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.

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Classic Horror Summer Reading – A Video Recommendation

 

Hello, Horror Addicts! Kristin Battestella aka Kbatz here again on video, braving the sunshine poolside to chat about why you should be revisiting some Classic Horror Reads this Summer!

 

Press play for some thoughts on Dracula, Anne Rice, Shakespeare, Stephen King, The Bronte Sisters, and more!

Don’t forget you can be part of the conversation – By Horror Addicts, for Horror Addicts! – on our Facebook Group. Tell us what kind of videos, media, and Horror coverage you’d like to see and what scary stories you’re reading!

Author Interviews at The Mount Holly Book Fair Part 1

Vampires, Magic, and Steampunk!

 

Kristin Battestella aka Kbatz was on the windy scene April 29, 2018 at the Mount Holly Book Fair to interview several Local Horror Authors…

 

Author Brian McKinley chats about his Ancient Blood series, vampires past and present, psychological horror, thrillers, Hitchcock, and zombies. For more visit http://www.brianmckinleyauthor.com/

 

 

Author Char Webster talks about her Gifted Series and The Runes Universe, paranormal, magic powers, and marketing. For more visit http://www.charwebsterauthor.com/

 

 

Author Christine Norris talks about her Athena series, Middle Grade Fantasy, mythology, Young Adult versus New Adult, Magic, and Steampunk. For more visit https://www.facebook.com/AuthorChristineNorris

 

Special Thanks to the Mill Race Arts & Preservation for hosting The Mount Holly Book Fair.

 

Stayed tuned to HorrorAddicts.net for more Author Interviews and let us know what kind of video/media content you would like to see!

Chilling Chat Episode 151: Tara Vanflower

 

taraTara Vanflower is a vocalist whose music has been described as ambient, experimental, and darkwave.

In October 1994 she became a vocalist for darkwave outfit Lycia. She married fellow band member Mike VanPortfleet.
Her debut solo album, This Womb Like Liquid Honey, was released in 1999. This was followed in 2005 with My Little Fire-Filled Heart.

Vanflower appeared on the Type O Negative song “Halloween in Heaven,” off their 2007 album, Dead Again.

She has also appeared with side projects Black Happy Day with Timothy Renner, Secondary Nerve with Daniele Serra and numerous collaborations including Oneiroid Psychosis, Numina, The Unquiet Void, Falling You, and Methadrone. The majority of her creative energy is spent these days writing. She has released Lives of Ilya and Violent Violet Part One and Two and will continue the Violet Series with several installments in the future as well as several other series that are still unfinished.

Tara is a fascinating woman and was kind enough to sit down me recently. We discussed the past, her writing, relatable fears, vampires, and her favorite curse.

NTK: Hello, Tara, thank you for chatting with me today.

TVF: Thank YOU!

NTK: You have a background in music. Do you feel it inspires your writing?

TVF: Yes. Though I also think that writing has inspired music. When I work with Lycia, I am generally given a piece of music to write to, so sometimes the music itself inspires the lyrics. But when I do solo music a lot of times, I take something I’ve written and build the sound around that.

I will say, other people’s music is an integral part of my writing though. I generally have a soundtrack of music in my head that sets a mood within the story.

NTK: What band do you listen to the most?

TVF: Wow, as of late I would say Chelsea Wolfe and Soft Kill. I listen to Drab Majesty and Black Mare as well. A lot of the music that inspires me is played by the same bands I’ve been listening to for decades now.

NTK: Did music get you interested in horror?

TVF: Not really. As a child, for some reason, my parents let me watch stuff on television that I probably shouldn’t have been watching so young…seeing as how it scared me a lot! But, I was always drawn to the old vampire films and The Omen…scared me to death but I was drawn to it.

NTK: Is The Omen your favorite horror movie? If not, what is?

TVF: I had a lot of detailed dreams when I was young about the apocalypse. I can still see some of the images in my head when I think about them. So, The Omen REALLY scared me. It’s definitely one of my favorite films. But, my all-time favorite movie is The Shining. Everything about that movie is perfect to me.

