Chilling Chat: Authors of SLAY – L. Marie Wood

L. Marie Wood is an award-winning author and screenwriter. She is the recipient of the Golden Stake Award for her novel The Promise Keeper, as well as the Harold L. Brown Award for her screenplay Home Party. Her short story, “The Ever After” is part of the Bram Stoker Award Finalist anthology Sycorax’s Daughters. Wood was recognized in The Mammoth Book of Best New Horror, Vol. 15 and as one of the 100+ Black Women in Horror Fiction.

L. Marie is a fun and vivacious lady. We spoke of writing, vampires, and The Golden Stake Award.

NTK: Welcome to Chilling Chat, Lisa! Thank you for joining me today.

LMW: Thank you so much for having me!

NTK: How old were you when you first discovered horror?

LMW: Believe it or not I was five years old! I started writing a story and it was just… dark!

I didn’t associate the term “horror” to it, but that’s what it was, it was psychological horror. And I still write in that sub-genre today.

NTK: Was it inspired by a book or a movie? What inspires your writing?

LMW: No—it literally came from out of nowhere, which is actually, how I find inspiration now.

Sometimes an idea for a story just comes to me. Could be something I saw–some detail about how someone was dressed or something they did maybe even the weather or catching a glimpse of someone making a facial expression they don’t realize is being noticed. When I go looking for inspiration, I can’t always find it.

NTK: Who was the first horror character you felt represented you? The one you could identify with the most?

LMW: Interestingly enough, the first character that came to mind isn’t from the horror genre, so I am still thinking about that one (Laughs.)

I identify with the villains and Darth Vader’s cool calmness is just so awesome to me, I’ve always wanted to emulate that.You know… should I have the need to subdue someone… you know what I mean! (Laughs.)

Then I was always partial to Bruce Lee—like I wanted to kick like him and the sound effects—heck yes. So, combine those with my favorite horror antagonist—vampires!!—and you have a really kick-ass villain. I can’t say I’ve seen this character yet… maybe Blade…wait—DEFINITELY Blade! And I have to say that I never realized that I am Blade until JUST NOW. I always saw myself more like Jerry Dandridge.

NTK: Did you see yourself as Chris Sarandon? Or Colin Ferrel?

LMW: Definitely Chris Sarandon. He was sooooo smooth.

So I guess I am the female Blade… I’m going with that. (Laughs.)

NTK: (Laughs.) Do you have a favorite horror movie?

LMW: I do! Angel Heart! Being the psychological horror lover I am, I love a movie that has twists and turns and makes me think. I find something new every time I watch that movie!

NTK: That movie is so awesome and underrated! Did you like Robert De Niro’s portrayal of the Devil?

LMW: I did, even if it was a little ham-handed… Louis Cypher HAHAHA! He looked awesome though, just enough to make sure you know who he was and what was going on, but easy enough to miss if you aren’t trying to focus on the flick.

NTK: Exactly! Do you have a favorite horror television show?

LMW: Horror Tv shows are difficult. I was a Walking Dead Fan for years and then… I mean, ok and…? I loved The Haunting of Hill House and Lovecraft Country but those are just season-long entries. AHS – I’ve really only enjoyed one whole season – the one with Cuba Gooding Jr…Roanoke.

So… I might have to say no…?

But if the stand alone, one season and one shows count, I will definitely say Haunting of Hill House. Creepy as hell, that one.

NTK: What about favorite horror author?

LMW: That is a harder question than you might realize! I adore Ira Levin’s work, the way he spun a yarn was like no one else. Very casual, conversational, it’s like he is sitting with you on a park bench or while waiting in line at the movies and telling you this creepy thing. I find that my own writing is a lot like that—like we’re having a conversation, only what I am saying is scaring the bejesus out of you. Reading his work just feels good to me.

At the same time, I love Stephen King. His ability to make the mundane spooky is so unsettling and I really love that! Finally, Shirley Jackson has psychological horror in her pocket. Her work just creeps up on you and you don’t even know why you are afraid, but you are. Read “The Lottery”… you may find yourself shivering—either because you might be the one to get stoned, or go along with the stoning and not even know why!

So my fave… Shirley Ira King. Hell of a pen name!

NTK: (Laughs.) That would be! Do you have a favorite horror novel?

LMW: I do, and interestingly enough, none of those three wrote it! Quietus by Vivian Schilling. It is so lyrical! I remember thinking that I wished I could write something so tight, so beautifully done. No purple prose. No fluff. Just amazing control and beautiful execution. I fangirled a bit when I read it and contacted her (this is like 2002 or 2003). Had to tell her it was an amazing experience reading her book.

NTK: That is so awesome! What did she say?

LMW: She was so kind. We actually spoke for a while—she was gracious about the compliment I lavished—I can only imagine that she was red-faced… I was laying it on thick because this book is… chef’s kiss!

She encouraged me to write after I told her I was actually writing my novel. Wonder if she ever read it…? Wow, how cool would THAT be??

NTK: That would be mind-blowing! I hope she did. Speaking of your writing, what attracted you to the Vampire Noire? Why did you want to write a story for SLAY?

LMW: I love vampires. Always have been drawn to them as opposed to werewolves or zombies.

I like to tell my stories from the psychological horror perspective, but sometimes the fear isn’t what you were bargaining for. Vampires let you play, they let you experiment, there is such flexibility with them. I guess I couldn’t resist!

NTK: What inspired your story? Was it something that just came to you?

LMW: Yep—always is. A song did it this time—the rhythm… I don’t even think I ever found out what it was… (Laughs.)

NTK: Do your characters have free will? Or do you plan their every move?

LMW: My characters do what they want to do when they want to do it. They routinely defy me.

And I can be as upset as I want to about that, but they do not care. I like to say that I sit back and watch the show and just write it all down for posterity.

NTK: As a person of color, how has your experience in the horror community?

LMW: Good, actually. I have been lucky enough to not have experienced a lot of what I have heard about. I started being active in the community in about 2003 and met some wonderful people from everywhere. Had signings, broke bread, shared stages, etc. I took a bit of a break for a number of years and when I came back in, I encountered the same. But as a person of color, I know that my experience isn’t everyone’s and that there have been some challenges that my fellow creatives have encountered. I can only help to be one of those people who helps pave the way, ease the way, help others along.

NTK: You’ve won some interesting awards. Could you tell us about the Golden Stake and about the UMMFF award for The Black Hole?

LMW: Ahh the Golden Stake Award! Seriously, I love that thing, it is literally a golden stake with blood on the tip!!!!! I wouldn’t even bring it back with me—left it in London to be shipped over so that they didn’t take it from me in customs, because, seriously, how could I have explained it?? (Laughs.)

My second novel, The Promise Keeper, is a psychological vampire horror tale! I must say, it felt AMAZING to go over to London during the 200 year anniversary of the publishing of The Vampyre by John Polidori and WIN this coveted award! We drank cocktails out of syringes later that night—it was a freaking blast!

As to The Black Hole, it is a very timely screenplay about colleagues who compete with each other on the paintball field along with a group of their friends. And let’s just say this… all is fun and games until the paintballs fly. My undergraduate degree from Howard University is actually in Film Production. Years later, I went on to get an MA in English and Creative Writing from Southern New Hampshire University that has a focus in Screenwriting. It is my second love and I am back to doing it with a vengeance. This particular screenplay won best Afrofuturism/Horror/Sci-Fi Screenplay at the Urban Mediamakers Film Festival.

NTK: Awesome!! You have a novel coming out on October 29th. Could you tell us about it?

LMW: Yes, absolutely! My third novel, The Realm, is about man’s greatest fear and it starts FAST!

There is much running, many things lurking in the shadows, and pure, unadulterated fear waiting for the protagonist and for you, if you dare to read it! This is book one of a series that will keep you on the edge of your seat!

NTK: L. Marie, what does the future hold for you? What works do Horror Addicts have to look forward to?

LMW: This year I have been lucky enough to be either an official selection, semi-finalist, or finalist in over fifteen other festivals! I have eight screenplays making their rounds out there—and I am so excited to see that each of them have gotten industry nods!

NTK: Thank you for joining me today, L. Marie! It’s been a pleasure!

LMW: Thank you so much for having me! I enjoyed the discussion!

Addicts, you can find L. Marie on Facebook. Check out her book, The Realm, available now.

“The Realm drops you into a bizarre and disturbing vision of the afterlife where the dead will never rest in peace. L. Marie Wood’s compulsively readable and fast-paced tale grabs you and doesn’t let go. Hang on tight!”

– Kirsten Imani Kasai, Author of The House of Erzulie

In The Realm, L. Marie Wood presents readers with a cast of nuanced characters against the backdrop of an intricate world where nothing is simply black and white or right and wrong. The “sins of the father” takes a refreshing detour from triteness and makes us accomplices to the main character’s ( Patrick’s) endeavors.

– R. J. Joseph, author of Monstrous Domesticities

Book Review: SLAY: Stories of the Vampire Noire

Edited by Nicole Givens Kurtz

Published by Mocha Memoirs Press

SLAY: Stories of the Vampire Noire is a groundbreaking anthology, featuring stories of black characters, written by black authors. The stories featured have a staggering range, pulling from myths and cultures worldwide.

Desiccant by Craig Laurance Gidney

In “Desiccant” a woman moves into a new apartment, only to discover that a mysterious illness plagues the building, draining the residents dry.

This story is absolutely original. Gidney set the tone for the entire anthology in terms of creativity. From the start, I knew I was in for a revolutionary set of stories that took vampire myth to new heights.

Love Hangover by Sheree Renée Thomas

This creative telling of the Infinity Disco fire in 1979 tells the story of a man entranced by a siren, leading him into a grim life of covering up murders.

Thomas weaves infatuation and horror together into a tightly told story that draws you deeper into dread. Her descriptions of Delilah are enchanting and terrifying all in one.

The Retiree by Steven Van Patten

An old man, taken to a retirement home hides a terrible secret from her daughter, something he must do to keep her safe. And he must make one final sacrifice to do it.

Patten’s characters jump off the page from the start. He pulls no punches when it comes to a crotchety old man. His slow reveal of the story made this stand out in an impressive anthology.

The Dance by L. Marie Woods

Gillian finds herself entranced with a woman dancing at a club and is drawn into her spell.

Woods brings blood and sex to the page with “The Dance”. I was absolutely enthralled. Her prose is impressive. The brief glimpse she offers—the story spans mere minutes—is so satisfying.

A Clink of Crystal Glasses Heart by LH Moore

In “A Clink of Crystal”, a group of teen girls is ushered into womanhood, and something more, by their mothers.

Moore steps inside the mind of a teenage girl with ease. She creates a unique and imaginative take on the vampire myth, weaving it with femininity in a way that delighted me. She could easily weave this into a successful novel.

Diary of a Mad Black Vampire by Dicey Grenor

The vampire Ashanti does not get attached to humans until she meets Tetra. As Tetra’s darker desires are revealed, Ashanti becomes more enamored. The ending is a twist to die for.

Grenor creates incredible tension throughout the story. I was filled with dread just reading, knowing something was right, but not sure where everything would go wrong. “Diary of a Mad Black Vampire” is a masterful story.

The Return of the OV by Jeff Carroll

In “The Return of the OV”, an old-school vampire is imprisoned after a heinous murder threatens to expose vampires to mankind.

“The Return of the OV” is clever. That’s really the best way to describe Carroll’s premise and writing. He explores the intricacies of vampire politics in a short format, hinting at a wider world just beyond what we can see.

The Last Vampire Huntress by Alicia McCalla

After her guild of hunters is murdered by a vampiric ex-boyfriend, a woman struggles whether to accept her destiny as a vampire hunter and the grim fate that comes with it.

McCalla introduces a novel’s worth of content in a short story format. She manages to tell a complicated and fascinating story with very little space. Her characters are engaging and her ability to write action is impressive.

Gritty Corners by Jessica Cage

In “Gritty Corners”, a young vampire hunts down her sire for revenge, only to find out there’s more to the story of her transformation.

I desperately want to see “Gritty Corners” as a novel or series. Cage introduces a kick-ass female protagonist who can truly hold her own. She left me wanting so much more than what I was given. This was one of my absolute favorite stories in the anthology.

Shadow of Violence by Balogun Ojetade

A woman infiltrates a vampire feeding ground and reveals herself to be far more than they ever expected.

Ojetade writes action like no one else, creating tension without being overly technical. He introduces unfamiliar mythology with ease, weaving it into the story without bogging down the plot.

‘Til Death by Lynette S. Hoag

In ‘Til Death’, a vampire assassin must help a client dispatch his wife when he suspects she’s been turned into a vampire.

The humor and horror in ’Til Death’ work so well together. Hoag creates a larger than life character who could hold her own in a series.

Encounters by K. R. S. McEntire

In ‘Encounters’ a woman sees her dead husband twenty years after he should have died.

The revelations to come and the choice she must make kept me on the edge of my seat. Mcentire presents a powerful story of family and love.

Unfleamed by Penelope Flynn

When an important vampire finds herself in trouble after feeding from an important human, she’s rescued by a lowly vampire who has important news to tell her… and a favor to ask.

It’s clear that Flynn created a wonderful and complex world that she only hints at in “Unfleamed”. The story is packed with fun references to Dracula and honestly made me laugh with the reveal at the end.

Beautiful Monsters by Valjeanne Jeffers

In “Beautiful Monsters”, a vampire combats a corrupt system of oppression against supernatural characters in a small town.

Jeffers presents another story that could easily be expanded into a novel. She pulls more than just vampire lore in for the fun and “Beautiful Monsters” is better for it.

Frostbite Delizhia D. Jenkins

In “Frostbite”, a woman discovers her family’s dark past after she’s turned by a vampire, along with the betrayal that could change the course of her future.

“Frostbite” is a beautiful story. It’s masterfully written, with nuanced characters and a slow reveal of the plot that made me ravenous for more. Again, I want to see a novel adaptation with even more.

Di Conjuring Nectar of Di Blood by Kai Leakes

In this story of love, community, and hope, ancient lovers reunite to protect their friends and family from old threats in a new age.

The atmosphere of this story is everything. Leakes writes the culture of her characters in a way that few authors can. The setting comes alive and the tension of the story is wonderful.

Snake Hill Blues by John Linwood Grant

In “Snake Hill Blues”, Mamma Lucy hunts a vampire that stalks the community of Harlem.

Grant creates a compelling character in Mama Lucy. It’s impossible not to root for her, and even more difficult not to worry as things get hairy. “Snake Hill Blues” was one of my favorite stories in the anthology.

Ujima by Alledria Hurt

In “Ujima”, a newly turned vampire tries to save her sister and other humans from the vampires that enslave them like cattle.

Hurt creates a horrifying world where vampires rule and humans are merely food. Using a pair of sisters to explore this dynamic makes the story all that more compelling.

