices, inviting any who heard them to dance to music that didn’t exist. Those who accepted the invitation would be drained of blood, their bodies found the next morning by the side of the road. The White Ladies’ very touch was icy cold and could drain the life energy of the living. These ghostly ladies, like their fae counterparts, were vulnerable to the touch of iron but could also be warded off by crucifixes or priestly blessings. Another variation on this theme is the Lady in Red, more often a prostitute or jilted lover killed in a fit of passion and often to be found haunting theaters, hotels, and brothels.

Heard about any that I missed? Please let us know in the comments below!

____________________________________________________________________________________________________________________________

Brian McKinley doesn’t really exist. He’s a constructed mortal identity used by a relatively young Vampyr in order to publish the truth about The Order. Due to the world-wide influence of The Order and its minions, these accounts must all be published as fiction. Sometimes the names and sequence of events have been changed to protect the innocent, the guilty, and to keep from getting sued.

Brian is no longer a typical Vampyr and, for this reason, lives in hiding and writes from a secret location. The real “Brian” lives a life of danger and excitement; he loves Star Trek, Game of Thrones, and gangster movies as much as he loves chicken fried steak. And he really loves chicken fried steak! He’s a reader, a role-player, and a dreamer. He’s lived many lifetimes and is eager to share as many of them as possible with his readers.

He’s the author of Ancient Blood: A Novel of the Hegemony and Drawing Dead: A Faolan O’Connor Novel which won the Author’s Talk About It 2016 Horror Novel Contest.

 

FRIGHTENING FLIX Horror Holiday Gift Guide Video

Kristin Battestella aka Kbatz discusses what type of affordable, family friendly, or full on scary Frightening Flix to give this Holiday season included Bela Lugosi and Universal Horror, Tales from the Crypt versus Tales from the Darkside, and more!

 

 

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FRIGHTENING FLIX BY KBATZ: Penny Dreadful Season 3

Penny Dreadful Season Three a Disappointing Finale

by Kristin Battestella

I loved me some Penny Dreadful. Previously, I watched the First Two seasons twice or more before writing my reviews a few months after I had simmered in the immersion of all things sophisticated Victorian macabre. I re-watched the entire series again when finishing this obviously late review, but Season Three’s still blindsiding finale and haphazard resolution of the series undermines the glorious potential that was yet to be found in Penny Dreadful.

Year Three hits the ground running with some delightful circumstances in “The Day Tennyson Died.” Our quirky little family of evil fighters – Vanessa Ives (Eva Green), Sir Malcolm Murray (Timothy Dalton), Ethan Chandler (Josh Hartnett), Victor Frankenstein (Harry Treadaway), and His Monster (Rory Kinnear) – is scattered about the globe from London to the Old West and Africa to the frozen north. Their townhouse base is shabby with covered furniture and piled mail before the titular solemn and lovely poetic references reconnect old friends with tenderness and sympathy. After all they’ve been through, those in London are allowed to stew and cry – unlike the unforgiving railroad and lawless land of the New Mexico Territory. Though blindingly bright compared to the British bleak, there’s an underlying ominous to the witches and werewolves among the lawmen. Letters from Africa with burials made right also find Chiricahua Indians in the most unlikely Zanzibar alley while faraway frozen trawlers debate cannibalism and melodies remind monsters of when they were men. Famous names face racism at Bedlam as pale minions with anemia excuses lurk. Penny Dreadful has a lot to do but does it with superb conversations, new allies, and bloody vignettes. “Predators Far and Near” adds vintage photography, jurisdiction technicalities, a modified barber’s chair for experimenting on patients, and fear of the gramophone cylinders recording one’s sin. Therapy confessions recount prior indiscretions, but the prescription for godless loneliness is doing something innocent and happy no matter how small. Women debate on light and dark souls while men bond over their love of daughters and a son not birthed to them but bound with their suffering. Talbot family history, ritual chanting, and colorful vision quests counter the sophisticated Victorian science lectures and whimsical memories of adventures the likes of 20,000 Leagues under the Sea. Unfortunately, our dreadfuls are more familiar with lunatics and monsters rather than childhood heroes, with Jekyll and Hyde-esque transformations on crazed victims, deceptively charming courtships, a wise Apache woman reminiscent of the fortune teller in The Wolf Man, and a desert full moon to aide one’s bone cracking escape.

