Chilling Chat Episode 156 Christine Verstraete

Christine (C.A.) Verstraete enjoys putting a little “scare” in her writing. She follows the murder trial and offers a twist on the infamous 1892 Borden murders in her book, Lizzie Borden, Zombie Hunter. She also looks at the murders from the viewpoint of Lizzie’s doctorC.A. Verstraete in her latest, The Haunting of Dr. Bowen. Other books include a young adult novel, GIRL Z: My Life as a Teenage Zombie, and books on dollhouse collecting and crafting. Christine’s short stories have appeared in various anthologies including: Descent Into Darkness, Happy Homicides 3: Summertime Crime, Mystery Weekly, and Timeshares, Steampunk’d, and Hot & Steamy: Tales of Steampunk Romance, DAW Books. She is an award-winning journalist published in daily to weekly newspapers, and in various magazines. Her stories have received awards from local and national newspaper associations, and the Dog Writer’s Association of America.

Christine is a smart and accomplished lady. We discussed historical horror, her writing style, and Lizzie Borden.

 

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

CV: My pleasure and thanks for taking the time to talk.

NTK: You have a background in journalism. How has this influenced your writing?

CV: It makes me more detail-oriented, I think. I’m used to looking things up and doing research.

NTK: Did this help you when writing Lizzie Borden: Zombie Hunter?

CV: I did do a lot of reading and finding research of the period. The real autopsy reports and crime scene photos actually inspired the book idea.

NTK: Wow! The autopsy photos inspired the plot?Lizzie Borden, Zombie Hunter by [Verstraete, C.A.]

CV: If you read the autopsy reports detailing the injuries and look at the photos, it’s plausible (in the horror sense) to think why else were they hit in the head? It was an awful, brutal crime, so I guess this gives a better reason than the standard hate/greed/family dysfunction/dissatisfaction.

NTK: What made you portray Lizzie as a hero?

CV: Using that [zombie] premise, I thought Lizzie had to have a good reason to kill, other than being a monster herself. What if she was trying to protect her town and her sister from this unbelievable evil?

NTK: Were you influenced by some of the historical horror novels like Abraham Lincoln: Vampire Hunter?

CV: I hadn’t read ALVH until later, but loved it! I really enjoyed the movie.

NTK: You have an interesting take on the case and an interesting “What if?” Stephen King has spoken of how he uses “What if?” when thinking of an idea. Is that how you write? Do you look at a situation and say, “What if this happened?”

CV: I wish I was as prolific-thinking as him! My ideas seem to come out of nowhere, then I stew on them a bit and see what they develop into. I have to get excited about the idea to stick with it.

I guess I’m so structured in news-writing that fiction is looser—in the idea stage, anyway.

NTK: Your style is very crisp and direct. What writers have influenced you?

CV: It’s probably the news background. I know I don’t like reading or writing, long, meandering sentences. I loved reading Royko in The Chicago Tribune. Grew up on King who, of course, can be rather wordy at times. (Laughs) I went through different periods of loving different authors, classic and contemporary—Dean Koontz, Heinlein, loved Saul Bellow too.

NTK: I have to ask. Who do you prefer? King or Koontz?

CV: Probably King, as I’ve probably read more from him. I loved that he did a sequel to The Shining (and it did well.) The recent It movie was fun too.

NTK: Did King get you into horror?

CV: Well, I grew up on Creature Features on TV, the Crypt Keeper, Night Gallery, and reading King. (Laughs) Salem’s Lot is a favorite I still like to reread now and then. I just picked up a copy of Carrie to read again after many, many years.

NTK: Are these your favorite horror novels? What are your favorite Horror TV shows and movies?

CV: The TVs shows, I just mentioned are favorites.

NTK: Do you watch The Walking Dead?

CV: Yes—when I can. It’s addicting! [As to books] I also really liked reading I Am Legend and plan on reading Matheson’s other books. It’s writing that makes you savor the sentences. I love old creepy movies, even the corny ones—and, anything with Vincent Price!

NTK: Vincent Price starred in many historical pieces. Is that what got you interested in that type of horror?