NTK: Is it the dream-like quality of The Shining which attracts you?

TVF: I love that aspect of it. I also love the lighting, the score, the absolute desolation. My favorite scene in the film is where Wendy finds Jack’s manuscript…pages and pages and pages of the same line over and over and over…and you realize right then he had been gone for a very, very long time. To me, that notion is absolutely terrifying. That this whole time she thinks he’s been more or less normal but THAT was going on behind her back. For me, one of the scariest things is the idea of losing touch with reality. It’s probably why I suffer from anxiety so much. (laughs)

NTK: You’ve spoken of your fears regarding writing and have said, “I rarely talk in detail about my editing because, truthfully, I’m insecure about it. Music I know and I’m comfortable with, for the most part. Writing? It’s like opening a diary. I am always fearful of people drawing conclusions and assuming things about what’s in the story. It’s hard to let go. It’s hard to put yourself out there to be cut down.” This statement resonates. It’s like Jack’s typewritten pages in The Shining. His writing bares all. How do you use your fear and anxiety to frighten others?

TVF: That is all something I really struggle with and it’s hard because I have a pretty supportive base for my music. So, venturing off into writing has been scary, but also rewarding obviously. I think there’s a lot of moments in my books where the characters have to confront things about themselves, their situations, etc., that most of us either get to avoid or are forced to deal with and do so poorly. I think I write a lot of my own insecurities into characters (fear of death, getting older, physical insecurities, etc.) probably as a way to deal with it myself. I don’t know if I’m scaring others or scaring myself! Most of my horror, I would say, is almost more internal. That whole, “losing touch with reality,” thing I mentioned earlier…afraid you’re going to lose yourself and never come back from it. I also have moments where actual monsters are confronted, but I think the characters’ bigger horror moments involve confronting their own fears and realities. There are moments in a couple stories I actually went through, though amplified. I hope people relate to those types of fears.

NTK: Speaking of relatable fears, what’s your favorite horror television show and what’s your favorite horror novel?

TVF: Oh man, my favorite horror novel? Is it too cheesy to say I really just like dorky vampire books? (laughs) I just love it. I don’t care if it’s “good” writing or bad. Same for films. I’ll literally watch anything vampire related and find something enjoyable about it. As for good horror shows, I really enjoyed The Leftovers, which to me is horror. I like Carnivale a lot. I don’t know, to me, “horror” is a bit like being detached from reality rather than blood and gore and such. The Walking Dead, for example, was great but has gotten…um…not as great the past few seasons.

NTK: Are vampires your favorite monsters? Do you admire the way they deal with the types of fear you’ve spoken of?

TVF: Vampires are definitely my favorite monster and have been since I was pretty little. I guess because I’ve always had a fear of time passing.  I can remember being very small and sitting in my bedroom thinking about how everyone was getting older and going to die, and I made myself cry. Geez, cheery little kid. But for me, vampires have always represented absolute power. No fear of death. No health problems. Control of their environment. I’ve always sort of been jealous of that, I guess, because those are my biggest fears. I’ve always seen them as more of a sympathetic character, at least a lot of them. Some of the ways they’re portrayed are obviously more “evil” and less “human,” but I’ve always preferred the more human vampires, at least those are the kind I identify with. I envy their power and timelessness but also see the angst all that would cause, which I also relate to being the Gloomy Gus I am.

NTK: Do you bring “human” quality to the vampires you write about?

TVF: I do. To me, it’s just more interesting trying to figure out how a being with limitless time and a whole lot of power would deal with the same sort of human emotions and frailties we have. They have to have the same questions…why am I here, what is my purpose, where do I belong, etc., and to me, it’s interesting thinking about that. What would a being think who has killed countless humans, seen more years than any human gets to see—how would they react to change? What would be new or surprising to them? It’s all fascinating to me. A being that’s jaded and yet still discovering something new through someone else’s eyes unexpectedly. It’s all interesting. Of course, they would have the same types of existential questions humans have. Or, they would be deluded that they are all powerful. Or, varying degrees of both. It’s interesting to consider it all. I try really hard to make my characters react like people actually react. I try to put myself in their shoes and react the way which seems logical and natural to them.