Unholy alliances between witches and the Wolf of God continue in “Good and Evil Braided Be.” Is it the beast or angel, good or evil that’s the real persona? Does the mind create phantoms and demons to explain the darkness and pain? Do you bury the animal inside or unleash it? Between the werewolf curse, divided locales, tug and pull father figures, and hints of Hyde, Penny Dreadful creates superb dual themes alongside several racial moments and of the time derogatory Native American comments. Sophisticated light and dark visuals and good and evil motifs are interwoven against crudeness, triumphing over those who define what’s black and white or right and wrong solely based upon skin tone rather than soul. The audience isn’t hit on the head with the social commentary, but one scene beautifully addresses the sadly still lingering attitudes upfront. New, risky hypnosis techniques further retrace past darkness and despair in Episode Four “A Blade of Grass.” Memories and present offices blur in a dreamy act with current doctors and familiar faces in unexpected places uncovering new revelations of a forgotten padded white room. In camera foregrounds and backgrounds accent the confined or expanded four walls as needed with overhead views, zooms, face to face close ups, and wide angle warped. Finite descriptions of precious few details, amplified sounds, and demon shadows match the kindness of an orderly or the evils that await. Precious blankets are taken away amid growling, crying, straight jackets, and water torture. Can God find you in a place like this or are you alone? Our patient fears the evil within and wants to die over the betrayals and sins committed, yet the tender bonding with her jailer turned poetic advocate provides an unlikely compassion. Whether you can face yourself in the mirror or not, these fugue state manifestations overcome evil with the truth at Christmas in one excellent parable. The least amount of effects, minimal characters, and few locales leave nothing but the emotion and anguish upon their faces. It’s divine, just everything television should be and perhaps the best episode of the entire series.

And then, somehow, Penny Dreadful went to shit.

Series writer and creator John Logan hands Penny Dreadful over to new writers mid season – a maneuver suggesting a viable transition rather than leaving unknowns to resolve your planned finale with rushed characters and compressed stories. Andrew Hinderaker (Pure Genius) pens “This World Is Our Hell” with The West as a barren purgatory full of symbolic multi-layered pursuits on who the righteous should save or whom the evil would kill. Water is scarce among the grave sins and shame worn as redemption; forgiveness versus temptation comes in revealing fireside chats recounting past ambushes and the difficulty of serving multiple masters – fathers, duty, Lucifer. Unfortunately, these lofty topics are undone by nonsensical mysticism. Witches can summon snakes to conveniently wipe out pursuers but cannot heal injured mounts or conjure water and dying people somehow have enough energy for awkward evil sex after days of thirst. The Victorian mad science and desert shootouts jar in an anchor-less back and forth when the confrontations between our converging father figures are more interesting. Lengthy exposition on past horrors feels odd in a series that often shows rather than tells. Why not have an entire Talbot past hour the way “Closer than Sisters” showed us how Penny Dreadful really began? Otherwise the audience is left confused over who’s really at fault for the faithful turning evil. It was Ethan’s dad’s fault for making it the army’s fault who made the Apaches to blame??? Penny Dreadful always had pacing issues and uneven characters, but this Old West excursion could have ditched the dead weight characters and been back to London in half the time. I don’t think it is necessarily Hinderaker and newcomer Krysty Wilson-Cairns’ fault, but “No Beast So Fierce” throws even more at the screen with too many threads regarding who’s evil or who’s the law amid busy shootouts, vampire minions, Bedlam serums, how to kill a man tutorials, Egyptian wonders unrealized, and new steampunk introductions. What’s supposed to be important – monsters being kind to sick children or sassy sword wielding new characters? If the key to defeating evil is holding fast to loved ones, why has our family been apart all season? Perhaps one writer should have been responsible for one set of characters the entire year, as Dracula’s apparently content to wait out the cowboy adventure while other isolated and aimless immortal plans go round and round and pull Penny Dreadful apart at the seams.