Attack on University of Lagos, Law Faculty by Obhenechovwe Donald Ekpeki

When frightening creatures attack the university, turning students into zombies, a lone man must rise as a hero to fight them.

The voice of Ekpeki is incredible. The story was both frightening and hilarious. I enjoyed the overly confident nature of the narrator.

His Destroyer by Samantha Bryant

“His Destroyer” retells of the story of the Passover from the point of view of the angel of Death, a woman compelled by insatiable hunger to feed on the first-born Egyptians.

Bryant created a unique and literary story that was a delight to read. The grief of the woman at her actions is palpable.

Quadrille by Colin Cloud Dance

“Quadrille” tells the story of misfit monsters that find a home and family together.

Dance writes in an innovative style. His characters are compelling and the way he weaves the scientific information about vampires’ abilities doesn’t drag down the action.

Asi’s Horror and Delight by Sumiko Saulson

In “Asi’s Horror and Delight”, a witch attempts to trick a god by offering a legendary vampiric bird shapeshifter as a lover.

Saulson brings various myths into play in this story. She kept me in suspense about the intentions of the characters and their ultimate fates until the very end.

In Egypt’s Shadows by Vonnie Winslow Crist

In this story, a vampire follows generations of his former lover’s descendants, unable to let go of her memory.

Crist created a love story with vampire trappings. She wove in themes of obsession and love while also exploring what it means to live forever.

Rampage by Miranda J. Riley

In “Rampage”, a vampire hunter must make a monstrous sacrifice to hunt a vampiric elephant and the creature that created it.

Riley’s story is innovative. She takes the typical vampire myth from an unusual perspective, all while creating a compelling narrative.

No God but Hunger Steve Van Samson

In “No God but Hunger”, two companions hunt a leopard, only to find that they’re being hunted by something far worse.

Samson creates a world where humans have been driven from civilization by a greater threat. The return to basics is a wonderful twist on the dystopian genre.

Bloodline by Milton J. Davis

In a world ruled by a theocratic government, vampires are tightly watched. They are never to feed on people. When Telisa is introduced to human blood, it causes a drastic transformation and puts her on the run from the authorities.

Davis blends old vampire mythologies with new science to write a story that sings. The twists are unexpected, but satisfying.

Message in a Vessel by V.G. Harrison

In “Message in a Vessel”, a vampire plague has ravaged the world and the remaining vampires are running out of food. The humans have been enslaved, but their numbers are dwindling. In search of more, a space ship is being sent out.

The characters are vivid and the horror of the world is sinister, though it lurks under a clinical veneer. I loved this story. It was a piece of sci-fi mastery and I hope that Harrison creates so much more based on this premise.

Blood Saviors by Michele Tracy Berger

In “Blood Saviors” an investigator for the Vampire Council discovers a horrific experimental lab where fae are used to create beauty products for humans. She works to free the prisoners, but must also find a way to save her brother from the disease ravaging her community.

Berger’s world is immersive, pulling us into the tension of the story right away. The conflicting goals of the protagonist make the story all the more real. I liked that Berger didn’t hold back when building this story.

Overall, SLAY: Stories of the Vampire Noire was a compelling read. Each story presented something new. Old and new themes of vampires were explored in great detail. The authors should all be proud of what they created.

Chilling Chat Special: Authors of SLAY – LH Moore

TBM HORROR EXPERTS-Mocha memoirs press - SLAY tw banner white 2

LH Moore’s speculative fiction and poetry have been published in all three Dark Dreams anthologies of Black horror writers; Bram Stoker Award Finalist anthology Sycorax’s Daughters; Black Magic Women; the collaborative Chiral Mad 4 and upcoming Chiral Mad 5 and SLAY anthologies; the StokerCon 2019 anthology; Fireside, Apex and FIYAH LHM Bio photo_webMagazine. A DC native exiled in Maryland, Moore is a historian and loves classical guitar, graphic novels, and video games. 

NTK: How old were you when you discovered horror?

LHM: My mom took me to see The Exorcist (*gasp*) when I was three. She said I jumped up at one point and shouted “Oh Mommy! He FELL!”  I would watch Count Gore and his Creature Feature on DC’s channel 20. I always loved scary stories and in Jr. High School my local library had a sale and I spent the summer reading almost everything Stephen King wrote at the time.

NTK: Who was the first horror character you felt represented you, the one you could identify with the most?

LHM: I can’t say I ever identified with a character. If anything, I relate very much to FInal Girls in an “Oh no, I’m getting through this and surviving!”

NTK: Who is your favorite horror author?

LHM: Tananarive Due, but I never want folks to forget L.A. Banks. Not only a great writer, but a great person who was kind to me when I was a newbie writer years ago.

NTK: What is your favorite horror novel?

LHM: Oooo…IT will still reign supreme for me as I’ll never forget how I felt as a young person reading it. So much “WTF?” to me.

NTK: Favorite horror movie?

LHM: Hard to choose! Get Out for its social commentary. Let the Right One In (Swedish) for its quiet. Cabin in the Woods because it was so surprising to me. The Blade series. But honestly, I find movies that are about things that really could happen to be scary as hell. Open Water messed with me for a long time.

NTK: Favorite horror TV show?

LHM: Right now? Lovecraft Country!! The real-life horrors of Jim Crow-era racism had me up on my feet pacing back and forth like “MY HEART” and nervous as hell more than the monsters!

NTK: What inspired your story in SLAY: Stories of the Vampire Noire?

LHM: Funny enough, it was Are You There God? It’s Me, Margaret. That whole mystery and expectation of womanhood and the tropes that go along with it. I wanted to write something light-hearted and almost humorous, which is different for me.

NTK: What attracted you to the Vampire Noire? Why did you want to write a story for Slay?

LHM: Writers of African descent have so many stories to be able to draw from. That well is deep and open to so many interpretations beyond that of the traditional neckbiter. I thought it was important to be a part of that representation and new storytelling.

NTK: What inspires your writing?

LHM: My heritage. The stories my grandma and auntie told me. History. And anxieties that create pure nightmare fuel.

NTK: Do you allow your characters free will? Or do you plan their every move?

LHM: I have an idea of how they are as individuals and roll with it.

NTK: As a person of color, how has your experience been in the horror writing community?

LHM: Let’s just say that there is still room for improvement. I’ve been an HWA member for over ten years now and Linda Addison is a force to be reckoned with. When she encouraged me to renew, who was I to say “No”? Besides, the more Black and POC authors are represented, the better. We are out here doing this work.

NTK: What does the future hold for you? What works do Horror Addicts have to look forward to?

LHM: I have more to come, believe me! Definitely, some longer form works in the pipeline.

Addicts, you can find LH on Twitter and Instagram.

 

Chilling Chat: Episode #190 – Nicole Givens Kurtz – Slay Book Launch

chillingchat

Nicole Givens Kurtz is the author of eight novels, and over 40 plus short story publications. She is a member of SFWA and her science fiction novels have been named as A Carl NGK2017Brandon Society Parallax Award’s Recommended title-(Zephyr Unfolding), Fresh Voices in Science Fiction finalist (Zephyr Unfolding), Dream Realm Award Finalist in Science Fiction (Browne Candidate), and EPPIE Finalist in Science Fiction (Browne Candidate). Her short works have appeared in, Serial Box’s The Vela: Salvation, Baen’s Straight Outta Tombstone, Sycorax’s Daughters (Bram Stoker Finalist in Horror), and White Wolf’s Vampire the Masquerade Anthology. 

NTK: How old were you when you discovered horror?

NGK: I discovered horror when I was about 10 years old. The teacher read us the woman with the silk scarf around her neck during Halloween. I immediately fell in love with the story, and I sought out other scary tales. Because I’m an 80s child, that search led me to Stephen King.

NTK: Who was the first horror character you felt represented you, the one you could identify with the most?

NGK: The first horror character I felt represented me was Susannah in King’s Dark Tower Series. She was the first Black woman I read. Although aspects of her personality and her treatment plagued me for years, I still felt represented in that she was Black, I was Black, we were both women and she was her authentic self.

NTK: Who is your favorite horror author?

NGK:  My favorite horror authors are Ed Kurtz, Joe Hill, Shirley Jackson, and L.A. Banks.

NTK: What is your favorite horror novel?

NGK: My favorite horror novel is We All Live in the Castle.

NTK: Favorite horror movie?

NGK: The Crow.

NTK: Favorite horror TV show?

NGK: The Dark; Lovecraft Country.

NTK: How did the idea for the anthology, SLAY: Stories of the Vampire Noire come about?  

NGK: SLAY came about due to many conversations I have had with authors about the lack of Black vampire stories in the wake of L.A. Banks’s death. Sure, there have been other Black vampires, but they remained on the perimeter, in the background, window dressing. We wanted stories like Banks wrote, that centered Black people, Black vampires, and Black slayers in the forefront. What would that look like now? So, the idea was born to seek out short stories for an anthology to answer that question and to fill the void.

NTK: What was your slush pile like? Was it difficult to choose stories from the ones submitted? 

NGK: It was incredibly difficult to choose stories. It is likely they’ll be a volume 2 at some point because I had more solid stories than I could fit into the anthology. It’s already 29 stories strong.

NTK: Putting you on the spot here, which story of the 29 is your most favorite?

NGK: Oh, this is definitely asking a mother to pick her favorite child! I loved them all, for various reasons, but the stories that lingered the longest after I read them were, Craig L. Gidney’s “Desiccant,” Steven Van Patten’s “The Retiree,” L. Marie Wood’s “The Dance,” and Alledria Hurt’s “Uijim.”

NTK: What’s it like running a small press? 

NGK:  It is incredibly stressful, especially in the challenging times we are in now. It is also rewarding in so many ways. The flexibility to tell stories that otherwise may not have made it past the gatekeepers of large publishing houses, is why I do this work.

NTK: Who did the cover art for this anthology? It’s terrific!

NGK: Taria Reed did the cover and it was one she had created as a pre-made cover. She has semi-annual sales and I selected it and another one for my personal horror stories, but when the idea for SLAY came about, I thought this cover would be perfect. Taria also came up with the title of the anthology, SLAY. I added, “Stories of the Vampire Noire.” Taria is a true talent and if authors need cover art, she’s one of the best around and a mainstay on my list of artists.

NTK: As a person of color, how has your experience in the horror writing community been?

NGK: I have developed solid relationships with people in the horror writing industry, like Anya Martin and Linda Addison. But the writing community in horror as well as other genres, are reflections of what is happening in the United States. The acceptance of racists, misogynistic, and hate-filled attitudes and beliefs are allowed, even encouraged in some circles, to be out and proud. The horror writing community is reflecting that, because people who embrace those beliefs write horror (and other genres) too. I have encountered racists attitudes in the community. Yet, I know there are writers actively combating these ills, just as there are people in the U.S. actively protesting and battling the celebration of hatred.

NTK: What does the future hold for you? What works do Horror Addicts have to look forward to?

NGK: I’m actively working on the sequel to my fantasy mystery, Kill Three Birds: A Kingdom of Aves novella. I am also working on revising my science fiction opera, Zephyr Unfolding. I don’t have any horror topics on tap for now, but that can easily change as my Muse’s first love is horror and suspense.

NTK: It was a pleasure chatting with you, Nicole!

NGK: Thank you for having me, Naching and Horror Addicts.

Addicts, you can find Nicole on Twitter, Facebook, Other Worlds Pulp, Patreon, and you can subscribe to her newsletter.

TBM HORROR EXPERTS-Mocha memoirs press - SLAY tw banner white 2

 

Kbatz Kraft: Halloween T-Shirt Pillows and Masks

Who doesn’t love a Halloween T-shirt? But what’s one to do once your frightful favorite gets too small, stained, stretched out, or ruined? Never fear Kbatz is here to help you turn discarded October shirts into fresh Fall pillows!

1) Be brave and snip snip! Once you’ve selected your T-shirt retirees, cut off the sleeves and necklines, leaving the front and back of the shirt as your new pillow fabric. If there are out of the way soiled spots or extra bottom length, consider cutting those, too. We want to save the fun Halloween designs, so the prints we’re preserving dictate the size or shapes of the pillows. Many will be straightforward squares, but others with wide across designs can be smaller, lumbar sized pillows or a left logo becomes a memorable mini. Go with what your facade allows. Do remember though, that the pillow fabric may seem big when ironed flat, but consider how much room there will be once it is a stuffed three dimensional object. Give yourself a few inches of room or seam allowance to keep your Halloween swag centered. You don’t want any fun phrasing running off the side!

2) Turn your fabric inside out and get sewing! Your two “good sides” should face each other, pinned or basted in place with a quick stitch. Go around your material perimeter and sew three sides closed. The biggest mistake you can make here is getting carried away and sewing the whole pillow closed, but that’s totally fixable! If you are going to use a pre-made pillow form to stuff your new Halloween cover, leave the bottom completely open. If you are using other stuffing means, then you can sew the bottom partway if you desire – just leave enough for your arm to do the fillings. Matching thread works best on your final stitching, but if you need help seeing your basting stitches and want to use a zany color, well that’s fine, too. Try using pins or chalk marks if you need guidelines while you stitch. When hand sewing, a basic running stitch will suffice, the smaller the stitch the better. There is, however, no formal or right way to do it! This is just a pillow. It doesn’t have to be perfect. It’s okay to make mistakes. That’s no cheat, either – this is basic sewing for you and the kids to practice and have a good time. When you’ve done your three sides, turn the pillow right side out, make sure your design isn’t off the edge, unsightly, or crooked. If you have to break in a seam ripper and do a side again, that’s no problem.

3) Know your T-shirt or tool needs. T-shirt materials are often stretchy knits, so if you are sewing on a machine, check your thread, tension, or stitch, for a zig zag setting may be better on some fabrics than a straight line. If you intend to use your Halloween pillow year round or expect it to earn a lot of bed or pet rough and tumble, reinforcing your seams with more than one machine pass provides strength compared to a quick hand stitch line for an October occasional. As your handling your fabric – especially if it is already something older, stretched, or delicate, be careful not to tug and pull against the machine and create any uneven bunching. Knowing my machine gets tension issues with thicker fabrics, I sewed a former Halloween sweatshirt turned pillow by hand, first with a basting stitch and then going back around with a nicer, straight line finish. If you have trouble hand sewing, use a thimble or consider your needle size or thread weight if your thread keeps breaking or you poke your fingers. Remember this is a great way to learn some sewing basics if you’re interested in advancing to more ambitious projects.