NTK: Essentially, you’re creating a vampire philosophy. So many people ignore that aspect when creating vampire characters. I have to ask—what did you think of Twilight?

TVF: What did I think of Twilight? (laughs) Well, I actually read the books and thought they were entertaining enough. There are many holes and aspects that are illogical and cheesy to me, however, they were “fun.” The movies are great cheese! And, anytime I’m surfing the channels and they’re on, I stop if I can. Do I take it seriously? No, but I applaud Stephenie Meyer for doing her thing and getting hers. The bottom line is, I’m not one of those snobs that has to only like things that are “cool.” So, I can appreciate all levels of awesomeness, from Only Lovers Left Alive to Twilight.

NTK: You have a real appreciation for vampires. Let’s talk about some of your own. Earlier, you spoke of dreams. Violent Violet came from a dream. Can you describe the creative process from dream to printed page?

TVF: Dreams have a major impact on my life. I have really detailed dreams like movies all the time. So, a lot of times, I’ll tuck them away for future use. I had a dream one night that my friends and I were hanging out and this ominous stranger was around and vampires were running amuck. It was so detailed, again, I can “see” the places in my head still, and when I woke up, I started recalling it to my husband. About halfway through, I just said, “Man, I’m just going to write this.” It was too cool to let go. Parts of Violet Misery were also from a dream, i.e. the creepy pumpkin farm out in the middle of nowhere. I draw tons of inspiration from dreams.

NTK: You spoke of apocalyptic dreams. Do you plan to write an apocalyptic story or book of your own?

TVF: I haven’t really thought about writing in that sort of style yet. I think it might be too bleak for me at the moment. (laughs) It’s something I seriously dread, especially now that I have a kid. I don’t like thinking about being in scenarios like that. I just get panicked thinking about keeping my child safe anyway, let alone imagining what I’d have to do during a zombie apocalypse. (laughs) That having been said, who knows! Everything I write from music to lyrics to books are all about love and death.

NTK: What do you have planned for the future? Any new books, stories, or music?

TVF: We are halfway through the next Lycia recording and I have a couple solo songs coming out on comps and I contributed some vocals for some other bands. I have three books currently in the editing process which I plan to release at the same time because they’re related. And, then a couple after that to release. I have some vague ideas for future books but have been sort of avoiding them because I know they’re going to be complicated with interwoven characters and timelines to figure out. All of my books are interconnected with characters so it can be confusing trying to put them all in the right place at the right time. (laughs) I’ve got a full plate!

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

TVF: Oh boy! I don’t personally believe in curses! Is that bad? However, my husband has teased me in the past that someone cursed him because, back in the 90s, I made these ragdolls and stuffed them with all his hair he shaved off. That sounds super creepy now, but I didn’t think so then for some reason! Anyway, people bought these things and in the course of a couple years, tons of really bad things happened. Life altering things. The joke has been that someone took one of those dolls and cursed us.

NTK: Tara, thank you for chatting with me and putting yourself out there with your writing. It’s been a pleasure.

TVF: THANK YOU! This has been exciting for me because it is my first interview about writing. I’m so thrilled to be included.

Book Review: Violent Violet by Tara Vanflower

Violent Violet is the most authentic snapshot of young goth/club life that I’ve read to date. If you want a look in to the drama, mood, and world view revolving around young, broken, baby bats, this is your look in.

Violet is an angry, jaded, tormented goth whose friendships and atmosphere cause her to spin out of control. Drug abuse, sexual violence, and drunken fights infect her world. Her savior could be a mysterious stranger she meets one night, but I was never quite sure if she wanted to be saved or not.

Roman is a man with his own damaged past. He’s quiet and mysterious, but when Violet gets into trouble with her abusive ex-boyfriend, he jumps into the fray and protects her as best he can. Usually a man that stays out of the drama, something pulls him into Violet’s despite his general distaste for her lifestyle in general.