CV: Most likely. He had that mesmerizing voice. I also liked Edgar Allan Poe. I still remember seeing The Tell-Tale Heart at the theater. One scary movie!

The older movies really got me hooked, classics like Dracula, Frankenstein, and Bride of Frankenstein. And, The Wolfman of course.

I guess after all that; it made sense that I finally turned to writing creepy stuff!

NTK: What’s your favorite Edgar Allan Poe story or poem?

CV: The Tell-Tale Heart. I recently re-read The Black Cat, also very eerie and still packs a punch. Maybe, that’s why I like putting a little twist in stories, like I did in Lizzie Borden: Zombie Hunter and, the sequel, Lizzie Borden, Zombie Hunter 2: The Axe Will Fall.Lizzie Borden, Zombie Hunter 2: The Axe Will Fall by [Verstraete, C.A.]

NTK: You write creepy things. Do you also create creepy things? You make miniatures. Have you ever built a haunted dollhouse?

CV: (Laughs) Yes, I’m that twisted. I do enjoy creating Halloween miniatures. I had fun doing my first Halloween dollhouse and thinking how creepy I could get. Far as I know, nothing has moved of its own accord in there…yet. I am planning another haunted house but less gory this time.

NTK: Cool! You spoke of Lizzie Borden and the sequel. Do you have other work concerning Lizzie and her time period?

CV: There’s also a companion novella, The Haunting of Dr. Bowen, told from the viewpoint of Lizzie’s doctor and neighbor. He was the first official on the murder scene, and I wondered how could that, and the city’s bloody past, have affected him? It’s kind of a ghostly love story as well. I wanted to try something different and had fun writing it.

NTK: What does the future hold for you? Do you have plans for new work?

CV: Oh, the mind never rests, you know. (Laughs) I have a longer short story that I may re-edit and put out again. I was toying with some ideas for book 3 for Lizzie. I love writing about the characters.

The first book, Lizzie Borden, Zombie Hunter, follows the trial and real-life events with the addition of zombies, of course. I had to follow more fictional events in the sequel to continue the story, but I liked coming up with a new weird angle to the story.

A big thrill was [when] the newspaper in Lizzie’s hometown did a story on the book when it first came out. That was fun.

NTK: Do you think the Lizzie in your universe is cursed?

CV: She’s fighting evil and learning that her father may have been part of that evil…you can’t get more cursed than that. That could be why she feels obligated to do what she can, even when everyone blames her for the horrors. Much like in real life, she was acquitted but still treated as a pariah and considered guilty.

NTK: As you know, Season 13 of HorrorAddicts is CURSED! Do you have a favorite curse? If so, what is it?

CV: I do love the old gypsy curse in the classic Wolfman movie…Larry Talbot’s a monster, but you can’t help but feel his pain and feel sorry for him until the curse is broken…

NTK: That’s a terrific curse. Thank you, Christine. I’ve really enjoyed chatting with you.

CV: I’ve enjoyed chatting with you. Thank you.

Addicts, you can follow Christine on Twitter at @caverstraete

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Kbatz: Lizzie Borden Took an Ax

Frightening Flix

 

Fun Performances Make Lizzie Borden Took an Ax

by Kristin Battestella

 

We all know the song, and though campy, the 2014 Lifetime Original Movie Lizzie Borden Took an Ax utilizes juicy performances to flesh out the murderous ambiguity and did she or didn’t she 1892 courtroom drama.