4) It’s stuffing time! How you stuff your pillow is entirely up to you – soft, firm, overstuffed, whatever your comfort needs. A tired throw pillow can be revitalized as new Halloween innards, store bought pillow forms come in a variety of sizes, and natural or organic alternatives are available, however Poly-Fil is probably the most fun. A seasonal pillow that isn’t for sleeping or bedding use can be stuffed firm with plastic bags, disused towels, or fabric scraps, especially if you are light on real Poly-Fil or want to spread it around in combination with other materials. Heck, even dryer lint! My Halloween pillows were for decoration, so an outer layer of Poly-Fil smoothed the shape but within the interior of the pillow were plastic bags and recycled denim insulation from food deliveries. Don’t want to admit you are cheap and calling it recycling (like me)? As a pillow flattens with use or as you purchase proper stuffing, one can always refill or change a pillow later. The more advanced seamstress might even add a zipper closure to the pillow bottom so it can be continually stuffed with more fabric cabbage. Who’s going to know what’s inside the pillow anyway?

5) Don’t toss the leftovers! Remember those cut collars and excised sleeves? Use ’em for that stuffing! The sleeves from the T-shirt pillows on our game room bean bag became Stuffed Pumpkins, and long sleeves can become arm warmers. That extra shirt bottom can become its own plain practice pillow or be folded over to make a mask. Two of my Halloween shirts had small vampish designs, so I made these masks instead of pillows. Initially, they were way too big for my face, but I went around the edges again and folded the sides to make a channel for the ear elastics. I think I was overcompensating in trying to preserve the Halloween statement by trying to shape the mask to the design, which turned out to be unnecessary. Maximize every inch of your materials when possible. Get into outside the box thinking habits and ask yourself, “What else could this be? How else can this be useful?” Use these scrap materials to practice more easy sewing projects!

Halloween pillows are one of the most popular October items today. Toss one in any room and your decorating is done! Even when they aren’t super elaborate, however, designer seasonal pillows are pretty expensive. If we don’t even spend $25 on a bed pillow used every day, why are we spending just as much on some kind of beaded burlap decoration? For the same price, you can buy the Poly-Fil for two or three homemade Halloween pillows – and you get to control the comfort, use, style, and sentiment. Preserve a bemusing T-shirt as a Halloween pillow and get the whole family involved in the sewing skills and stuffing fun.

Revisit more Kbatz Krafts including: 

Pumpkin Ottomans, Oh yes

Decorating Like Dark Shadows

Gothic Thrift Alterations

Victorian Bonnets and Capes

For more Step by Step Project Photos, Follow Kbatz Krafts on Facebook! 

Logbook of Terror : Nightmare Listener

A Small Poem By Russell Holbrook

 

In dreams I am told, there are secrets to behold

Should one listen or take heed

To verses and curses, ships and hearses

In nightmares, there are warnings indeed.

If horror gives chase, be sure to make haste

Listen to what I say

Through blood and bone, wind and stone

Death will find a way.

 

Chilling Chat Special: Nancy Kilpatrick

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Award-winning author Nancy Kilpatrick has published 22 novels, over 220 short stories, seven story collections, and has edited 15 anthologies, plus graphic novels and one non-Nancy Kilpatrick 1fiction book.

She is a wonderful lady and a legendary writer. We spoke of her new book, audio narration, and Dracula.

NTK: Welcome back to Chilling Chat, Nancy! Thank you for joining me today.

NK: My pleasure!

NTK: Nancy, you’ve been busy since last we spoke. Can you tell the Addicts about your new book?

NK: Yes, of course. There two new novels. One is Book Six in Thrones of Blood. Book Six should be the end of the series, although originally I’d viewed it as a seven-book series. There are things I need to tie up so I’ll see how it goes. The other book is a sci-fi/Horror novel and I’m close to the end and have been for some time now. It’s absolutely frustrating working in the real world with a fantastical story because this one is partially set in space and every bloody day, things up there change so I have to change the story to coincide with what is actually known. Still, I’m on it! Aside from that, I’ve recently revised and updated my Power of the Blood series and it’s now out fresh and new in eBook. That was enjoyable to do. It led to me doing some audio readings for that series and two novellas.

NTK: How did you like recording audio? Was it easy or difficult for you?

NK: VERY difficult. I hate reading my own work, or I should use the past tense because I’ve changed a bit. I haven’t done live readings at events for maybe fifteen years. I never feel as if I can convey the reality of the stories that live inside me in a way that gets that across orally. I began with a little piece to test myself with the audio. I wrote, “Black Knight Blue Queen,” and kind of dark fantasy and recorded it under ten minutes. It took forever to do that. It’s not the best but I did get better. Then I tackled the two novellas Vampyre Theatre and Wild Hunt. They are about two-three minutes each. Again, a lot of reading aloud and then recording and re-recording. Finally, I did the four books in the Power of the Blood series and again, maybe twenty readings aloud for each book and ten recordings for each until I felt okay about them. Those are two-three minutes each but for Book Four which is 3.5 minutes because I wanted the entire scene in. Now I’m tackling the five existing books in the Thrones of Blood series. Again, hoping for two-three minutes each. We shall see. But, I have become fond of the process. I can’t say I love it when I screw up reading or slur words or my throat gets so dry the words come out as if from a hell demon instead of a human being. But, there’s something I like about this process so I’m continuing, imperfectly. All of the readings are on my website.

NTK: If you could have anyone record the reading for you, who would it be?

NK: I’ve never thought about someone recording my work. I have four audiobooks out that the publisher did through Audible. Four different actors read. Some I like better than others but they’re all good. And in truth, I don’t listen to audiobooks. I always think of those as something you’d listen to in a car.

NTK: Who is your favorite horror actor?

NK: I don’t know that I have one favorite. I like Julian Sands from the past in films, like, Boxing Helena and Gothic and Tale of a Vampire and others. I loved Alan Rickman in several films. I like Claes Bang in the BBC Dracula. Tom Hiddleston in Highrise, Crimson Peak, Only Lovers Left Alive. And I’ve liked Johnny Depp in Sweeney Todd and Edward Scissorhands and others. It’s kind of like that. It depends on the film.

Of course, when you say ‘actor’ you probably mean male and female and etc. I have female actresses I like. Barbara Steele, for example. Nicole Kidman has done some good ghost films. Eva Green is a favorite in Penny Dreadful (the original series) and movies. Ingrid Pitt, but of course she’s gone.

NTK: You’ve written several books about vampires. What makes them so interesting to you?

NK: The vampire is eternally fascinating. They are perhaps the closest of the supernaturals to humans. They were human. I know a lot of people like werewolves and I guess the concept is interesting. But I also guess I haven’t known many or any men or women who become animal-like so it’s hard for me to get that Jekyll/Hyde change on the full moon. Vampires, you can play around with a lot because you can manipulate the supernatural elements and make them current. Wolves, not so much. The vampire has a lot of intriguing traits, from extended lifetime, power, sexual appeal, and they only put on a pretense when they want something and then quickly revert to their real state or even personality when they get what they want. They are dangerous and finding a way to write about them that keeps them dangerous is fun. I hate stories where the vampire is dispatched easily. That’s such a letdown. They are also, usually, attractive these days and not the hideous resuscitated corpses of the past—we leave that to zombies now, the brain-dead flesh eaters. That’s another aspect, the super attractive creature that can mesmerize you. Charmed to death.

NTK: Your Thrones of Blood series was optioned for TV and film. Any word on how that is going and has the Corona Pandemic affected it?

NK: Well, since people aren’t meeting more than 6-feet from one another, no movies are happening, or at least few are and it must be hard to shoot a film these days. Hopefully, that will change. So no, nothing yet. I hope COVID won’t run too long. Makes a lot of things hard.

NTK: Have you seen the new Netflix version of Dracula? If so, what did you think of it?

NK: I love it. I know it’s contentious, even on HorrorAddicts! I’ve watched it four times because I think it’s brilliant and everything in it hangs together. I know there are people who are purists and want to see a movie that replicates a book. I think that rarely happens. Dracula has been adapted hundreds of times to film and personally, I find the BBC version refreshing. I love, for example, that Episode One tackles Harker in the religious hospital. That’s skimmed over in the book in a sentence of two. I also like the action in Episode Two on the Demeter. Again, not in the book, just referred to as the ship that hit the rocks with the captain dead and tied to the wheel. I thought that was a clever approach. I also liked—and I have to say Episode Three was a little difficult the first time I saw it but since I’ve watched the BBC Dracula so much now, I ‘ve come really enjoy Episode Three. I know people who know Moffat and Gattis, who think they were too clever by half. But, I don’t care. I think it’s brilliant, including the casting. Bang makes a multi-faceted Dracula and Wells is so good in the dual roles she plays, with wonderful lines and so perfectly delivered, I now want to see both of those actors in other roles. It’s in my favorites list of Dracula films.

I think with Gattiss and Moffat you’re going to get creative. Anyone who has watched Sherlock should not be shocked or surprised by Dracula. That’s what those two guys do best. You either like their style or you don’t.

NTK: Who are your favorite Draculas? What actors have played him best?

NK: My Favorite Actors who have played Dracula. I may or may not like the film or TV show but I like how the actor plays the role of Dracula. In Alphabetical order: Bela Lugosi, Christoper Lee, Claes Bang, Frank Langella, Gary Oldman, Gerard Butler, Jack Palance, John Carradine, Keith-Lee Castle, Klaus Kinski, Louis Jordan, Luke Evans, Max Schreck, Rutger Hauer, Udo Kier, and William Marshall.

NTK:  Do you have a favorite curse? If so, what is it?

NK: Curse? Well, as someone with a black cloud over her head, I tend to think of a curse as something one has to work though in life.

NTK: Do you have a favorite curse word?

NK: Fuck. Said three times when facing a mirror.

NTK: What does the future hold for you? What work do HorrorAddicts have to look forward to?

NK: Definitely Book Six in Thrones of Blood: Imperliment of the Hybrids. Also, I really want to finish the Sci-Fi/Horror book. It’s one of those stories that can be seen either way. Like the movie Alien and it’s sequels. But it’s not that story or even like that. It’s the idea that it is seen as Sci-Fi by some and Horror by others, depending on your view. That’s what I’m going for.

Oh, and more audio readings!

Short fiction-wise, I have an original story called “Trogs” in Apostles of the Weird, edited by S.T. Joshi for PS Publications and that will likely be in paperback from a different publisher. I’m in The Alchemy Press Book of Horrors 2 with my original story “The Promise.” And I have a story in Lovecraft Mythos called “Always a Castle?” coming out soon from Flametree Publishing.. There are others, but that should do it for now.

NTK: Thank you so much for chatting with me Nancy, you’re a wonderful guest, as always!

NK: You’re kind. Thank you for taking the time to talk to me, Naching. I appreciate it.

Addicts, you can find Nancy on Facebook, Twitter, Instagram, and Blogspot.

Kbatz Kraft: Goth Parasol Upgrade

Last year I picked up an old cane umbrella at the Salvation Army Thrift Store for half the $1 sticker price. Yes, fifty cents! Though functioning, this decades-old umbrella feels delicate. Areas on the black canvas are faded and there are a few pinprick holes in the fabric. However, with the right details, this for pennies find can become the perfect goth parasol!

While the honey-colored wood handle and point are superior to modern plastic, the color doesn’t match any of my summer straw hats and bags. Fortunately, a day’s work with 80 grit sandpaper, a generous coat of Jacobean stain, and a semi-gloss topcoat create a fresh, dark finish. Rather than a recognizable bamboo or cherry, this wood smelled sweet when sanded – perhaps a good old hickory. For walking, this all-black exterior cane is sophisticated, but I left the interior stem its original warm wood color. When opened, the vintage shaft advertises old fashioned craftsmanship compared to cold contemporary metal, and inside the canopy where the notch locks there’s a piece of tape with the previous owner’s name. Instead of destroying such unexpected history, I stuck the price tag next to it, embracing a fifty-cent, fifty-year conversation piece with a story to tell. Thanks, Joseph!

After the rough stuff comes the expected parasol lace. Gathered straight lace from that three dollar cumbersome clearance roll last seen on my Victorian Bonnet became a delicious flounce sewn around the end point easily enough, but this was not going to become multiple tiers of bridal shower ruffles or baby bows and cutesy swag. More time-consuming lace both hand-gathered and machine sewed on a black ribbon was glued down to cover the faded canvas edge – just enough romanticism without being twee or too heavy. Although I couldn’t do much about the overall faded fabric, those pinprick holes could be disguised with sequin ribbon from my stash. Trails of sequins were glued over the imperfections, which when open, reflect some sunshine for a final ooh la la. Did I forget to mention this has a cute little button closure instead of lame modern Velcro? Oh yes!

With on hand craft supplies, $4 stain, and sandpaper found in the garage, for under $12 I have a priceless looking parasol with history and craftsmanship that can’t be found in those tiny yet expensive and not made to last Halloween knockoffs. Certainly, there are much more involved ways to do a complete parasol retrofit, but with the right affordable materials and glam vision, anyone can ritz up an umbrella for a sunny day in dark times. The most difficult thing here was waiting on fair weather to work outdoors. I’m too superstitious!

Revisit more Kbatz Krafts or Frightening Flix including:

Gothic Thrift Alterations

Upgrading Masquerade Masks

Gothic Romance Video Review

For more detailed Project Photos, Follow Kbatz Krafts on Facebook! 

Instagram: https://www.instagram.com/kbatzkrafts/

Kbatz Kraft: Gothic Dark Shadows Sconces

Anyone else love those giant candelabras in the Collinwood foyer on Dark Shadows? Over the years I’ve collected some fine iron stands and hefty glam candlesticks, but such tall electric faux mood is obviously tough to find. This past holiday season, however, inspiration in creating my own imitation struck thanks to wrapping paper rolls and Christmas tree ornaments. Yes!

Upon finishing the wrapping paper, I swished the empty cardboard roll like a lightsaber as you do, but could these large tubes become a supersized Halloween Candle Cluster? Tea light toppers seemed too small, but eureka the Dollar Store came through once again with oversized light bulb shaped ornaments! Of course, they’re supposed to hang upside down, however sitting upright on top the cardboard rolls they’re perfect for that mid-century mood. A few hours and mixed coats of orange, red, and gold paint later, that bold flame faux was in full Dark Shadows effect. The location in mind for these candle imitations, unfortunately, is a small spot with little floor room for any ornate base – perhaps a re-purposed tall lamp or plant stand. On what then could I set my faux candle rolls? I spent the winter browsing ugly brass and plastic sconce shelves in the thrift store yet none were the right size, shape, or material for this old fashioned Dark Shadows look. Sconces would keep the floor free, but perusing home improvement stores didn’t yield any kind of affordable corbel or ye olde wooden plaque, either. Then, #stayathome forced my search online, and after a late night scouring on Amazon, I finally found a set of reasonably sized sconce shelves with an ornate scroll motif in the spirit of those big old candelabras. My black heart could see passed their white finish thanks to some handy burnt umber paint! The interior scrolls were painted black for dark definition, and after two umber coats, a yellow ochre dry brush added a bronzed patina.