Penny Dreadful has an innate melancholy – cemeteries, grave digging, mourning shrouds – but the dark romance is used for unnecessary preachy in “Ebb Tide.” Separated characters finally meet, but one knock on the door and a brief scene reconciling the past and present is not enough. Friends that could fill this empty manor and fight the bloodshed are pushed away while our team in the West doesn’t heed ancestral warnings. Despite insisting London is home, characters remain obstinate just for the sake of creating drama, leading to contrived betrayals and more speeches begging for the fast forward button. Touching conversations on who will bury whom are interwoven with weaker plots, straying from the core and repeating exposition we already know. Visions unite players who have been apart but such mystic conversations and wisdom on rescuing one another from darkness should have happened much sooner – two episodes ago, nobody cared. Krysty Wilson-Cairns writes the quick at forty-three minutes “Perpetual Night,” and it’s the shortest episode of Penny Dreadful when the series desperately needed more time. The boys rush back to Londontown amid foggy cityscapes, morbid voiceovers, tasty frogs multiplying, and rats amok. Dead wolves and toothy minions everywhere require swift blade work and fireplace pokers to stave off vampire infections – but no one thought to call Dr. Frankenstein away from Bedlam’s dungeon when people are said to be dying by the thousands? Penny Dreadful bites off more than it can chew, takes too long to achieve what matters, and spits out the excess when there’s no time left. Ironically, the “The Blessed Dark” finale also delays, saving choice moments with its stars rather than going full tilt with the dream hazy, bodies on hooks, and bats as sad lullabies over the special credits recap the sad state of our separate characters. It’s very exciting to see the reunions and werewolves fighting vampires in true monster mash up fashion as it should be – Dr. Jekyll passes by as Dr. Seward hypnotizes Renfield! As a season finale, this hour provides closing moments on some toiling plots. However, as a series finale, it barely resolves anything. Brief mentions on her destiny, his destiny, and previous prophecies don’t make sense anymore, and Victor literally bumps into the gang at Bedlam. The team is together again by accident! Major moments with his monsters earn one scene each, and none of those super strong immortals join the End of the DaysTM battle. Instead, bad ass walking down the street filler and a few ridiculously outnumbered pistols struggle with conveniently confusing action choreography. Bitter ties to the First Season become unrealized tangents, and new characters are inexplicably more steadfast than our original crew. Four episodes ago, life was worth fighting for but now isolated characters give up because the script says they should in a one hundred and eighty degree turn that’s painful to see end this way.

Vanessa Ives begins alone, a recluse living in squalor before rising thanks to words and wits with her therapist. Eva Green’s heroine cleans up and humbly restores the manor. Despite losing her faith, Vanessa is inspired by Joan of Arc’s confidence and says she will remain resolute. Oddly, she doesn’t seem as psychic or intuitive anymore and fails to recognize evil tendencies she previously pegged so astutely. It’s sad to see Vanessa open herself, revisiting innocent things that make her happy or having a man’s company once again end in terror. She’s willingly hypnotized to face her repressed psychiatry treatment, addressing her past doubts, regrets, and battles with Lucifer. “A Blade of Grass” shows her at rock bottom before a ray of hope and renewed prayers – if you believe in evil, then you must believe God is there to defeat it. Unfortunately, Penny Dreadful squanders the Lucifer issues, fast tracks Dracula, and circumvents Vanessa’s body and soul versus the fallen brothers with a past event cheating viewers out of a current victory. Vanessa can sense and see Kaetenay when the plot says so, but her lack of psychosexual possession and failed insights inexplicably have her give up despite knowing overdue help is on the way. Green saves this sloppy writing and deserved more hardware for Penny Dreadful. I don’t blame her if she recognized the tone had changed and was ready to depart. The series could have continued in searching for an evil Vanessa as an absent lead a la Blake’s 7 rather than two scenes with bad girl red eye shadow trying to make up for rushing to resolve Vanessa’s story. Josh Hartnett’s Ethan “Lawrence Talbot” Chandler is also not only reluctant to see his real father, but he’s angry at being adopted as Kaetenay’s Apache son. Ethan knows there is blood on his teeth and his soul deserving of punishment and wears his guilt on his sleeve. Unfortunately, his history comes from three different sources – so for all this New Mexico excursion, we don’t get a clear picture. The Wolf of God also spends about fifteen minutes being evil, standing up for Hecate over Malcolm because he won’t repent and belongs in hell. Ethan speaks evil prayers at the dinner table, but isn’t this the guy who’s Latin single-handedly exorcised Vanessa? His reciting of the Lord’s Prayer in the finale feels hollow thanks to his satanic reversal just a few episodes earlier. Was Ethan’s western escapade and Vanessa’s evil each meant to be it’s own season storyline? They both have a scene or two of darkness, and one moment in the finale doesn’t make up for Ethan’s back and forth. Meanwhile, Sarah Greene as Hecate travels in white, an unassuming Gibson girl who loves horses and animals but loathes people. She wants to be evil beside Ethan, but her powers are both handy or nonsense as needed. Hecate kills unnecessary to teach him a lesson and lingers too long in this uneven capacity – crowding an already busy Penny Dreadful while not being a character in her own right. The English Sean Glider (Hornblower) may be an unusual choice as a U.S. Marshall, but his crusty ways balance the British tidiness of Douglas Hodge as Inspector Rusk as they pursue Our Mr. Talbot. Rusk may ask for tea in the bar car and insist Scotland Yard Inspectors do not carry firearms, but he doesn’t underestimate the ruthless West. He begins to believe the Occult upon his case and does take up more violence as the blood on their path increases – before a thankless end, of course.