Christina Ricci (The Addams Family) stars as Lizzie Borden, sister to Emma (Clea DuVall) and daughter of the soon to be bludgeoned Andrew Borden (Stephen McHattie). A messy barn, biting of luscious fruits, and Victorian white undies imply an underlying saucy to the spinster somber and silent dinners – tea time and full skirts make this largely a women’s world with the occasional, overbearing, intrusive man. Fortunately, hatchets are afoot in surreal visions, violent inserts, and murderous dreams, toying with our unreliable narrator and the muddled timeline in a self-aware, campy tone. Talk of previous crimes, grudges, and disgruntled encounters lay more motive drama to Lizzie Borden Took an Ax, rendering the modern, intrusive edge with obvious fake outs or teases unnecessary. Though not super gory, the splatter bash and killer crunch a half hour in do better than any trying to be hip approach. This case is both well documented and a logistical mess, which allows artistic liberties and sensational embellishments on the crowded crime scene, town gossip, erroneous reports, and faulty investigation. Press hysteria and exhumed bodies may seem like standard detective plotting, but period accents and Victorian protocol add to the evidence variables and questionable bloody dresses. Despite staying mostly with Lizzie’s questionable point of view, Lizzie Borden Took an Ax admits its stance via legal briefings and police discussions intercutting possible whack scenarios for a somewhat coherent frame on the what did or did not happen crimes. Debates on the unbelievable possibility of a woman committing such violence counters the scary white male jury versus little miss demure defense, and witness testimonies cast doubt on interrogations suggesting sociopath Lizzie did the the deed. However, Lizzie Borden Took An Ax does have some faulty framework – ye olde timestamps onscreen would have helped tremendously and historical conjecture is used as an excuse to waver between cool criminal warped and serious horror drama. Thankfully, this case’s moving fast topsy turvy doesn’t give us time to inspect the details, and not seeing the killings outright allows for hearsay, jury tours of the crime scene, and a slow horror reveal for the finale.

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Christina Ricci’s Lizzie Borden is “a loner, Dottie. A rebel.” She gets up from the table without being excused, ditches the ironing if she can’t hum while she works, and otherwise spies, lies, steals, or worse. After all, she’s only a Sunday School teacher on Sundays! Lizzie looks at herself naked in the mirror and wants to go to a party at night without an escort – such not a little girl anymore behaviors imply more than just the bucking of Victorian attitudes when Lizzie gets more up close to her father than her cordial but prudish, dead woman walking stepmother. She clings to her dad, saying he wants her to stay with him forever and loves when she calls him handsome, but questions his suspicious sweat when she hugs him. Lizzie vows that she will neither be a wife nor a spinster, adding lesbian innuendo on top of the implied abuses or incest. How long has she been planning to kill? Lizzie Borden Took an Ax suggests a long gestating preparation with Lizzie’s calculated crime scene reaction, careful glances, and a practiced playing to the tears. Lizzie holds up a little too well for the horror that has happened and is more concerned with how polite the police are or how happy she will be to live alone with her sister – almost blissfully unaware of the attributed crimes. These deaths feel premeditated and well orchestrated, yet crazy cracks show once Lizzie faces some tough interrogations. She changes her tune and professes her innocence while dreaming about the killings and resorting to fainting and sensational courtroom antics. We feel she is faking and she says her mind is clear, yet the jury can’t tell either way. Despite the misplaced attempt Lizzie Borden Took an Ax takes with original girl power, button up cool facade, and hip badass style, Ricci creates a wild-eyed, slick transparency, and likable, scene chewing performance. Lizzie is a narcissist liar in action stifled by the courtroom and confused when she doesn’t get her own way, and Ricci clearly has fun with the party-throwing, attention seeking, and ultimately infamous heiress.

In contrast to bad girl Lizzie, Clea DuVall (Carnivale) as the elder Borden sister Emma is quiet and unassuming. Lizzie Borden Took an Ax briefly suspects her and throws shade her way, but Emma is said to be out of the house helping others when the titular slice and dice happens. Unfortunately, she soon doubts Lizzie’s account and comes to live in fear of what her sister may be capable of doing. Lizzie thinks they will be content forevermore in a new home at the top of high society, but Emma realizes her sister is utterly demented and locks her bedroom door at night to avoid Lizzie’s violent threats. She doesn’t like lawyers visiting the house or so many seemingly unneeded males entering their little world – again, whether it is possible abuses or implied feminine preference, Emma seems somewhat small or shy when it comes to men. Though not the fault of the cast, those men in Lizzie Borden Took an Ax are generally styled as inferior to the ladies parade or backhanded to the little women. We don’t have enough time with Stephen McHattie (Emily of New Moon) as the gruff and subsequently late Andrew Borden, yet his hands on innuendo as a potential reason for the crime is felt in those uncomfortable scenes with Lizzie. Billy Campbell (The 4400) as lawyer Andrew Jennings, however, provides Lizzie Borden Took an Ax with the cold facts – a realistic if circumstantial perspective of the situation for the audience compared to Lizzie’s loon and swoon. Gregg Henry (Hell on Wheels) as prosecutor Hosea Knowlton also provides fine legalese, not admissible battles, and harsh interrogations. At times, the media judgments and sensational her word against theirs back and forth feels like a contemporary courtroom drama. However, this famous case was modern, the OJ or MJ trials of its day, and the support here keeps the case grounded, balancing the over the top fun of Lizzie herself.