Initially, the cardboard rolls were cut into four twelve-inch and two fourteen-inch candle pillars. Glue drips around the top created that faux melting wax, and the painted bulbs were glued on top. The bulb height, however, made the candles too tall for the shelves, so they were cut down to two ten-inch and one twelve-inch pillar per sconce. After a white base coat, more yellow ochre mixed with a dash of brown added dimension to the glue drips before mixing the white with the yellow ochre for a creamy, antique finish. The completed candles with bulbs were glued to the sconce, though the candle base felt bare compared to the Dark Shadows lamps with metal foliage accents. A $5 roll of metal craft trim from Amazon worked splendidly once painted with black and ochre for an aged look and glued in place (and I used the remaining piece to make an impromptu tiara, as you do in a pandemic amirite?) Although I spent more than usual for the sconce shelves at $20 for a set of four, the “only a few left” and delayed shipping fears are what really kick-started this three-day project into action. With $2 for wrapping paper, $6 for the bulbs, and $5 for paint and glue sticks already in stash, $38 total is an affordable, fun homage compared to a much more complex electrical redesign or antique purchase.

These gothic mock sconces were a case of working with what I had, finding inexpensive items to use in new ways, and paying more for a completed vision. It’s difficult to hold out for the right pieces or even see creative value in these tough times, but ideas and inspirations can still become a reality! There is however, a certain irony to making fake Dark Shadows candles imitating a real electric lamp that was fake candles – “vampires pretending to be humans pretending to be vampires.”

Revisit more Kbatz Krafts and Frightening Flix including:

Dark Shadows Video Review

DIY Cardboard Coffin

Painting it Black

For more step by step Project Photos, Follow Kbatz Krafts on Facebook

Instagram: https://www.instagram.com/kbatzkrafts/

From The Vault : A Vampire’s Guide To New Orleans

The following was previously posted on December 2, 2013

A VAMPIRE’S GUIDE TO NEW ORLEANS

By

Steven P. Unger

 novamp1I wrote this article on New Orleans as an homage to one of my favorite cities, one still fresh in my mind and heart after a long-postponed revisit there as an invitee to the Vampire Film Festival’s Midsummer Nightmare last year.

All of the photos in this article are my own, except for the portrait of the Compte de St. Germain and the two pictures otherwise credited.  Most of the text is a compendium of others’ words and research.  With apologies to anyone I may have inadvertently left out, my online research for this chapter led me to articles from hubpages.com; Kalila K. Smith (whose Vampire Tour I can recommend from personal experience—see http://www.zoominfo.com/p/Kalila-Smith/178024410); New Orleans Ghosts.com; GO NOLA; Brian Harrison; Haunted Shreveport Bossier.com; and Frommers.com.  I’ve borrowed freely from all of these sources and recommend them highly to those who would like to delve more deeply into the secrets of this unique city.

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If you have ever walked the dark, rainy streets of the French Quarter at night, you have seen the voodoo shops selling their gris-gris and John-the-Conqueror Root.  You’ve seen the old woman in the French Market whose pointing finger foretells your death  And if you know the right person to ask and you ask in the right way, you’ll be shown to the vampire clubs.

I’ve been in those clubs and seen people who believe with their heart, body, and soul that they are real, live vampires.  And some of the people in those clubs are scared to death of a select group of vampires who have only appeared there a few times, and always in the darkest of night.

By day, of course, the vampire clubs are closed and locked or turned back into regular tourist bars . . .

–Crazy Horse’s Ghost

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St. Louis Cemetery (Photo Courtesy of David Yeagley)

Like the Spanish Moss that drapes the trees of the nearby bayous, mystery and the occult have shrouded New Orleans since its birth.  For hundreds of years, families there have practiced a custom called “sitting up with the dead.”  When a family member dies, a relative or close family friend stays with the body until it is placed into one of New Orleans’ above-ground tombs or is buried.  The body is never left unattended.

There are many reasons given for this practice today—the Old Families will tell you it’s simply respect for the dead—but this tradition actually dates back to the vampire folklore of medieval Eastern Europe.  First, the mirrors are covered and the clocks are stopped.  While sitting up with the deceased, the friend or family member is really watching for signs of paranormal activity, e.g.,. if a cat is seen to jump over, walk across, or stand on top of the coffin; if a dog barks or growls at the coffin; or if a horse shies from it, these are all signs of impending vampirism.  Likewise, if a shadow falls over the corpse.  At that point, steps are taken to prevent the corpse from returning from the dead.

Ways to stop a corpse—especially a suicide—from becoming a vampire include burying it face down at a crossroads.  Often family members place a sickle around the neck to keep the corpse from sitting up; stuff the mouth with garlic and sew it closed; or mutilate the body, usually by decapitating the head and placing it at the bottom of the feet.  But the most common remedy for impending vampirism is to drive a stake into the corpse, decapitate it, then burn the body to ashes.  This method is still believed to be the only sure way to truly destroy the undead.

THE CASKET GIRLS

Ask any member of the Old Families who the first vampires to come to New Orleans were, and they’ll tell you the same:  it was the Casket Girls.

Much of the population that found their way to New Orleans in the early 1700s were unwelcome anywhere else:  deported galley slaves and felons, trappers, gold-hunters and petty criminals.  People who wouldn’t be noticed if they went missing.

Sources vary on the specifics, but the basic story is that the city’s founders asked French officials to send over prospective wives for the colonists.  They obliged and after months at sea these young girls showed up on the docks, pale and gaunt, bearing only as many belongings as would fit inside a wooden chest or “casquette,” which appears to have been the 18th Century equivalent of an overnight bag.  They were taken to the Ursuline Convent, which still stands today, where the girls were said to have resided until the nuns could arrange for marriages.

Some accounts say they were fine young women, virgins brought up in church-run orphanages; some say they were prostitutes.  But there are many who swear they were vampires, vampires who continue to rise from their “casquettes” on the third floor to break through the windows and hurricane shutters—windows and shutters that always seem to need repairing after the calmest of nights—to feed upon the transient crowds that for centuries have filled the darkened alleys of the Quarter.

Finally in 1978, after centuries of rumors and stories, two amateur reporters demanded to see these coffins.  The archbishop, of course, denied them entrance.  Undaunted, the next night the two men climbed over the convent wall with their recording equipment and set up their workstation below. The next morning, the reporters’ equipment was found strewn about the lawn.  And on the front porch steps of the convent were found the almost decapitated bodies of these two men.  Eighty percent of their blood was gone.  To this day, no one has ever solved the murders.

LE COMPTE DE ST. GERMAIN

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Le Compte de St. Germain and the Balcony at Ursuline and Royal

If there is one person who encapsulates the lure and the danger of the vampire, it is the Compte de Saint Germain.  Making his first appearance in the court of Louis XV of France, the Comte de Saint Germain endeared himself to the aristocrats by regaling them with events from his past.  An alchemist by trade, he claimed to be in possession of the “elixir of life,” and to be more than 6,000 years old.

At other times the Count at claimed to be a son of Francis II Rakoczi, the Prince of Transylvania, born in 1712, possibly legitimate, possibly by Duchess Violante Beatrice of Bavaria. This would account for his wealth and fine education.  It also explains why kings would accept him as one of their own.

Contemporary accounts from the time record that despite being in the midst of many banquets and invited to the finest homes, he never ate at any of them.  He would, however, sip at a glass of red wine.  After a few years, he left the French court and moved to Germany, where he was reported to have died. However, people continued to spot him throughout Europe even after his death.

In 1903, a handsome and charismatic young Frenchman named Jacques Saint Germain, claiming to be a descendant of the Compte, arrived in New Orleans, taking residence in a house at the corner of Royal and Ursuline streets. Possessing an eye for beauty, Jacques was seen on the streets of the French Quarter with a different young woman on his arm every evening.  His excursions came to an abrupt end one cold December night when a woman’s piercing scream was heard coming from Jacques’ French Quarter home.  The scream was quickly followed by a woman who flung herself from the second story window to land on the street below.  As bystanders rushed to her aid, she told them how Saint Germain attacked and bit her, and that she jumped out of the window to escape.  She died later that evening at Charity Hospital in New Orleans.

By the time the New Orleans police kicked in the door of Saint Germain’s home, he had escaped.  However, what they did find was disturbing enough.  The stench of death greeted the nostrils of the policemen, who found not only large bloodstains in the wooden flooring but even wine bottles filled with human blood.  The house was declared a crime scene and sealed off.  From that evil night to the present day, no one has lived in that home in the French Quarter.  It is private property and all taxes have been paid to date, but no one has been able to contact the present owner or owners.  The only barriers between the valuable French Quarter property and the outside world are the boarded-up balcony windows and a small lock on the door.  Whispers of Jacques sightings are prevalent, and people still report seeing him in the French Quarter.  Could it be the enigmatic Compte checking up on his property?

 ANNE RICE AND THE VAMPIRE CHRONICLES

 There is no one who has done more to bring the vampire into the New Age than Anne Rice, born and bred in New Orleans, with her novel Interview with the Vampire and the films and books that followed.  Those who have profited mightily from the popularity of True Blood and Twilight owe her a great debt.

The ultra-retro St. Charles Avenue Streetcar will take you close to Lafayette Cemetery No. 1, the gravesite of Louis de Pointe du Lac’s (Lestat’s companion and fellow vampire in Rice’s The Vampire Chronicles) wife and child and where Louis was turned into a vampire by Lestat.

The Styrofoam tomb from the film Interview with the Vampire is gone now, but you can easily find the site where it stood, the wide empty space in the cemetery nearest the corner of Coliseum and Sixth Street.

During the filming of Interview with the Vampire, the blocks between 700 and 900 Royal Street in the French Quarter were used for exterior shots of the home of the vampires Louis, Lestat, and Claudia, trapped through time with an adult mind in the body of a six-year-old girl.  In fact, the streets there and around Jackson Square were covered in mud for the movie as they had been in the 1860s when the scenes took place.

The perfectly preserved Gallier House at 1132 Royal Street was Anne Rice’s inspiration for the vampires’ house, and very close to that is the Lalaurie House, at 1140 Royal Street.  Delphine Lalaurie, portrayed by Kathy Bates in American Horror Story:  Coven, was a real person who lived in that house and was indeed said to have tortured and bathed in the blood of her slaves—even the blood of a slave girl’s newborn baby—to preserve her youth.  She was never seen again in New Orleans after an angry mob partially destroyed her home on April 10, 1834.  There is a scene in American Horror Story where Delphine escapes from the coven’s mansion and sits dejectedly on the curb in front of her old home. A private residence now, some locals still swear that the Lalaurie House is haunted and that the clanking of chains can be heard through the night.

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Built in 1789, Madame John’s Legacy (632 Dumaine Street) is the oldest surviving residence in the Mississippi Valley.  In Interview with the Vampire, caskets are shown being carried out of the house as Louis’ (Brad Pitt) voice-over describes the handiwork of his housemates Claudia and Lestat:  “An infant prodigy with a lust for killing that matched his own.  Together, they finished off whole families.”

RESOURCES FOR VAMPIRES

 As a service to this most vampire-friendly city (http://www.vampirewebsite.net/vampirefriendlycities.html), the New Orleans Vampire Association describes itself as a “non-profit organization comprised of self-identifying vampires representing an alliance between Houses within the Community in the Greater New Orleans Area.  Founded in 2005, NOVA was established to provide support and structure for the vampire and other-kin subcultures and to provide educational and charitable outreach to those in need.”

Their Web site also points out that “every year since Hurricane Katrina, the founding members of NOVA have taken food out on Easter, Thanksgiving, and Christmas to those who are hungry and homeless.”  (See http://www.neworleansvampireassociation.org/index.html.)

FANGTASIA, named with permission from HBO after the club featured in True Blood, is an affiliation of New Orleans-based musicians and film and TV producers who for three years have presented a multi-day vampire-centric event of the same name, the first two years at 1135 Decatur and last year at the Howlin’ Wolf.  You can follow their plans and exploits via their blog athttp://www.fangtasiaevent.com/fangtasia-blog/.

Next year FANGTASIA hopes to create “the South by Southwest of Global Vampire Culture” at an as yet undisclosed location in Greater New Orleans.  As they describe it:

Moving beyond this third consecutive year, FANGTASIA is building a broader international draw that will bring fans to not only party at club nights but also attend conferences, elegant fashion shows, film & TV screenings, celebrity events as well as an international Halloween/party gear buyers’ market.

Participants will experience gourmet sensations, explore our sensuous city and haunted bayous… as well as epically celebrate the Global Vampire Culture in all its sultry, seductive, diverse and darkly divine incarnations.  Additionally, FANGTASIA is strategically poised months prior to Halloween to provide corporate sponsors and vendors a perfect window to connect with their core demographic.  This also allows FANGTASIA to actively support and promote existing major Halloween events in New Orleans and beyond.

On the subject of vampiric Halloween events, for 25 years the Anne Rice Vampire Lestat Fan Club (http://arvlfc.com/index.html) has presented the annual Vampire Ball (http://arvlfc.com/ball.html), now as part of the four-day UndeadCon (http://arvlfc.com/undeadcon.html) at the end of October; and on the weekend nearest Halloween Night (for example, November 1, 2014), the Endless Night Festival and New Orleans Vampire Ball takes place at the House of Blues (http://www.endlessnight.com/venue/).

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The Boutique du Vampyre (http://feelthebite.com/boutique2013.html) is a moveable (literally—they’re known to change locations on short notice) feast of vampire and Goth-related odds and ends, many of them locally made.  There are books as well—you may even find a copy of In the Footsteps of Dracula:  A Personal Journey and Travel Guide if they’re not sold out.  Their Web site itself holds a surprise treat:  a link to a free videocast of the first two seasons of Vampire Mob(http://vampiremob.com/Vampire_Mob/Vampire_Mob.html), which is just what the title implies.

Finally, no visit to the Crescent City would be complete, for Vampire and Mortal alike, without a taste of absinthe (http://www.piratesalleycafe.com/absinthe.html), or even more than a taste.  There is a ritual to the preparation and serving of absinthe that should not be missed; one of the sites that does this authentically is the Pirates Alley Café and Absinthe House at 622 Pirates Alley.

***

            Steven P. Unger is the best-selling author of In the Footsteps of Dracula:  A Personal Journey and Travel Guide, published and distributed by World Audience Publishers (http://www.amazon.com/Footsteps-Dracula-Personal-Journey-Travel/dp/1935444530/ref=sr_1_1?ie=UTF8&s=books&qid=1262485478&sr=1-1).

            In the Footsteps of Dracula can be ordered from your local bookstore or online atwww.amazon.com,. www.amazon.co.ukwww.barnesandnoble.comwww.amazon.fr,www.amazon.dewww.amazon.com/Kindle, or with free delivery worldwide fromwww.bookdepository.co.uk.