The beard is back for Timothy Dalton as Sir Malcolm, and even if he doesn’t know all the details, he’s ready to respect Wes Studi’s (Geronimo: An American Legend) Chiricahua Kaetenay if it will help save Ethan. Like an oasis in white in the mostly unlikely place, it’s wonderful when Malcolm and Ethan finally meet up for some shootout action. However, Malcolm really doesn’t have a whole lot to do this season beyond listening to Kaetenay. Most of his dialogue is responsive filler, and even before the surprise series finale, I suspected Dalton would not be returning for Season Four. You don’t keep a talented name without giving him quality writing, and Malcolm ends up repeating the same plot. Chasing after lost lamb Ethan, fighting a vampire to rescue Vanessa – he’s again saving his family even as his travels keep him from his home and any relationship with Victor. Malcolm could have returned to London post-Africa, maybe to meet Catriona sooner or dislike Dr. Sweet, as it’s a disservice to reduce him to little more than Kaetenay’s sidekick. That said, yes please to more of Studi’s set in his ways Apache. He still scalps because old habits die hard, but he doesn’t drink and believes one can’t die until his purpose is served. Granted, Penny Dreadful is trading the mystical negro trope for the mystical Apache stereotype, but the moonlight visions and enigmatic destiny talk tie the blood, suffering, and wolves together. Kaetenay pushes on after Ethan no matter what – he and his people have endured much but he’s prepared to face this darkness over London. There should have been more time for his revelations, and Penny Dreadful only makes use of Kaetenay when needed. It takes seven episodes for Ethan to heed his warnings about what is to come, and he should have mystically connected with Vanessa from the start. As Ethan’s father, Brian Cox (Coriolanus) also has some great one on one’s with Malcolm. They are wonderfully alike, right down to the conquest map on Jared Talbot’s wall, the mountains named after him, and an empty home as the cost. However, a boat load of family history that Ethan already knows is repeatedly told rather than seen, leaving Talbot Senior unevenly written with sorrowful or crazed exposition amid one gunshot and stand off after another. Had we seen the first terrible shootout that has him so angry, then this second battle in his ranch chapel would have had much more meaning. Kaetenay provided connecting visions when necessary, so why not have some kind of mystic Talbot dream that showed the betrayals and horrors causing all this pain?