 

The carriages, period interiors, wallpapers, fine woodwork, and Victorian attention to detail also bring the stifling, rugged ye olde of Lizzie Borden Took an Ax to life. Bustles, gloves, feathers, fancy linens, and vintage lamps add upscale alongside mourning fashions and a visual air of sophistication. Despite congested house crimes, Lizzie Borden Took an Ax is well lit with bonus onscreen photography and old camera fun. Arrests and an overnight asylum whiff suggest the deplorable conditions for women against the system of the era, but swift cuts and artistic side shots keep the nudity ironically demure. Although some of the bright clothing, colorful accents, and modern fashion cuts feel slightly too contemporary as if the Lifetime millennial audience wouldn’t watch anything too steeped in total historic design, the neckties, cute hats, and shopping scenes are pleasant, subtle ways to update the period without being super intrusive. Unfortunately, I cannot say the same for the modern musical score used in Lizzie Borden Took an Ax. Perhaps some instrumental rock edgy rhythms from Tree Adams (Californication) could have embellished choice scenes, but Southern Rock lyrics are as out of place as the slow motion musical interlude transition scenes are unnecessary. Are such tunes fitting for a gritty western? Sure – but a winking Victorian crime drama about a lady killer? No. This kind of extra try hard is what ultimately leaves Lizzie Borden Took An Ax feeling rough around the edges with no thorough thinking. We’re never going to have a satisfactory definitive on the case so having fun with the yay or nay is forgivable, even expected. However, it’s odd that this ninety minute telling of the story in its entirety retroactively becomes the backdoor pilot for the follow up The Lizzie Borden Chronicles. Had there been a better plotted progression, Lizzie Borden Took an Ax could have been all about the backstory potboiler leading up to the wielding with the 2015 series left to pull out all the courtroom stops. Instead, Lizzie Borden Took an Ax merely ends with a hammy tie to the jump rope rhyme – because, come on, we all knew it was coming.

Lizzie Borden Took an Ax takes liberties with the eponymous case and can be confusing or inaccurate at times thanks to modern music, contemporary shoehorns, and a faulty need to be cool. The undecided nature of the story plays at both horror serious and Victorian sensationalism, and the presentation could have been a much tighter thriller. Fortunately, the entertaining performances and campy hatchet-work make for enough water cooler did she or didn’t she and yell at the screen debates.

 

Kbatz: Lizzie Borden Chronicles

Frightening Flix

 

The Lizzie Borden Chronicles Overstays Its Welcome

by Kristin Battestella

 

Following the 2014 Lizzie Borden Took an Ax Lifetime television movie, Christina Ricci and Clea DuVall reprise their roles as the acquitted murderess and her homely sister for eight episodes of the 2015 The Lizzie Borden Chronicles. Four months after her infamous trial, Lizzie and Emma find returning to the quiet life in Fall River difficult now that Pinkerton Charlie Siringo (Cole Hauser) is investigating the suspicious violence always following in Lizzie’s wake…