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https://www.amazon.com/author/steven_p._unger_wordworker

FRIGHTENING FLIX BY KBATZ: All Things Dracula Video Review

Kristin Battestella aka Kbatz compares and contrasts Bela Lugosi, Christopher Lee, Jonathan Rhys Meyers, and then some more Draculas, Nosferatus, and television to Bram Stoker’s original 1897 novel. Penny Dreadful, Hammer Horror, Gerard Butler, Francis Ford Coppola and Netflix’s recent Dracula series all have a moment here alongside Dracula: Dead and Loving It because why the heck not?

 

 

Read all the reviews mentioned in our Dracula conversation including:

Penny Dreadful Season 3

Dracula (2013)

Dracula 2000

Dracula 1931

Dracula (Spanish Version)

Nosferatu

Horror of Dracula

Brides of Dracula

Dracula Has Rise from the Grave

Dracula A.D. 1972

Count Dracula (1977)

Dracula (1979)

Dan Curtis’ Dracula

Bram Stoker’s Dracula

Dracula: Dead and Loving It

 

Thank you for being part of Horror Addicts.net and enjoying our video, podcast, and media coverage!

 

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FRIGHTENING FLIX BY KBATZ: Dracula (2020)

Netflix’s New Dracula is Downright Frustrating to Watch.

by Kristin Battestella

Initially, I was excited for the BBC/Netlfix 2020 co-production of Dracula featuring Claes Bang (The Square) as the infamous Transylvania count terrorizing lawyer Jonathan Harker (John Heffernan) before sailing to England on the subsequently cursed Demeter. Unorthodox nun Agatha Van Helsing (Dolly Wells) tests all the legendary vampire elements in a cat and mouse battle against Dracula. His survival into the twenty-first century spells doom for fun-loving Lucy Westerna (Lydia West), and unfortunately, the poorly paced, uneven back and forth between the Bram Stoker source and intrusive contemporary changes make for some terribly torturous viewing.

The Rules of the Beast” opens with annoying extras already calling attention to themselves as nuns surprisingly blunt about faith or the lack thereof try to make sense of this Mr. Harker and his monstrous experience. Beginning with the convent rescued is an interesting place to recap the preceding horror, so there’s no need for weird questions on whether Harker had sex with Dracula. Such sensationalism underestimates vampire fans familiar with the tale and lures new audiences with the wrong notes. After the opening credits, snowy Carpathian prayers, crosses, and howling wolves restart the story with the more recognizable coachmen creepy and ominous castle. The full moon, booming door knocker, and fluttering bats build toward famous introductory quotes as Carfax Abbey paperwork and tutoring in English etiquette force Harker to stay with Dracula. Sadly, the actors don’t have much room thanks to the orchestrated frame – the convent interrogation intrudes on the castle tension while extra zooms or hisses over blood and broken mirrors point out the obvious. Rather than letting the audience enjoy the eerie for themselves, the harping voiceover undercuts any ominous with “So it struck you as strange? And so your search continued. Tell us.” minutia. The womanly phantoms and gothic explorations take a backseat as we’re told how Dracula gets younger and Harker grows gruesome – ruining the sinister irony by giving away gory discoveries, bodily contortions, and spinning heads. Viewers anticipate the funhouse horror shocks and laugh as the undead leap out at the screaming Harker before another monologue ruins the quiet reveal of Dracula’s crypt. Spinning panoramas and intercut, fast-talking plans over-edit Dracula in that British heist movie or clever case closed Sherlock tone. Dollies into the mouth of the biting vampire are special effects for the audience instead of painful for the victim, and everything stalls for “You were about to explain how you escaped from the castle.” redundancy. It takes ten minutes to explain how sunlight reflected from a cross burns the vampire as if it’s some shocking revelation, but at least the nuns are ready with stakes when Dracula begs for entry at their gate with severed heads and convent slaughter tacked on in the final fifteen minutes.

Crawling hands, ship-bound nightmares, and onscreen notations introduce the captain, crew, and passengers of the Demeter in “Blood Vessel” alongside ominous cargo boxes, buried alive scratches, and dead deckhands. However onscreen chess parallels, unfortunately, fall prey to typical attractions between Dracula and our female Van Helsing. Characters wax on how books must immediately engage the audience and today’s horror loves a frame narrative, yet editors would ditch the prologues, bookends, and flashbacks. Once again, the episode restarts with one and all coming aboard – including Dracula and a Goodfellas freeze-frame to point everything out for the audience. Despite the Demeter disturbia, the back and forth setting is ambiguous, and flashbacks again disrupt the point of view. Humorous questions about going to the dining room when one doesn’t eat food fall flat, and intriguing passenger opportunities go unexplored in favor of baiting homosexual mixed signals. Dracula roughly attacks men from behind before wiping the blood from his mouth with the closeted newlywed’s napkin. Bram Stoker already wrote of the bite as sex metaphor, so treating the vampire suckling, flirtatious nods, and knee squeezes as a disease to demonize gay men comes off wrong. If this Dracula was going to address more sexual topics, it should have done so properly instead of toying with both characters and viewers. The turbulent ship is a superb locale, yet there’s no sense of space. Is Dracula attacking people and oozing blood in the crowded dining room or leaving bodies above deck in front of everybody? The disjointed editing doesn’t disguise the muddled scene, for key pieces of action that should be shown in real-time are withheld for later spooky flashes. Lackadaisical live-tweeting style voiceovers with a lot of “I don’t understand” and “but I assumed” interfere with the locked cabins, unseen travelers, and tantalizing murder mystery. Searching the ship, suspect evidence, and pointing fingers on who can’t be trusted are delayed for mind games and let downs from the first episode nonsensically tossed in here. Dracula toys with the crimes so he can solve the case with winks on what a great detective he is, detracting from Van Helsing’s book quotes and passenger tensions. At first, it seems so cool to see Dracula up to no good aboard the Demeter, but once the episode backs itself into a corner, one almost wishes we had just seen the passengers on the vampire deduction themselves.

Contrived answers as to how Dracula got out of his watery grave in “The Dark Compass” aren’t shrewd, just gimmicky – pulling the rug out from under viewers with chopped up, non-linear storytelling. After Dracula labors for over two hours on adapting the beginning of the novel – albeit with new intrusions – the series up and decides to move into the present, restarting again with trailer park terrors and in world inexplicable. The vignette style disarray encourages audiences to half pay attention to fast-moving scares with no time to ask questions as the beach raid seriously gives way to Dracula laughing at technology and playing with cameras. Underwater preservation, diving teams, accidental fresh blood revivals, and science briefings studying Dracula are treated as less important than his being down with the lingo or telling doctors his blood connections are like downloading memories. Dracula has a grotesque reflection showing his age, police bulldoze a house so he won’t have a roof over his head during the day, and seeing inside the bite reveals a unique abstract limbo. Poisoned blood makes him vomit and this vampire research foundation was founded by Mina Murray in Jonathan Harker’s name, but any intriguing background or choice horror gets dropped for deadpans like Dracula wondering why his jailers gave him a toilet and “Who gave him the wi-fi password?!” Phones, photos, and raves introduce viewers to a whole new set of characters, and where Dracula painfully dragged out earlier episodes, now the cemeteries, supernatural, and undead move at lightning speed. Problematic cancerous blood, suspect scientific organizations, and ill characters drinking the vampire samples stall thanks to sassy emails from Dracula read as a voiceover – avoiding one one one confrontations for glossed over montages skipping to three months later where there’s no longer any pretense at this being a gothic novel adaptation. Existential wordy on flavor, being in love with death, and suggestions that Dracula has lived so long simply because he is a coward afraid to die are thrown at the screen in the final fifteen minutes alongside Hammer knock offs and a stake through the heart dusting ripped right from Buffy. The “Children of the night…” quote finally comes in a fascinating sequence about hearing the still conscious dead knocking in their tombs, but the lack of paranormal follow through, forgotten up to no good foundation, and barely-there medical crisis are infuriating when this science meets occult agency versus new to the millennium Dracula could have been a series in itself.

It’s a lot to ask for the audience to like an unlikable protagonist with no redeeming qualities thanks to glowing eyes, gross nails, and tasty babies in bags. Claes Bang’s Count is white-haired before being re-invigorated as a well-spoken Englishman – he has the gravitas in serious moments inspired by the novel, but the jolly good clever retorts replace any menace. Dracula need not explain anything, yet our mustache twisting, almost camp villain wastes time mansplaining into the new century even as sad crescendos suggest we should be sympathetic to his crocodile tears. His powers are more cinematic convenience than supernatural, and the glib gets old fast as Dracula complains about exercise while he swipes left for his latest food delivery hook-up. Bang deserved to have a faithful adaptation to sink his teeth into, but the script has the character patting himself on the back before giving up just because the page says so. It’s also obvious Dolly Wells (Pride and Prejudice and Zombies) is our Van Helsing when we see her. Using the Stoker text as she explains the undead and waxes on having plans not faith when dealing with those denied salvation are strong enough characterizations, yet Dracula sacrifices her action with too much reflective talking. Agatha doesn’t believe in God but stays in their loveless marriage for the roof over her head, but her serious study is hampered by super sassy bordering on ridiculous. She stands face to face goading Dracula over his invitation status when she isn’t sure of the no vampire entry rules, and their debates are played for temptation. Agatha admires and encourages Dracula, but her lack of undead information leads to deadly consequences. How can she be both bungling sardonic and grandstanding with not today, Satan speeches? It’s not seeing the actors acting per se, but the scene-chewing intrusions are too apparent as Agatha tells Dracula to a suckle boy before her great-great-grand niece Zoe swaps hemoglobin with him for some cryptic ancestral conversations – which could have been awesome if they weren’t tacked on in the last twenty minutes. Despite spending the first episode with John Heffernan’s (Dickensian) pasty, deformed, and desperate Jonathan Harker in an unnecessarily drawn out account, we never really know the character because so much of his development is given to others. His outcome is also significantly different than in the novel, and Morfydd Clark (The Man Who Invented Christmas) is surprisingly almost non-existent as his fiancee Mina Murray. Glittery Lucy Westerna loves selfies and making the boys jealous, but I wish we saw Lydia Wells (Years and Years) in Victorian frocks instead of modern cool and cliché party girl garb. Viewers are tossed into her pretty snobbery before skipping to her down low Dracula feedings, and the pointless cremation screams versus skin-deep beauty wears thin fast. Writer and producer Mark Gatiss (Coriolanus) as Dracula’s lawyer Frank Renfield Skypes with the Count over his human rights being violated. This awkward self-insert calls attention to itself with fast-talking legalese tut-tuts. Renfield asks questions the viewer has, but the answers should be in the story, not told by the writer onscreen.

Steeple silhouettes and gray skies open Dracula with gothic flavor, but sweeping CGI panoramas and bugs squashing against the fourth wall are irritating when we’re here for the flickering torches, winding staircase, stone corridors, and heavy drapes of Dracula’s castle. Echoes and shadows accent the candles, lanterns, portraits, creaking doors, and scratching at the window as boxes of dirt, rats, and undead adds grossness. Hidden laboratories and crosses would suggest medieval hints, but the snarling at the camera is lame and the should be disturbing vampire baby is as laughable as that delicious lizard puppet from the original V. Raw, furry black wolf transformations are much better thanks to birthing contortions, blood, moist oozing, and nudity. Likewise, the congested, ship bound Demeter scenery is superb with all the proper maritime mood, moonlit seas, foggy isolation, and claustrophobic horror tension before fiery explosions and underwater spooky. The present, however, is extremely colorful – purple nightlife, teal laboratories, dreamy red visions, and jarring pink filters. Enchanting abbey ruins contrast the high tech prison rotating toward sunlight to keep the vampire in his place, and the organization’s Victorian roots could imply a steampunk mix with the modern technology, but any older aesthetic is sadly dropped for rapid shutter clicks, strobe headaches, and onscreen text speak. YOLO! For once I’m somewhat timely on reviewing a new series – rushed to beat spoilers because social media compatriots were already talking about not finishing the First Episode here. Unlike Sharpe and Wallander, the three ninety-minute television movie-style episode season does not work for Dracula. Maybe this format is good for a Netflix binge where we just let the whole smorgasbord play, but if Gatiss and co-creator Steven Moffat (Doctor Who) had designed Dracula as six forty-five minute episodes instead of lumping everything together, it would have helped heaps in organizing the story between adapting segments from the page and adding new material or time jumps. Rumors suggest Netflix tracks viewing duration rather than series completion, so maybe bowing out after the initial ninety minutes goes further in their algorithms than if audiences had tuned out after a forty-five-minute start? The bang for instant viewing buck shows in the mess onscreen, and the only thing that could have made this worse was if it had actually been named Dracula 2020.

Narrative interference and deviations from the novel make this Dracula terribly frustrating to watch. This is the first time I’ve felt reviewing was an obligated chore, and at times, I had to take a pause because I was so aggravated. The Transylvania start and Demeter ride imply a novel retelling, but the convent shenanigans and Van Helsing ladies past or present suggest new adventures. Attempting both in a back and forth, short attention span frame only insults audiences looking for new vampire spins, experienced horror viewers, and teachers who can tell when the student has only read the first few chapters of the assigned book and just makes up the rest. Dracula isn’t scary – the Netflix and chill model is designed to make us awe at something creepy now and again, but the try-hard gore is dang common with little sense of dread. There’s so much potential for a faithful book interpretation as well as new vampire direction, but this transparent seemingly cool ultimately ends up being the same old horror same old and Dracula wastes most of its time on nonsensical absurdities.

I feel so scathing but I started with fourteen pages of complaints and made it down to six so I guess that’s an improvement? ¯\_()_/¯

For More Vampires, revisit:

Top Horror Television

Gothic Romance Video Review

Dark Shadows Video Review

FRIGHTENING FLIX BY KBATZ: Top Horror Television!

 

Say hello to our favorite HorrorAddicts.net 10iversary television blogs!

 

The Addams Family 1 2

Buffy The Vampire Slayer 1 2 3 4 5 6 7

Dark Shadows Video Primer

The Frankenstein Chronicles

Friday the 13th The Series 1 2 3

The Munsters 1 2

Penny Dreadful 1 2 3

Tales from the Crypt 1 2 3

Tales from the Darkside 1 2 3

Thriller 1 2

 

FRIGHTENING FLIX BY KBATZ: Our Favorite Horror Movie Reviews!

 

Follow these links to reminisce with our HorrorAddicts.net Anniversary look at some of our Favorite Frightening Flix Reviews! 