Fortunately, Rory Kinnear’s Creature aka Caliban aka John Clare has some superb redemption on Penny Dreadful. He won’t harm a dying cabin boy, recalls more about who he was, and realizes who he may yet be after touching moments in the Fourth and Fifth episodes showing his life before his death and resurrection. He is again at the window or in the eaves, on the outside peering in on those that think he is dead. The Creature risks rejection and reaches out despite the pain, blossoming from being an angry violent child to almost the man he used to be. His resurrection allows Caliban to find his family – only to loose it again thanks to innocence versus the unnatural. This season, Clare is almost totally separate from everyone else, alone on this sympathetic journey beyond too brief moments with Vanessa, erroneously on the fringe without even seeing Dr. Frankenstein. He may piece together his past, but not enough was done with the connection between Vanessa and the Creature. She recognizes him, but not him her, and Penny Dreadful cops out by resolving their past in a flashback. Again, just because we the audience saw it does not mean the characters themselves received any current resolution. Why didn’t Caliban ever knock on Malcolm’s door? He would have been welcome in this misfit family dang nabbit! Reeve Carney’s Dorian Gray and Billie Piper’s Brona cum Lily Frankenstein, however, should have stayed home. By his very nature, Dorian is a supporting character that never changes. They aren’t missed when absent but Penny Dreadful uses him and Lily to shoehorn in some kind of modern feminism vengeance that goes nowhere fast with repetitive, ad nauseam speeches. Whether it is justified man hate or not, the appearance of Jessica Barden (The End of the F***ing World) as Justine perhaps a la the de Sade wastes time with back alley torture, nudity, and bloody threesomes. The warped justice is all over the place with even less to do Dorian getting stabbed for funsies before he gets bored from having seen such depravity already. Episodes grind to a halt with their round and round male behavior psychoanalysis, briefly tossing in suffragettes and violence that makes them just as bad as the abusers from who they claim to rescue women. Penny Dreadful has done better psychosexual themes, and compared to Caliban’s soul searching, Lily realizes her humanity too late in one great soliloquy that should happened the moment she was reborn, and Ethan never finds out Brona has been resurrected!!!!

Harry Treadaway’s junkie Victor Frankenstein becomes a mopey little piss ant bent on proving his superior science can conquer death, and he arrogantly thinks he can perfect on Jekyll’s methods. Maybe there’s a parallel between his wanting to create angels instead of monsters and Lily’s superior woman army, but their uneven storylines barely intersect beyond a few redundant stalker scenes and never factor into other plots. Victor goes about getting Lily back in the worst way possible, becoming like his originally angry Creature in a fitting poetic justice. He’s deluded in thinking Lily owes him anything, and it should be a great destructive character arc. However, rather than having him freaking call on Vanessa while they are both in London twiddling their thumbs, Penny Dreadful treats Frankenstein as an afterthought before one last lesson on how to be a human rather than the monster. One poetic voiceover from Victor such as, “Sir Malcolm, I hesitate to confess it now, but I must inform you I have a singular talent for defeating death as we know it…” could have ended Penny Dreadful in a uniquely twisted vein. Sadder still is that Shazad Latif (Mi-5) as Dr. Jekyll somehow turns into a handing Victor the scalpel lackey. He has history with Dr. F. – roommates and dare I say something more – and faces much “half breed” Victorian racism. Jekyll despises his white father but wants his acclaim and title to help prove his serum on anger and duality. Simply put, there is no way he was intended as a throwaway character and we deserved to know him more. Although scheduling conflicts necessitated the departure of Simon Russell Beale as Mr. Lyle, his being written off as going on assignment to Egypt just begs to be told! Did everyone forget all the prophecies on Amunet and Lucifer or the hieroglyphics carved onto the vampire bodies? Of all the friends still about London who never bother to visit, it’s Lyle who draws Vanessa out and into therapy because thanks to his closeted sexuality, he understands what it is like to be unique and alone. Of course, he might have mentioned Perdita Weeks’ (The Tudors) thanatologist Catriona Hartdegen when they were studying all that Fallen Angel and Mother of Evil stuff. She’s a woman of occult science fencing and wearing pants who doesn’t blink at the thought of Dracula being in London. Her one on one scenes with Vanessa are well done with possible replacement or lover vibes, “It’s ‘Cat’ for you, as in cat o’ nine tails.’” Wink! She calls Malcolm “Sir M” and I would have liked to see more of them together, but Catriona’s style provides a steampunk cum The Time Machine and albeit meaningless potential. Her cool fighting skills are ultimately convenient and inexplicable – if we weren’t going to learn more then all these superfluous characters should have never been introduced.