The rhyme is made ye old for the “Acts of Borden” premiere of The Lizzie Borden Chronicles while prim ladies giving Lizzie dirty looks, kids spying through the window, slow motion jump rope, and surreal ax blows remind us of the previous forty whacks– as if we have forgotten so soon. The sisters are still wrangling with their late father’s debtors, but herky jerky camerawork and seizure-inducing montages immediately try for audience cool with intrusive contemporary music to match. The Lizzie Borden Chronicles goes for grit via fast action, on the move dialogue, and flashes of crimes past and present with every blink. This is also a reset, with The Lizzie Borden Chronicles placed before the end scenes of Lizzie Borden Took an Ax, adding an initial confusion amid unnecessary music transitions and blaring rifts. I love westerns – cowboys really need to make a comeback – however The Lizzie Borden Chronicles inexplicably attempts to be Deadwood instead of Penny Dreadful. There is no build upon the innate character creepy and precious few still moments between the sisters, but a Borden brother drops by and there’s Victorian pornography. Our Pinkerton doesn’t feel the open and shut cases in “Patron of the Arts” are resolved when every murder always benefits “thee” Lizzie Borden, who’s visiting the New York theatre as more music montages combine the high society parties, dead bodies, and alleyway rescues before another investigation montage. The Lizzie Borden Chronicles plays at girl power or lesbian teases as our titular spitfire smiles over her teacup, charms women, and kills big bad men. Putting the acquitted and her new Pinkerton adversary face to face should be a wonderful battle of wills, but the sloppy angles and distracting camera interferes, rushing any good conversation in favor of the next kill of the week music video. Characters may endeavor to move on, but the attempted scandalous drama always returns to repetitive kills, pointless boudoir photos, and jarring rock music.

 

While the first two episodes set the series off on the wrong foot, director Russell Mulchay (Highlander) adds the potential for cinematic suspense in “Flowers.” The camera should never call attention to itself or a cause lack of immersion – especially in a period piece. Here, however, the camera stays still for a conversation, letting the shrewd fully build alongside creepy coffins and pimps. Viewers are able to follow the story, spend time with characters, and revel in consequences from the past and more twists to come. We know certain players are on borrowed time, so stewing in Lizzie’s wrath is more fun than a fast whack or two. There are still noticeable zooms, but the movement matches the tense one on one scenes. The Lizzie Borden Chronicles is divided into four blocks with directors doing two episodes each amid five show writers. Such a limited series with so few players should have been more tightly focused with one director and one writer. Instead, this short attention span design is too on the nose with an in your face hip trying to avoid some dreaded period piece yawn. The sociopathic camp is creepy enough in “Welcome to Maplecroft.” Who wants to wake up with Lizzie at the foot of your bed offering you a breakfast scone? Nope! The abundance of neat crimes in Fall River are the perfect way to assure nothing is suspected – but Lizzie is too neat, buying up all the neighboring properties via a generous sale or other, accidental means. The audience has to enjoy the systematic way everyone around the Bordens drops like flies, because having the townsfolk unable to follow the trail back to her is insulting otherwise. Blackmailing thugs are right to fear any “ax of Borden” retributions, and high and low conflicts make the supporting players more interesting – The Lizzie Borden Chronicles might have been neat from the Fall River perspective. Fortunately, the twisted drama unfolds naturally, with firm threats unfettered by intruding rock this episode. Background saloon music, tender strings accenting a romance – The Lizzie Borden Chronicles needed music that would invoke the setting, emotions, and vengeance. Chases about the ominous dark house, gunshots, and clock chimes build suspense, and scenes with interplay rather than camera flair do best.

Convenient falling down the stairs mishaps in “Cold Storage” lead to arrests, inquests, self defense claims, and speculative testimony. Naturally, audiences can’t complain about the accuracy of The Lizzie Borden Chronicles as it obviously diverges from history and never professed to be anything but sensational. So-called rough interrogations, however, are weak – character back stories and blackmailing the good catholic over his not so devout proclivities are much more delicious. Unfortunately, the drama is revealingly thin without the busy camera, music montages, and choppy editing. The meaty scenes with the main cast are best, but such moments are too brief to sustain the entire forty minutes. Viewers expecting macabre instead of melodramatic affairs will be disappointed – even the killer twists become routine, and with such transparency, The Lizzie Borden Chronicles might have done better as half hour webisodes. After all, it isn’t a persecution complex when Lizzie really has orchestrated this death tally in “Fugitive Kind.” Swift trials leave little time for prosecution tension – the courtroom consequences are over before the title card – but seeing pathological liar Lizzie swearing to tell the truth on the witness stand is a winking irony. Sadly, important scenes seem left on the cutting room floor, and critical information is dropped in quick throwaways, leaving the viewer to question what just happen or presume the details – a very slip shod way to tell a story. Despite ditching the wham bam music video format, the pace drags with who’s on who’s side or which guy is beating up the other guy this week filler. Jealously, murderous plotting gone awry, and the reaction on Lizzie’s face are better than such back and forth, but the writing on The Lizzie Borden Chronicles really doesn’t give the cast a chance to bring it. Brief confrontations can’t be fully appreciated because Lizzie makes anyone who sees her for what she really is disappear in an episode or less. Besides, it’s no fun when she pays thugs to off her intended in dark, chaotic scenes rather than her own DIY.