Black Death

Brimstone

Bone Tomahawk

Crimson Peak

Eden Lake

The Exorcist

House of Usher

Only Lovers Left Alive

Phantom of the Opera (2004)

The Wicker Man (1973)

 

 

FRIGHTENING FLIX BY KBATZ: Tales from the Darkside Season 3

More Scares to be had in Tales from the Darkside Season 3

by Kristin Battestella

The 1986-87 Third Season of Tales from the Darkside features twenty-two more episodes of horror and oddities beginning with “The Circus” premiere written by series producer George Romero. In a series that usually puts the bizarre first, this episode truly feels like a horror tale as Showman William Hickey (Tales from the Crypt) promises mummy and vampire spectacles to a journalist trying to debunk the smoke and mirror ghouls. The bloody feedings and hungry dogs, however, make for some disturbing showmanship – a creepy little parable done with very little, using one setting and power of suggestion scares for a fitting twist. Covered furniture and a murderous history don’t deter a couple from their spooky new home in “Florence Bravo.” This is supposed to be a fresh start, but the wife – who was put in an institution by her husband after a nervous breakdown – isn’t taking her pills as the rocking chair moves by itself and ghostly visions escalate. The haunted house set up is familiar, but she loves their spooky old home and her adulterous husband will pay the price for the house’s evil ideologies with bloody floorboards, gunshots, and killer ghosts. A suspicious dollhouse in “The Geezenstacks” comes complete with the eponymous doll family, and their morbid playtime whispers come true as the cracks begin to show with implied domestic violence and dire real-world consequences. The bemusing bizarre here is less annoying than other kid-centric episodes thanks to creepy toys and that quintessential Tales from the Darkside quirky likewise seen in “Black Widows.” Our homebody knitting mother insists enough company comes to her, like salesmen and ministers knocking on the door. However, visitors who squash and kill a spider in her house will pay the pincer price – even the fiance who’s not good enough for her daughter. He’s too thin and the web-like laundry hangings add to the obvious, but there’s a sardonic wit to the family secret. Unfortunately, the eerie mood escalates for an unscrupulous yuppie art dealer in “Heretic” when the inscriptions on a valuable Inquisition painting would have him learn the error of his ways. The torture and warped religion lead to terrible twists on life imitating art with pain and fiery consequences.

Warnings to behave and not do anything you wouldn’t do on network television accent the homemaker quaint in “A Serpent’s Tooth.” Mom insists she nags because she loves, however her teen daughter and college drop out son’s choices will be over her dead body. She receives the eponymous charm with a warning to be careful what she wishes for – because she may get it. The television, radio, and telephone disappear when she threatens how inconvenient life would be without them, and when she tells an obnoxious kid next door that his face will get stuck that way it does. Talk about a salty lesson! By contrast, a greedy advertising executive sees a New Orleans bakery and its intoxicating cookies as a golden opportunity in “Baker’s Dozen.” The secret ingredients of a thirteenth specialty make for twisted connections between men, dough, and gingerbread in this tasty voodoo turnabout also written by Romero. Of course, the kids in “Seasons of Belief” are at the age where they don’t believe in Santa Claus – but their older, festive parents warn them of a more terrible figure called The Grither. While disbelieving in Saint Nick only makes your presents under the tree disappear, The Grither is the most awful thing in the world, and they’ve called him by saying his name out loud. Tales from the Darkside provides a certain warped amusement here with a holiday episode featuring a deliberate act to scare kids, twisted carols and all. A mannequin trades places with a burglar for “Miss May Dusa,” and creepy shadows accent the seedy subway and what goes on after hours sunglasses at night. Our cursed lady doesn’t remember who she was before, but a jazzy street musician tries to guess, making for an interesting twofer with sadness, despair, and bitter realizations layering a more serious drama on the horror of loneliness. Little Chad Allen (Dr. Quinn Medicine Woman) says if you leave him a note, the milkman will give you presents in “The Milkman Cometh,” and a family in debt that has lost a baby is rewarded with another pregnancy. Was it a response from the ‘While You Were Sleeping Dairy’ or a coincidence? Increasing conflict, financial struggles, and drinking lead to eerie silhouettes and blue lighting making what was once a normal neighborhood visitor totally creepy with bizarre revelations and eponymous winks.

Jeff Conway’s (Grease) typing his latest in “My Ghostwriter – The Vampire,” and he’s happy writing hack vampire tropes for the money – until Dracula shows up on his balcony. He’s there to prove his powers, proposing sanctuary in exchange for his nine hundred years of bloody details. The toothy secrets lead to literary success, and the traditional vampire motifs with eighties spins are great fun. However Dracula wants his share of the spoils, and there’s an underlying ominous thanks to dining in on the maid neck bites and handy silverware. Robert Bloch’s (Psycho) “Everybody Needs a Little Love” starring Jerry Orbach (Law & Order) has noir mood with cigarettes, Truman posters, and vintage pubs. Our barfly friend brings home a mannequin, drinking, dancing, and taking a week off from work to cook dinner and sit ‘Estelle’ at the table. Who needs a nagging broad when you can have a classy dame who just sits there and smiles! He insists she’s no prude, adding to the old fashioned creepy and lively twists with a hint of something more sinister as her look or positioning seems slightly different from glance to glance. An old crone and her young-looking friend reunite for a bitter 1692 anniversary in “Auld Acquaintances” amid talk of burning houses, lightning strikes, poisoned cats, and puritan flashbacks. Evil chants, talismans, chokings, and threats set off the zany performances alongside Salem imagery and some intense 1987 shocking language on whores and devils. The bargains in blood and pacts to live forever are well done in this confined two-hander. More spell books, enchantments, and boils in “The Swap” don’t impress the young wife of a man who can’t compare to his mama – the greatest conjurer Louisiana ever saw. So long as she ‘plays house’ each night, his wife will get all their millions, and she goes upstairs with her revolting husband rather than be poor. Of course, she’s secretly with the hunky handyman, and Tales from the Darkside gets a little saucy with talk of ‘gentlemanly pleasures,’ handcuffs, and bottles forced into a man’s mouth. The twisted little threesome escalates with poison, wills, and stipulations on who the wealthy widow must marry next. By contrast, it’s all idyllic mid-century sophistication in “The Enormous Radio” with martinis, classical music, and period touches raising the unique horrors. Do our eavesdroppers interfere when they adjust the dial and hear their neighbors or is it none of their business? Unfortunately, the addictive gossip gives way to heated arguing, and the sad, depressing strain of hearing the whole building’s troubles ultimately overwhelm our once perfect couple.

Early in Year Three, however, back-to-back kid tales sag Tales from the Darkside thanks to an annoying little girl disliking her engaged sister’s kisses with her jerky fiance in “I Can’t Help Saying Goodbye.” The titular premonitions lead to explosions, funerals, and a whiff of religion versus innocence but the crappy attitudes can’t make a thin script more eerie. “The Bitterest Pill” offers another petulant kid and nasty dad, and the family remains pissy even after they win the lottery. The in your face speed talking over the eponymous drug that provides total recall takes the investments over the top and the fittingly harsh turnabout drags on too long. Southern charm schmoozing over the politician at dinner in “Deliver Us From Goodness” also repeats the be careful what you wish for come ups that were done better several episodes prior, and the religious hypocrisy gets lost in the out of control humor and off the mark obnoxiousness. “My Own Place” may have $285 rent control, however, there’s a semi-mystical roommate that won’t leave – despite the yuppie renter’s curry jokes, Calcutta insults, and racist slurs. Such demeaning isn’t scary, and our jerky new tenant realizes he’s getting what he deserves too late. A stereotypical gold-digging femme fatale widow cut off from the company stock in “Red Leader” adds to the slow, generic corporate talk of cooked books and shady real estate as hellish minions from below debate over the same old evil businessmen tropes. Yawn. Likewise, a greedy young apprentice tries on a pair of magically crafted shoes in “The Social Climber.” He can really go places in this fancy pair, but his shoemaker boss warns him there will be a price. Unfortunately, the magical elements can’t disguise the transparent end, and today some viewers may be completely baffled by what a cobbler even is. A drunk having a heart attack to open “Let the Games Begin” leads to mirrors on the ceiling, hellish shadows, and heavenly echoes arguing over who gets to claim his soul. Both try to entice him by appearing as his angelic best friend and his vixen sister-in-law. However the askew angles, sardonic tricks, and heart beating suspense are too uneven, attempting too much between humor and cynicism in a plain story that gets irritating fast. What is scary are those yuppie styles – plaid sweaters tied over the shoulders, tube socks, and dated feather hair on top of crimped ponytails, neon fashions, and Like a Virgin fishnets. The Tales from the Darkside title card was changed for this season, the menu design on the Season Three DVDs is slightly different, and there are no subtitles. Cramped eighties trailer homes, small sets, and single locations with red lighting and dark dressings may be cheap, however, the claustrophobia is also very effective amid atmospheric thunder and that indelible, chilling Tales from the Darkside theme. Sound effects accent the monster makeup, blood, gothic archways, and older Victorian styles. Retro kitchens, typewriters, and big boob tubes harken a mid-century housewife mood – pink wallpaper, dusty rose doilies, and old bag vacuums contrast the giant eighties portable brick phones and pathetically dated computers. These ladies have to take off a clip earring to use the rotary phone and count the teaspoons to make that old fashioned coffee! While such a long season has its ups and downs thanks to dated or hammy half hours that are weird rather than scary, Tales from the Darkside Season Three once again provides creepy, chilling, and atmospheric parables for a nostalgic horror marathon.

Revisit Tales from the Darkside  Season 1 or Season 2 and read up on our Tales from the Crypt Reviews Seasons 1, 2, or 3, too! 

Chilling Chat with Best in Blood Winner Tara Vanflower

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Tara 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 binb2018followed 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, Dirge, Numina, The Unquiet Void, Falling You and Methadrone.

The majority of her creative energy is spent these days writing. She is the author of Lives of Ilya, and Violent Violet and its sequels.

NTK: Welcome back to Chilling Chat, Tara! Thank you for joining me today. How does it feel to be named “Best in Blood?”

TV: Honestly, it’s bizarre to me. I’m so isolated as far as the “writing world” goes so I don’t know much about what goes on with anything. I was blown away when I got the call because I’m so not used to getting any attention for writing.

NTK: Violent Violet is pretty awesome. Could you tell the Addicts more about it and what made it so special?

TV: I think for me it’s because Violet’s world is so relatable. I think we’ve all either had friends like her and her friends, or we are her and her friends. At least those of us who grew up on the fringe. I do my best to describe her world in detail so the reader can see it in their mind like a movie. The characters are real to me so I just let them map their own course and I do my best to describe where they go and where they’re feeling. Despite the fact that the supernatural is involved I try to show realistic reactions to the sometimes outlandish situations she finds herself in. I try to show the humor, the fears, sorrow, lusts etc. One thing that always bothered me about any type of supernatural book, film, etc. is people don’t ask the questions I think most of us would ask. A lot of times there’s no personal struggle with accepting things or realistic responses to trauma and abuse and I tried to be real about that. I think these characters are real enough that you don’t want to stop hanging out with them when their bookends, which is exactly why I have continued to write their stories and have added more characters and a broader scope as the books continue. What started out as a girl and her small group of friends in a small town is now a catalog of characters and alt dimensions.

NTK: Are you currently working on the sequel? Or has it already been completed?

TV: I just released the 5th book “Violet Blood.” There is so much more to do with her next book that I kind of need to redirect myself elsewhere for a bit to let her work things out. I’m currently working on a wolf book with some new wolves, as well as some returning friends.

NTK: Wow! I didn’t realize the series had moved so far along! Do you find it easier to write sequels or more difficult? It sounds like you won’t be running out of ideas anytime soon.

TV: I legit just kind of shocked myself the other day by counting how many books I’ve actually released at this point. I’m so chill about the whole process that I don’t really think a ton about it. I don’t know if it’s because of years of releasing music and being used to releasing things or what, but yeah, It’s bizarre.

I absolutely love the recurring cast of characters. When they show up in books I don’t even plan for them to show up in it always brings a smile to my face because I actually miss these people when I don’t get to spend time with them. Writing Violet books is difficult because now I have to line up timelines with all the various characters and there’s so many storylines going on simultaneously that it’s a bit like putting a puzzle together. I put off writing Violet Blood for so long for just that reason… knowing where it was going in a vague way I knew it was daunting. The next Violet book is going to be even more challenging because the characters are all going to be in one place at the same time and that’s just a lot to map out to do it properly. I will probably end up having to break the story up in order to do each person justice. I’m excited about it though. My problem is lack of writing time. If only I could do away with my pesky day job or get adopted by the Kardashians.

NTK: (Laughs.) Tell us about this new wolf book. Who are the main characters and when do you expect it to come out?

TV: I’m actually almost done with this book for the first go through, but I put it off recently because I felt like I needed to let them figure out what the hell is going on in their life. (Laughs.) It’s called Black Wolf Manor, at least for the time being, and it’s related to The Wulric which I released a while back. It’s basically about a woman who is getting older and she’s alone and focused on her work and an acquaintance from her childhood shows back up in town whom she becomes friends with and shenanigans ensue. I’m terrible at giving outlines.

I also always drag my feet towards the end of a book because I think I subconsciously don’t want to stop hanging out with the characters.

Oh, and the main characters names are Olive and Devin. (Laughs.)

NTK: Sounds exciting! Thank you for chatting with me! You’re a wonderful guest as always!

TV: Thanks so much for caring about my writing and THANK YOU SO MUCH for the honor of Best in Blood!!!!

Addicts, you can find Tara on Instagram.

Also, see her Chilling Chat Interview and listen to her feature episode, HorrorAddicts.net Episode 151.

 

 

FRIGHTENING FLIX: Gothic Romance Video Review

Yours Truly Kristin Battestella aka Kbatz discusses Category Romance versus Gothic Literature, Slashers versus Hammer, Penny Dreadful, Mario Bava, Crimson Peak, Tom Hiddleson, and Only Lovers Left Alive as well as Victorian and Gothic Romance Themes and the upcoming HorrorAddicts.net anthology Dark Divinations.

 

Thank you for being part of Horror Addicts.net and enjoying our video, podcast, and media coverage!

Listen to Our Podcast: http://horroraddicts.net/

Get involved: https://www.facebook.com/groups/horroraddicts.net

HorrorAddicts.net Online Writers Conference: http://horroraddictswriters.freeforums.net/board/14/writing-horror

Dark Divinations Submission Information: https://horroraddicts.wordpress.com/current-submission-calls/

To Read Detailed Reviews on Our Subjects Re-visit:

Penny Dreadful  1  2  3

Mario Bava Super Special

Crimson Peak

Only Lovers Left Alive

Revisiting Poe Video Review

Classic Horror Reading Video

Dark Shadows Video Review

Chilling Chat: Episode 174 | Elliot Thorpe

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Elliot Thorpe is a freelance writer. He scripted Doctor Who–Cryptobiosis (2005) and in 2013 wrote his first novel Cold Runs the Blood. He has contributions in Seasons of War Elliot Thorpe(2015), The Extraordinary Lives of People Who Never Existed (2015), Grave Matters (2015), Doctor Who–A Time Lord for Change (2016) and The Librarian (2017). 2018 saw the publication of Dean Martin–Recollections by Bernard H. Thorpe and Elliot Thorpe. Elliot writes for Search Magazine and redshirtsalwaysdie.com. A new, fully-revised edition of Cold Runs the Blood from Fossa Books is available now.