We are however given some divine new characters with Patti LuPone returning to Penny Dreadful as Dr. Florence Seward – an alienist said to have distant Clayton ancestry due to her resemblance to LuPone’s previous cut-wife role. Though rigid and progressive, Seward is there to heal the ill, who aren’t bad or unworthy, just ill. She calls out every politeness or mannerism, pegging Vanessa’s loss, isolation, and depression in delicious two-hander scenes with award worthy dialogue and delivery. A moving session recounting Vanessa’s tale, however, makes the doctor strike up a cigarette. She refuses to believe the paranormal causes or that vampires are after her patient, but she does understand pain and has some murderous history of her own. Samuel Barnett’s (Dirk Gently’s Holistic Detective Agency) seemingly innocent Renfield is Dr. Seward’s secretary, but his red light district cruising leads to bloody encounters and insect snacks. Where Penny Dreadful initially had to dance around the Stoker limitations, these superb character interpretations deserved more than this season’s rushed attention. Christian Camargo (Dexter) as zoologist and charming widower Alexander Sweet is a man smitten using rapid fire science references to woo Vanessa, but his reveal as Dracula is too darn early. This romance seemed so happy and Sweet is almost empathetic, but evil lurks in the House of Mirrors of all places! He doesn’t want Vanessa’s submission, just to be seduced by she, the Mother of Evil and serve her. Sadly, unraveling toppers instead go unresolved. After admitting he was directly responsible for Mina’s demise and all of Season One, Penny Dreadful lets Dracula exit stage right and we aren’t supposed to notice? What is worth noticing are the trains, dime western action, and steampunky flair alongside our usual penny blood, gore, buzzing flies, broken necks, and bat silhouettes. The cobwebbed and boarded manor opens the windows and clears the dust as the camera focuses on the period touches – vintage motion picture cameras, spectacles, brandy decanters, nibs, and ledgers contrast the hay, canteens, wagons, saw dust, and Native American motifs. The fashions are a little more modern, but the museums, taxidermy, skeletons, and specimens in jars invoke Victorian sciences amid the carriages, cobblestone, and tolling bells. Although some CGI backgrounds are apparent with a foreground actor and fakery behind, the desert vistas, mountains, and ranch compounds create bright lighting schemes to contrast the British grays, developing a unique style like nothing else on television.

Unfortunately, with NBC’s Dracula long gone, Crimson Peak’s less than stellar box office, and Penny lost too soon, the promise of more Victorian horror and a new dark romanticism appears short-lived. Whether the cast or Logan wanted to depart or Showtime disliked the production expenses, something behind the scenes was the final nail in Penny Dreadful‘s coffin. The two hour finale burned off the last episodes yet advertising promoting the event as a season finale later backtracked with the series’ fate. More merchandising opportunities never seemed capitalized upon, and there was little award campaigning. Having had Season One available on other streaming platforms might have helped the show find more audiences, however Penny Dreadful wasn’t available on Netflix until after its cancellation in a tidy Three Season binge package. The series’ props have been auctioned off, so it appears no one shopped Penny Dreadful to any other networks. Call me a conspiracy theorist, but in late 2015 while this Third Year was filming was also when Tom Cruise swept in to take over The Mummy and start Universal’s highly anticipated but ultimately D.O.A. Dark Universe monster revival. Did somebody squash the competition? Maybe it isn’t as simple as that, but I will always be skeptical of Logan and Showtime’s he said/she said claiming that this was always how Penny Dreadful was supposed to end. With new locales and more colorful literary characters among our beloved team, why couldn’t Penny Dreadful sustain itself? Previously, one could overlook any small inconsistencies because the sophisticated scares and morose design far outweighed any negatives. This season, however, becomes a chore to continue and is best left at Episode Four. After finishing Dexter and losing interest in Homeland and Ray Donovan, we’ve canceled our Showtime subscription since Penny is no more. There were other ways to do Penny Dreadful justice than this, well, what seems like internal sabotage, but gothic viewers shouldn’t let this rushed Season Three dampen what has otherwise been a stellar and macabre program.