Later in the book we meet Lux and his sensual companion Mylori, who are my favorite characters. As a vampire fan, I really want to read more about them as they hold the most interest in the story for me.

Violet is a deeply flawed and damaged character. While reading, I kept thinking how I wanted to smack her out of it, but being an elder goth, I suppose I have just outgrown her drama. She’s self-involved and self-destructs by making bad choices. Does her genetic makeup guide her, or is it a symptom of abuse that has created this world she lives in? Her drama with men can be explained in a simple line from the book, “No man she had ever been with had been kind to her.” A sad state, but one that she seems to crave as she keeps returning to this sort of man.

For those of you interested in this type of atmosphere: club life, drama, relationship train wrecks, you will love it. For those of you of the elder goth set, you might find the constant drama tedious. I have to say, whatever you feel about Violet while reading, this is a really good character sketch of a girl who does not comprehend herself. I think we’ve all known girls like this—or perhaps have been one—and all we can hope is that she realizes her worth before she self-destructs.

While this book does contain vampires, it is not inherently a vampire novel. The vampires do not show up until late in the game and while they are intriguing, they are not what drive this tale. This is a tale of a girl lost to her own faults and (I hope) going to learn some big lessons in the sequels.

Violent Violet is part of a three book series. All of these book can be found at Amazon.com.

Black History Month: Dawn by Alex Fernandez

A Review of the Webseries Dawn

by James Goodridge

Dawnthe second web series created by Alex Fernandez and executive produced by Giselle Mojica- Fernanandez, is about Redemption. A earthy visceral series with passion, intertwined with horror and witchcraft, much to this speculative writers liking.

With a real kick-ass theme by Jayson Dayall (additional sound track music by Erick Ekholm) the opening and closing titles are artwork in a stand alone sense. Dawn’s (Eva Santiago) journey makes for a interesting plot line. From evil to good, witch to vampire, and 1000’s South America to present day New York City she is still a child of the night and a compelling anti-hero. Victoria Amber as Dawn has the look and this writer feels by the end of the season after double duty as Dawn and as Viper in Body Jumpers she will have grown into the roles if not already. Anna Morck holds her own as Kassandra. In fact she holds her own so much that I would enjoy her in a spinoff series. The Hunter, played by Tom O’Brien, appears in episode 5. Marylisa Mata, as renegade witch Selena, brings a raw energy to the production.

What Gretchen Noel is to Body Jumpers I see the same in Luis Rodiguez’s character Enoch and that is a show stopper as we used to say back in the day. Funny yet you feel a sadness for his character which is a credit to Mr. Fernandez’s writing. The mysterious Caine and the regal Dante are played by Raymond S. James and Robert Youngren respectively. I look forward to more appearances as the series continues. Faith Fernandez as a Young Dawn is a jewel with potential.

Again, Mr. Fernandez’s editing and FX is top notch. While it took the second episode for the series to grow on me, I’m now hooked and can’t wait for more of Dawn’s blood work for god

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 Born and raised in the Bronx, James is new to writing speculative fiction. After ten years as an artist representative and paralegal James decided in 2013 to make a better commitment to writing.jamesgoodridge headshotCurrently, he is writing a series of short “Twilight Zone” inspired stories from the world of art, (The Artwork) and a diesel/punkfunk saga (Madison Cavendish/Seneca Sue Mystic Detectives) with the goal of producing compelling stories

Author Interview: Lily Luchesi

 

Who doesn’t love a good vampire novel? If you enjoy reading horror stories with strong female characters, lots of action and maybe a little romance, then you should check out the books of Lily Luchesi. If you’re not convinced then check out our interview with Lily:

When did you start writing?

I started writing with the goal of making it my career when I was eight years old. I had a teacher who inspired me and made me want to pursue it. I’ve always been creative, though. When I was little I used to draw quite a bit, and act out scenes with my “imaginary friends”. As I got older, I just started writing them down instead!

What are your favorite topics to write about?