Elliot is a consummate gentleman and a remarkable writer. We spoke of inspiration, characterizations, and Dr. Who.

NTK: Welcome to Chilling Chat, Elliot. Thank you for joining me today.

ET: Lovely to be here!

NTK: How old were you when you first discovered horror?

ET: The earliest memory I have (and I might be giving away my age here!) was back in the mid-70s. My father was a big fan of the Hammer Horrors so there was always a Christopher Lee or Peter Cushing horror movie on TV at some point that I remember hearing while I was (meant to be) tucked up in bed! So when I was old enough in the early 80s, I started watching them with him (when we had a first-gen video player). I was hooked from then on. My first horror movie I sat all the way through was Legend of the Werewolf (1975).

NTK: Are Hammer films your favorite films? What is your favorite horror film?

ET: I’ve got a great love for Hammer–I love the iconography, the style, the music. They are as unique as the old Universals. I love the “imply, don’t show” notion of horror movies–expecting a chill or a fright which doesn’t happen…then it does seconds later! With regard to a favorite– that’s a tricky one. I can watch something like Get Out or Us and find that as equally as enthralling as Bride of Frankenstein… I like the original Omen, but my favorite movie is Cronenberg’s The Fly.

NTK: Do you have a favorite horror TV show?

ET: There are three: True Blood, American Horror Story (albeit some of the later seasons aren’t as great) and Netflix’s The Haunting of Hill House.

NTK: What is your favorite horror novel?

ET: I was waiting for this question!! Hands down, without a shadow of a doubt…William Peter Blatty’s The Exorcist. It was first published in 1972 (when I was not even yet 2!) and I first read it in 1990–and I still own my 1990 copy. Very threadbare but very loved. It surpasses the movie. Blatty’s use of language, expression, passion is unbound and I wish I could write as well as he did. I can almost chew the sentences, they are just so well constructed. I’ve never felt so passionate about any other fiction/horror book before or since. Paul Theroux is a close second for much of the same reasons but he’s not a horror writer so that’s going off topic!

NTK:  Blatty is awesome! Is he your greatest writing influence? Who is your greatest influence?

ET: The writer who made me want to write actually only passed away this week: Terrance Dicks. He was script editor for Doctor Who in the 70s but also novelised over 60 Dr. Whostories of the series–so he was my first understanding of how to write when I was a kid. I collected his books for years. Blatty I could never equal and wouldn’t even attempt to: but I still wish I could write like him! Bram Stoker, Arthur C. Clarke, Stephen King, and Ben Elton all inspire me (four markedly different authors and their differing styles allow me to push myself. Ursula K. Le Guin is another.)

NTK: Terrance Dicks was a great scriptwriter and wrote several frightening episodes of Dr. Who. Including, “The Talons of Weng-Chiang.” Which frightening episode is your favorite?

ET: “Talons of Weng-Chiang” is a great one. One that I always thought was chilling was “The Seeds of Doom” from 1976–where the alien seed pod split open and this tendril snaked out and grabbed one of the characters, turning him into a big green creature! Of the modern series, I fear I may have grown up, so I don’t spot the “behind the sofa” moments so much.

NTK: What inspires your writing?

ET: Inspiration for me comes in unexpected places. I can be sitting at my desk, reading a paper or a book, watching the news or watching a film. I can see snippets of things that I like and would like to use or find homage in using. Point in fact: my short story HorrorAddicts.net featured was inspired by the movie The Revenant. Nothing like the actual original story, but it’s the feel I was after. Also, I’m currently writing an alternative history World War I novel and so my inspiration comes from my great-grandfather who served, any number of WWI movies, Peaky Blinders (a recent BBC series), the books of Pat Barker and factual accounts of the war itself. And because it’s an alternative history, I have to make nods to authors like Philip K Dick and Robert Harris.

NTK: What inspired you to write the Bloodkind series?

ET: I originally wrote Cold Runs the Blood as an original Doctor Who novel for the BBC. This was when the series was due to be come back in 2005 (so around 2004) and it was called The Craft of Foreign Rule. Doctor Who had never featured Vlad the Impaler so, knowing that historical figure so well, I wrote a novel. The BBC rejected it: now, I hope it was because they had cancelled all scheduled books because of the sudden return of the series itself to TV. It may, of course, have been because it wasn’t very good!! In any case, it was in effect now a “dead” novel. So I filed it away and forgot about it until 2012 when I decided to rewrite it as a full-blown horror novel, removing all and every Doctor Who reference! It then became Cold Runs the Blood and was published in 2013 by Grosvenor House Publishing.

I never intended to write a sequel. What intrigued me most was the fact that I had created my own take on the vampire mythos so I started writing short stories based in the same fictional universe. It allowed me to maintain my love for vampire fiction but write in different styles: so we have stories jumping from one century to another…pirates and swashbucklers, contemporary or period, retro or future…and I called my vampires the Bloodkind.

NTK: Do your characters have free will? Or do you plan their every move?

ET: That’s a great question! I could speak to fellow writers who would say that mapping out a character’s actions is a requisite. But I disagree. There has to be some sort of autonomy: yes, I created my characters; yes, I need them to carry out certain objectives to move the plot along…but my best characters are those who tell me what to write! For example, in my WWI novel, there’s a scene set on a train heading to Lyon in France. My two main protagonists are being waited upon by a guy who works in the buffet car. When one of the protagonists returns to her berth, the waiter is in there ransacking her room looking for something he overheard in conversation. Now the waiter, when I Cold Runs the Blood - cover - 2019 editionintroduced him, was simply meant to be background detail. Now he’s involved in the plot proper and I have to work out why! And I love that challenge!

NTK: What a great example! What’s it like to write such a famous and established character as Dr. Who? How do you stay true to the character and yet create your own original story?

ET: When I got the commission to write for the Doctor, I didn’t know at that time which one, so my outline was very Doctor-by-numbers. When they told me it was for Colin Baker, I was overjoyed. He was and remains my favorite incarnation.

The sixth Doctor had a very obstreperous and arrogant style which meant I adapted the dialogue to fit his TV persona. Interestingly, I was asked by my producer (a really lovely guy called Gary Russell who I would love to work with/for again someday) to tone down the arrogance I’d imbued him with—to soften him, mellow him. I still injected those moments of pomposity but it was the characters around him who I had fun with, too. And I gave his companion, Peri, all the best lines. Intriguingly, it was an approach the rebooted TV series took: the companion pushed the story along, so I like to think that I unconsciously pre-empted that!

NTK: Elliot, what does the future hold for you? What work do we Horror Addicts have to look forward to?

ET: Well, I’ve got my WWI novel to come out in 2020 (I’m so proud of the title that I’m not telling a soul yet what it’s called!!) and I’m pulling together my vampire short stories to make a follow-up volume to Cold Runs the Blood. Called The Mistress and the Rogue…and other Tales of the Bloodkind, it’s also scheduled for 2020. I’m aiming for a Fall release, hopefully, to grab hold of that Hallowe’en fever. The story you’re featuring in your latest podcast will form part of that.

NTK: Awesome! Thank you for chatting with me, Elliot. It was really fun!

ET: It’s been an absolute pleasure, Naching

Horror Addicts, Elliot writes for The Doctor Who Companion and you can find him at the Dean Martin Association as well.

FRIGHTENING FLIX BY KBATZ: Jean Rollin Saucy!

 

A Saucy Jean Rollin Primer by Kristin Battestella

French director Jean Rollin’s horror films have any and all manner of vampires, witches, subtitles, boobs, and saucy. What’s not to love?

Fascination– Writer and director Jean Rollin uses eerie zooms and haunting camera speeds to provide wonderful turn of the century style and Old World feelings for this 1979 French saucy. Phonographs and period music, ominous sounds, flowing white frocks, frilly lace, feathered hats, graceful mannerisms, candles, decorated interiors, natural visuals, and a great castle locale contrast the morbid slaughterhouse, vivid red colors, blood, rogue, symbolic lips, scythes, black robes, and blonde/brunette or good girl/bad girl expectations. Talk about a sexy grim reaper! It does help to know your français, sure, but the fine performances and talk of death taking the form of seduction add extra panache and gothic allure even amid any translation discrepancies on the available English subtitles.

The laid back mood may be tough for modern American audiences, but the curious characters and simmering atmosphere is soon set with crimes, betrayal, and a siege situation – not to mention how the boobs are out early and often. We’re immediately intrigued in how one man is going to survive being locked in a house with blonde Brigitte Lahaie (I as in Icarus) and brunette Franca Mai (Zig Zag Story), let alone five more cultish women and a blindfold! Though there’s a lot of skin and tender kissing, the saucy scenes may also be a whole lot of nothing for those who are expecting more full-on porn. This pretty Victorian via seventies French lesbianism won’t be for everyone but the kinky sucks the viewer in for the disturbingly delightful fashions, sinister switch, and sophisticated chic.

Lips of Blood – French Director Jean Rollin gets right to the mausoleums, Winnebagoes, shrouded bodies, coffins, and rituals in this more upscale than his usual 1975 tale. A somber score, beautiful but spooky memories, and a mysterious woman in white are immediately eerie while a colorful, swanky party and retro fashions create drama and a sophisticated foundation. Blocked childhoods, an overprotective mother, and castle ruins may be real or imagined add to the secret cemetery passages, hidden tunnels, and questions regarding perfume, scent, and memory. Naturally, there’s nudity both male and female complete with a bonus photography session, seventies bush, and masturbation. However, the saucy isn’t as rampant here, and this has a more put together story compared to Rollin’s usually thin plotlines. Although there is a bit of walking around filler, blue street lights and a moonlight ambiance anchor the after hours aquarium pursuits with an abandoned about the city feeling – there’s a dead body in the water fountain and The Shiver of the Vampires is playing at the late night movies, too. Mysterious men follow on the subway while bells, alarms, abductions, and straight jackets intensify the bats, toothy vampire nurses, and undead who help one and hinder or kill another. Phone the mayor the hungry, naked, vampire chicks are loose so gather the staking posse! Though rushed in the end, the unique finale is well edited with an interesting mix of doubt, mystery, character drama, and a sexy creepy. Who’s the worse villain – entombed vamp ladies or the village torch mob? And who knew coffins would float so well? Did we know this?


The Nude Vampire – Hooded rituals in science labs make for some unique disrobings, blood vials, and colorful beakers to start this 1970 French saucy from writer and director Jean Rollin. Although I could do without some of the now tame but up close, lingering nipple shots and overlong gyrating and dancing – continental seventies staples though they are – the black and white noir mood is well lit with candles and torchlight alongside striking red, purple, orange, and pretty people treating the eye. The interracial nudity is also surprising for the time, and the seemingly suave, exclusive clubs veil more kinky, sinister, creepy animal masks, and dangerous gunplay. There isn’t a lot of gore or blood, however, a simmering string score, evening streetlights, and cobblestone streets invoke an Old World mood to anchor the rare blood disorders, cult rites, and disturbing deaths. Unfortunately, the production is somewhat small scale and not as lavish as viewers might expect with minimal locales and poor editing. This picture is quiet, slow at times, even boring when precious minutes are wasted on meaningless walking here and there or out there plot exposition that feels tossed in after the fact. Thankfully, there are some great stairs, columns, and marble to up the decadent atmosphere, and the overall sense of bizarre helps the undercooked statements regarding immortality, blood possibilities, man’s stupidity, and the superstition versus science comeuppance. The story could have been better, but this is a fun viewing and we’re not really meant to notice the thin plot over all the titular shapely now are we? 

 

Requiem for a Vampire – Clown costumes, shootouts, daring car chases, and dangerous roads lead this 1971 Jean Rollin juicy before two chicks on a motorcycle roam the countryside leaving dead bodies and torched cars in their wake. The spoken English track and Anglo subtitles don’t match, however, there is hardly any dialogue until the latter half of the picture when we finally find out what’s afoot. Some may dislike this silent style, but grave diggers and thunder create an intriguing, off-kilter spooky atmosphere. Scares, screaming ladies – we don’t know the details but we’re on their side as rituals and titular bloodlines escalate. Of course, colorful castles and seemingly hospitable cults providing purple furs on the bed for some lesbian touchy feelys add to the bushy babes and bemusing euro shtick. Granted, the first half-hour could be tighter, and the bare-bones plot should have gotten to the naughty sooner rather than all that running here and there. The sexual statements are iffy as well, even erroneous, for one wants to be a vampire/lesbian while the other doesn’t want to be and gets a man instead – having sex with a woman still means you are a virgin and can still claim to a man that you haven’t made real love yet! Some saucy scenes are also more graphic than others are, with uncomfortable to watch slaves in chains and more violence against women. I’m not sure about the oral sex bat (um, yeah) but the good old toothy bites mixing supernatural pain and pleasure are nicer than the rough stuff. Bright outdoor photography, pleasant landscapes, sad but eerie abandoned buildings, silhouettes, and well lit candlelight patina with gruesome green and creepy crimsons accent the dark graveyards and frightening dungeon traps, too. Once you get passed some pacing flaws and the uneven smexy, this is a fine looking and bizarrely entertaining vampire ode.

The Shiver of the Vampires – Pallbearers and a black and white graveside set the 1971 Jean Rollin mood before colorful castle ruins, overgrown greenery, and edgy music both embrace the heady and keep the medieval flair with torches, goblets, and candelabras. Howling winds, red lighting, and askew camera angles accent torture chambers and sacrifices, creating a surreal dreamscape with saucy vamps in ye olde but tie-dye dresses. The bride in white contrasts those mourning in black while gruesome skulls belie the cathedral architecture, canopy beds, and rustic yet cozy fireplaces. She’s too distraught for the marital bed – but our bride strips downs when a hippie woman humorously pops out of the grandfather clock and they lez be friends no questions asked. Sheer clothing doesn’t cover the perky naughty bits, so they need all those furs to keep those caressing ladies warm. That poor lonely groom gets left out in the cold! More camera panning, vampire opportunists stepping in and out of the frame, and overhead shots parallel the us versus them debates and whirlwind talk of undead religions and vampire persecutions. Although flashbacks add to the dreamy tone, they also confuse the wild library scene and talk of past crusades, former vampire slayers, and predestined deadly fates. But hey, killer nipple spikes! Yes, the premise is thin with strung together coming to and going fro or looking cool, meandering scenes. Rather than one vampire perspective or the young couple viewpoint, the focus constantly resets. Who’s dead? Who’s alive? Who’s undead? Rival vampire hierarchies at first seem tempting, but twists and true colors ultimately show. Granted, you can say that if you’ve seen one Rolling vampire movie, you’ve seen them all. However, had there been seriously proper writing, The Nude Vampire, Shiver of the Vampires, and Requiem for a Vampire could have been a fine trilogy. Fortunately, the nicer production values keep this bizarre romp brimming with an Avante Garde but no less creepy atmosphere.