 

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Kids daring to ring the doorbell and covered furniture add a spooky whiff to “The Sisters Grimke,” but it is awfully late in the game for The Lizzie Borden Chronicles to switch from Massachusetts to Maine and Nevada with boys will be boys rock outs, unassuming school teacher disguises, and resetting cowboy vendettas. We’re just getting into psychosis reasonings now? Reporters in the middle of nowhere want headlines but where were the yellow journalism muckrakers when the heads were rolling in Fall River? Chopped up bodies, catatonics, institutions – we know murders about campus and electroshock therapy are coming and the disturbing hospital horrors are good. Unfortunately, leap frogging the times and places compromises the development of the series regulars, and The Lizzie Borden Chronicles tacks on Tom Horn and Bat Masterson in some kind of Lizzie Goes West potluck. The Lizzie Borden Chronicles suffers from the same structural problems as its precursor film with little rhyme or reason to its presentation. Again, why not space out the Fall River aftermath, New York actress mayhem, alias move and institution, and Pinkerton investigations in four more telemovies? This series gets off to a very rocky start, provides some suspense potential in its middle, but devolves with another move to Boston in the “Capsize” finale. Recovering from shock therapy and turn of the century traveling move fast amid madhouses run amok, slo-mo shootouts, Irish mob families, Russian roulette, gunslingers, and gangsters. Say what?

Lizzie Borden – who prefers “former Sunday School Teacher” to “ax killer” – knows how to solve problems and enjoys intimating children claiming they are not afraid of her. While Lizzie says she’s glad to be a grown woman on her own with no intention of having a husband, she’ll flirt and seduce for her murderous gains. Lizzie won’t sleep with a guy and further tarnish her reputation, but she’ll bludgeon him hot diggity! From buying a new mansion after eliminating her creditors to playing dress up with a rescued hooker she treats like a pet, Lizzie loves pleasing herself on the party scene. Girl kisses happen fast on The Lizzie Borden Chronicles as well, with Lizzie ready to pounce on her latest BFF in the dressing room so long as it suits her agenda. Although I wish The Lizzie Borden Chronicles had maintained the nude or scantily clad killing theories and going to bathe or naughty whatnot after the thrill, Lizzie commits a lot of bloody acts in some pretty expensive, fashionable clothes. Despite her finery, she’s apathetic and casual, unfettered by the violence she causes. After telling her lies so many times, Lizzie genuinely believes she is not a monster. Ironically, we like Lizzie – Ricci looks the cute but crazy look and viewers know to take all she says with a heap of salt. This could have been a truly fun performance, but Ricci doesn’t seem onscreen very much save for the same act three death strokes each week. Modern dialogue makes Lizzie’s threats feel invalid, and blurry focusing with rock music punctuation is unnecessary. After all, what’s the point of The Lizzie Borden Chronicles if we can’t see all her killer camp?

 