Well, I will always love writing about monsters and creatures. They’ve been an obsession for me since I was a toddler and saw a vampire on an old Scooby-Doo rerun on the Cartoon Network. But I write about many deeper subjects, disguising them in between horror and action. I write about unconditional love, xenophobia, racism, LGBT+ issues, women’s rights, and the growing violence in America (particularly in my home city of Chicago).

I like strong female leads who don’t look like Victoria’s Secret models, and male co-stars who support and encourage them. Real people are flawed in many ways, so I believe characters should be as well.

What do you like best about vampires?

You know, that’s harder than you might think for me to answer. I don’t know what initially attracted me to vampires, but now that they’ve evolved so much, I think it’s an unnatural allure for danger. Even if a vamp is sexy, they’re still deadly. They might be the deadliest creature of them all, yet humans are undeniably attracted to them. I love that power they have over the human heart.

What was the first horror movie or horror novel you read?

The first horror movie I watched could be considered the cartoon version of Ray Bradbury’s The Halloween Tree, or possibly Hayao Miyazaki’s Spirited Away. Non-animated, that would be Carrie (the original version) when I was twelve.

My first horror novel was YA horror when I was ten, and that was The Cirque Du Freak Series by Darren Shan (also about vampires, you can see where my tastes ran). Adult horror was also Stephen King, I got a used copy of Rose Madder for free and fell madly in love with his writing.

What are some of your influences?

Stephen King is definitely a big influence. I love how so many of his books are interconnected (like with towns, characters, even plots) and that he can bring fear over seemingly innocuous things like those wind-up monkeys with the cymbals, or a painting, or even your own grandmother. It takes great talent to be able to do that.

Other horror authors who have influenced me are Edgar Allan Poe, Mary Shelley, Thomas Harris, and Darren Shan.

What do you find fascinating about the horror genre?

The fact that there are so many ways to scare people! And that fear doesn’t just come from gore and violence. It comes from the shadow outside your window at three in the morning, or the scraping sound you hear inside your walls when it’s quiet, or a strange car following you down a deserted road. Fear is the core of humanity, because fear fuels every emotion. Fear spiders? Kill them. Fear losing someone? Hold them. Fear failure? Work harder. Fear is everything and to be able to bring it, even a little, is power.

What are some of the works you have available?

I am the author of the Paranormal Detectives Series published by indie horror/UF great Vamptasy Publishing. The story follows mortal detective Danny Mancini as he discovers that monsters exist and are everywhere. In the first book, Stake-Out, he finds a vampire murdering a human and it sends his life into a tailspin. Angelica Cross, my female lead, recruits him to help the FBI apprehend the offending vampire and the series goes from there.

It’s not strict horror: there is a romantic subplot that plays a big part that readers discover slowly as they go through to book five, Last Rites. It deals with destiny and humanity and the true meaning of what constitutes a monster.

There are four books: Stake-Out, Miranda’s Rights, Life Sentence, Right To Silence, and Last Rites. The series is complete as it is, with book five being the “end of an era”, so when the series picks up again next year with book six, Skin Deep, it will be set further into the future after book five ends and won’t affect those original five books.

What are you currently working on?

Well, I just released my fifth book, Last Rites, on June 14th, and am now working on editing my December WWII urban fantasy release Never Again, which is a standalone spin-off of the Paranormal Detectives Series. It follows male siren Sean Wireman (whom you’ll meet in Last Rites) as he discovers his powers, and moves on from 16th century Israel, traveling over Europe, and eventually fighting for America in WWII, where he finds terrifying monsters being controlled by Nazis. It will feature some cameos of other PDS characters, too, for faithful readers, but will hopefully appeal to an entirely deeper demographic.

Where can we find you online?

You can find my books at http://smarturl.it/LilyLuchesiAmazon (I have plenty of other stories in anthologies, all of them horror)

You can find me on social media or my official site:

http://lilyluchesibooks.wix.com/lilyluchesi

http://facebook.com/lilyluchesi

http://twitter.com/LilyLuchesi

http://instagram.com/lilyluchesi

http://www.goodreads.com/author/show/7369101.Lily_Luchesi