Unable to revel in their infamy, Clea DuVall’s Emma Borden reads aloud for fun and calls what happened to her younger sister “The Unpleasantness.” She tries to do her church going Christian best to see the good in everyone but distrusts their wayward brother and can’t understand why Lizzie enjoys being the star of her own little circus. Emma is aware their family seems marked by tragedy, but rather than having room to become the audience’s moral center, it’s again odd that The Lizzie Borden Chronicles takes places before the coda of the film – confusing the sisters’ timeline and erasing Emma’s subsequent knowledge about Lizzie’s killings. This backtrack dumbs Emma down, going from a woman who leaves her sister alone to one dreaming of having her own husband and happy to have any romantic prospect. Unfortunately, she can’t escape all the skeletons in her closet – wink – and such macabre scandals are forgotten, left unexplained, or throwaway used in as needed contrivances instead of steering any actual character development. Emma’s frumpy, meek style is also more to visually contrast with flashy Lizzie than show personality, and quiet conversations about Emma raising Lizzie are more interesting. She can’t exactly be proud of the woman her sister has become or move on with her life and leave Lizzie alone. Emma tries to vindicate Lizzie and get to the bottom of the violence in their lives, but those answers won’t be coming any time soon. Ultimately, she can’t be bothered to hide her feelings – it’s tough to be an upstanding woman when Lizzie Borden is your sister! However, I’m unsure how The Lizzie Borden Chronicles would have continued with Emma if there had been a second season. Nor I think did they after backing either an unwanted character into a corner or rightfully loving Clea and trying to give her more if silly storylines.

There’s no doubt we need more Pinkerton dramas. However, the inclusion of Cole Hauser (Rogue) as the unwelcome real life bounty hunter Charlie Siringo with his free rein badge shooting people and asking questions later sends mixed signals on The Lizzie Borden Chronicles. He’s hired to review the Borden case, but locals are reluctant to go back to the infamous past. Siringo sees through Lizzie’s current crimes, but politically minded officials give him an uphill legal battle. While tension between Siringo and recurring ladies and twists on why he is in Fall River add depth, he seems too invested in persecuting Lizzie – to the point that we know almost nothing else about this wild historical figure. Siringo’s rough past is told rather than seen with no careful battle of wills or accumulation of evidence, and The Lizzie Borden Chronicles resorts to extreme outlaws, shootouts, and half cocked attacks to bring down the character. Numerous guests should have stuck around longer on The Lizzie Borden Chronicles as well, including rival businessman James Heard (Home Alone) and Andrew Howard (Bates Motel) as disowned brother William Borden. Unfortunately even the supporting cast appearing in six or more episodes serve as little more than their stereotypes, such as hustler Bradley Stryker (iZombie), nasty doctor Ronan Vibert (Jonathan Strange & Mr. Norell), abusive hotel owner John Ralston (Flash Gordon), and former friend to Lizzie Olivia Llewellyn (Penny Dreadful). Not that the Bordens bode well for friendly officer Dylan Taylor (Copper), Nance O’Neil based actress Jessy Schram (Nashville), and mobster matron Michelle Fairley (Game of Thrones) either.

 

Fortunately, the gloves and muffs add a refined, little lady would never kill vein alongside hats, parasols, feathers, lace, and puffy sleeves invoking fine ladies silhouettes. Lanterns and candlelight create a golden patina, however the camera never stays still long enough to steep in the atmospheric attention to detail, making The Lizzie Borden Chronicles feel nondescript despite being a period show. Brief focuses on cursive writing will be tough for millennials, and the editing moves blink and you miss it fast over the shock reveals, skeleton accents, and dead babies. Zooms and hectic handicam photography almost feel like a deliberate covering up the cut production corners technique. Pull back so viewers can see the autumn leaves, snow on the ground, Victorian carriages, and architectural facades. Thanks to either cheapness or television ratings, there’s only mild splatter and brief gruesomes, and The Lizzie Borden Chronicles name drops Bleak House and Sherlock Holmes instead, hitting home the currently renowned then-entertainment as if the audience can’t be trusted to like the turn of the last century. Again, especially now having seen the series, Lizzie Borden Took an Ax should have been the household up to the forty whacks with The Lizzie Borden Chronicles recounting the courtroom aftermath and any manor of Victorian horror, mysticism, or Massachusetts witches with homicidal Lizzie at the center of it all.

While bemusing for a drinking game, weekend marathon, or fans of the cast, The Lizzie Borden Chronicles never lives up to its potential and fails to provide a coherent, binge worthy plot. The first episode of The Lizzie Borden Chronicles is faulty, and the series grows a little too preposterous with fast conveniences and weekly guests becoming just another notch on Lizzie’s ax handle. Despite a fun predecessor and the charming Christina Ricci, The Lizzie Borden Chronicles retains the haphazard flaws from Lizzie Borden Took an Ax, snowballing into an all over the place one trick pony used eight times too many.