FRIGHTENING FLIX BY KBATZ: Tales from the Darkside Season 2

Tales from the Darkside Season Two Provides More Bizarre by Kristin Battestella

Producer George A. Romero’s 1985-86 Second Season of Tales from the Darkside is the series’ longest year with twenty-four episodes of oddities, scares, and morose mood. Of course, the night club comedy act in “The Impressionist” is stale – but mysterious G-men offer a has-been comedian a special job communicating with gestures amid secret labs, spaceships, and sympathetic aliens. Our slight of hand performer picks up the interstellar mimicry but refuses to reveal the alien’s secret to fusion power. While the weak effects are a little laughable, this alien touch gives a once sarcastic man a piece of something more. It’s business as usual, however, for harsh workaholic Bill Macy (Maude) in “Lifebomb” until an insurance salesman presents a deal on an unique medical safety device that’s too good to be true. After sudden chest pains, he accepts the titular offer, but that little implant on his back leads to scarier medical situations and company control over what could be life-saving technology. This is an interesting plot on stress, aging, and our career servitude made fantastic before inventor John Heard (Home Alone) recounts the earthquakes and mini volcano rising through the floor to deliver extraterrestrial Penelope Ann Miller (Carlito’s Way) for “Ring Around the Redhead.” The jailhouse frame condenses the pace for the romance, reduces the need to show action the series can’t afford, and grounds the what-ifs with electric chair shadows and noir mood. Remodeling and rent control versus eviction unfortunately carry a touch of racism in “Parlour Floor Front” as the upstairs alligator on the polo shirt snobs insults the elderly voodoo practitioner downstairs. A few curses lead to damaged antiques, broken wrists, and falls off the ladder. Mischief, disrespected coffins, and evil-tainted gold escalate to fatal lies as Tales from the Darkside does a lot of scary with very little. Likewise returning director Tom Savini’s “Halloween Candy” adds vintage costumes and candy bags to the holiday hate and cranky old dad hoping the kids have a sugar overdose on the doorstep. Threats to call the police or telling the trick-or-treaters to go to hell result in an incessant doorbell buzz and a devilish little goblin peeking in the window. Broken watches at midnight, bugs in the candy, blue hues, and freaky monster masks stand out thanks to the well-edited suspense.

Romero himself pens “The Devil’s Advocate” starring ornery radio show host Jerry Stiller (Seinfeld). He makes his callers cry amid vintage soundboards and flashing red studio lights, but the engineer falls asleep, the studio grows increasingly darker, and call-ins come from all over history before a chat with the boss from below himself in this superb one-man parable. A man in shades also has an exclusive offer to revive an old sixties network series for the film within a film of “Distant Signals.” The show Max Paradise was unfortunately terrible, but a hefty gold investment reminds the crusty Hollywood suit, writer’s block writer, and drunken actor how inspiring television really is. Although this nice Galaxy Quest story follows several scary tales, it’s made all the more bemusing thanks to today’s reboots and revivals ad nauseam. By contrast, the self-involved yuppie parents in “Ursa Minor” don’t believe their daughter when she says her antique teddy bear is responsible for the household mischief. Occult experts warn them of Native American magic and ancient worship of the eponymous bear constellations, but the muddy little paw prints and tool mishaps create some chilling moments before the faulty gas stove, ambulances, crutches, and karma for “Effect and Cause.” Starving artist Susan Strasberg (Scream of Fear) believes in synchronicity, tarot, and astral charts, leaving her reluctant to paint over unusually awful found canvases. Unfortunately, the esoteric heavy and chaos debates leave her trapped, helpless in a home that’s working against her in this Mandela Effect meta mind-bender. Baby Seth Green (Buffy) has something creepy under the bed on Christmas morning in “Monsters in My Room,” too. The boy prays against tentacles, saw blades, and boogie men in the closet out to get him with scary nighttime lighting and every toy, ticking clock, or floorboard creak adding to the terror. However, his stepdad wants to toughen him up, giving him beer and trying to make the boy a man in a whiff of subtext as real-world and horror merge.

Shakespeare quotes and an antique telescope invoke a renaissance touch for “Comet Watch” – a lighthearted entry obsessed with the cosmos once an Edwardian babe pops into the attic after taking a long celestial trip. The dated science and charming love triangles set off what was then a timely January 1986 airing ahead of the forthcoming Halley’s Comet. Yes, this again far beyond the Darkside theme. However, this is probably the last time a genre television series could address such fanciful fears with such innocence as we’re too scientific and overly cynical these days. “A New Lease on Life” provides a new apartment with all the trimmings and supposedly no catch for an uber-cheap $200 a month. Unfortunately, the wall groans when an against the rules nail is hammered in, and handymen against newfangled microwave radiation fix the bleeding sheetrock with peroxide. Neighbors denied water warn our tenant while cries within the walls and giant garbage disposals suggest there’s a price to pay for eating meat. One could have it all forever if he just follows the rules and does what he is told, making this a freaky little statement on human horrors and arrogance. The desperate writer with the empty refrigerator in “Printer’s Devil” follows an ad to one creepy agent’s office where voodoo dolls, mystic tomes, and animal sacrifices promise Pulitzers. Publication and success soon follow, but the so-called inspirational pets also increase as the literary riches must be maintained. When his new girlfriend starts sneezing over his apartment zoo, well, our devilish agent suggests one final sacrifice. “The Shrine,” by contrast, presents a mother offering her estranged daughter milk and cookies. She doesn’t want to talk about the past or her daughter’s breakdown, but she keeps her daughter’s room in untouched childhood perfection – yet phantom winds and nursery rhymes suggest someone else is living among the ribbons and pom poms. Can a mother be so disappointed in how a child grew up that she would try again with the same daughter? The who does mommy love more contest could be silly, but the warped women’s roles are played serious amid the taboos. Motel manager John Fielder (The Bob Newhart Show) reluctantly lends the Room 7 key to a cruising salesman for “The Old Soft Shoe,” and a vintage radio plays jazz while a woman in black lingerie draws a steamy bath. She calls our salesman by a different name and insists they’ll never be apart while they dance cheek to cheek. However, 1950 newspaper clippings and dusty corsages lead to gunshots and jilted dames as the nostalgic personalities and ghostly femme fatales bring the blood and stockings full circle.

On Thanksgiving eve an ingenue waits on the desolate platform for the late train in “The Last Car.” Once onboard, the eponymous passengers warn her she can’t travel between cars – they fear the upcoming tunnels, nobody likes to talk about time, and the so-called train to Providence isn’t stopping like it should. Lost watches, a shoebox full of all the foods they desire, and a nonsensical conductor create an askew Twilight Zone perception with memorable revelations before a cocky doctor is happy to diagnose mob boss Abe Vigoda (The Godfather) with cancer for “A Choice of Dreams.” Fortunately, a more radical scientist offers him power over death for a cool ten million. Ticking clocks count down as the murderer faces his own mortality while black and white offices with futuristic technology keep the brain alive as the memories flashing before our criminal’s eyes catch up to him. The 1935 noir, moonlight, pale skin, and hints of red in “Strange Love” tell us what fangs are afoot. Marcia Cross (Melrose Place) has no heartbeat and a cold touch to match her seduction, power, and beauty as this saucy love triangle leads to betrayal, a double wide coffin, and a bloody good time. The video will be left by a fire and brimstone televangelist for his sister Connie Stevens (Hawaiian Eye) in “The Unhappy Medium,” however, isn’t the riches she hoped. The hypocritical pretenses and greedy true colors come out thanks to neon lighting, purgatory traps, and devilish possession. The family that sins together, stays together in this timeless Tales from the Darkside parable. Meanwhile, the empty army recruiting office receives an unlikely man not signing up but asking for sanctuary in “Fear of Floating.” He unbuckles his boots and floats every time he lies – a gift the army would love to use between the zany standoffs, tall tales, delusions, deceptions, and one low hung ceiling fan. Splattered sheets and bloody babes set off frequent Tales from the Darkside director Frank de Palma’s finale “The Casavin Curse” amid homicide detectives, suspect servants, and ancient gypsy curses turning a tiny heiress into a deadly demon with killer claws. She always ends up hurting the one she loves!

Tales from the Darkside’s half hours often center around one or two characters, and episodes are slightly better when there’s a more recognizable name to anchor the fun. Indeed, viewers have to take these gonzo tales with a sense of humor, for even amid the serious parables there are laughable things. Scribble on a piece of paper isn’t an alien language nor is one earring and a few crystals in a gal’s hair outer space couture – actually, it’s just totally eighties! A calm granny offers chicken soup to the possessed little girl who’d rather eat souls in “The Trouble with Mary Jane,” and local amateur exorcist cum con artist comedienne Phyllis Diller is going to use tea leaves and tarot cards to put this demon into a pig and make her fortune. This could be something scary, but it’s tough to tell if the humor is intentional and we should roll with it or just laughably bad. Several juvenile shows and household scares in a row sag mid-season, and daughter Lisa Bonet (A Different World) tries to inspire her angry composer father in “The Satanic Piano.” His record company is unhappy with his latest album, but a mysterious man offers the family a computerized keyboard with telepathic connections and a sinister price to pay. Can a machine capture the purity and essence of one’s soul and music? This contemporary tale is waxing on something innocent, however, the execution is off the mark in a series where youth in terror befits the Darkside content. Dated phrases like “rad,” “far out,” or “right on” I can dig, yet I can’t say the same for “Dream Girl” as film shoots and pin-ups help a creepy janitor live out his sexist misogynist fantasy. While fog, distorted angles, and fake props set off the warped titular haze, the Inception play within a play meta is too nonsensical and confusing with abusive shouting and characters trapped in an overlong, dry predicament. Certainly, the computers and alien designs are primitive. The empty sets are grayscale abstract with wild faux marble luxury meant to be eighties high end but it’s all so obviously cardboard fake today. One may argue the backdrops beyond those false windows create a more stage-like setting allowing the bizarre per tale to shine, however, the redressed cheap is often too apparent – an office from one episode is easily a jail cell the next. Most special effects seen are also hokey but brief with major fantastics largely left to off-camera imagination. Though the jury may be deliberating on the eighties silk blouses and pussy bows back in vogue, those bright yuppie pinks and thugs in sport coats with the sleeves rolled up were never good looks!

While there may be no subtitles for the Tales from the Darkside: The Complete Series set, the always chilling greeting and opening theme speak for themselves. Old tape recorders, rotary phones, and typewriters add nostalgic décor alongside retro ice boxes, doilies, and static on the big boob tube. Blue lighting, silver accents, moonlight silhouettes, firelight, and candlesticks invoke mood as increasingly dark schemes, shadows, dreamy photography, and cigarette smoke frame the spooky atmosphere. Some of that white leather furniture and mauve pastiche does have the right swanky, and Tales from the Darkside’s production values increase slightly during the season with latter episodes featuring real homes and locales rather than mere set walls. Tiny white lingerie and steamy nightgowns and some side boob close calls also push the envelope, yowza! Art Deco tone on tone designs add an Old Hollywood simmer while choice reds and brains in jars never let us forget the horror at hand. Sure, Tales from the Darkside has a certain amount of dated silliness. Bemusing weirdness is more often featured than full-on frights. However, the scares are superb when they happen and the spooky fun doesn’t overstay its welcome. Tales from the Darkside Season Two is easy to marathon for nostalgic creepiness and all manner of bumps in the night.

Read our more risque Tales from the Crypt reviews or catch up on Tales from the Darkside Season 1, too! 

FRIGHTENING FLIX BY KBATZ: Ciao, Horror!

Ciao, Horror! By Kristin Battestella

These Italian set and produced chills provide retro horror and unique creepiness to spice up your staycation.

Blood and Roses – Mel Ferrer (Falcon Crest) leads this 1960 French/Italian Carmilla influenced production brimming with lovely outdoor locations and lookalike relatives mixing romance and Karnstein history. Though the currently gathered descendants scoff at vampire myths and stories of peasants taking stakes into their own hands centuries ago; familiar names, 500 year old Mircalla voiceovers, and a costume party in a ruined abbey add period piece mood to the modern suits, fifties frocks, and swanky cocktails for a slightly baroque blend. While not as lavish as the later Hammer pictures, this is indeed colorful thanks to quality titular motifs, white wedding dresses, and red fireworks. Peppering creepy words accent the smoke, crosses, tombs, heartbeats, and vampire spirits ready to possess anew. Mirrors, screams, and zooms make for some suspenseful moments – unseen vampire deceptions escalate over the discovery of bodies with neck wounds. However, there is a symbolic sensuality, implied saucy, and very Bava-Esque pretty in the surreal, black and white dream sequence winking with water, sanitariums, naked mannequins, and nurses with bloody hands. It’s a bittersweet, medieval feeling with all kinds of lesbian vampire shade, blonde versus brunette rivalries, and so close you want to be her Single White Female innuendo. Director Roger Vadim (Barbarella) certainly liked his statuesque blondes, and there are fine personality changes for his then-wife Annette Stroyberg (also of Vadim’s Les Liaisons dangereuses) as the bewitching, possessed Carmilla – she’s minuet dancing, can’t work the record player, and horses misbehave around her. Elsa Martinelli (Hatari!) is also divine in several portrait-like stills paralleling Carmilla’s feminine desire to be loved as much as her necessity for blood. Different edited or longer versions affect the plot here, but the dubbed seventy-four minute edition is currently available on Amazon Prime. While it won’t be scary for modern audiences, this sophisticated and creepy but no less tender tale is impressive and worth seeing.

The Church – Three films claim to be Demons 3 in the somewhat confusing Italian Demoni series. Fortunately, this 1989 Dario Argento produced stand alone sequel opens with galloping knights versus witches, scary organ music, demonic signs, prophecy, torches, and head chopping slaughter. So what if it is kind of small scale, the helmets look like spray painted buckets, and kids literally have baskets on their heads! Crosses, stonework, church bells, Gothic spires, and gargoyles bring the medieval ecclesiastic yet sinister atmosphere to the modern day prayers, Biblical quotes, maze-like catacombs, and dusty library tomes. The titular temple was built to sanctify mass burials and keep evil caged below, and the tale sticks almost exclusively to the sanctuary setting as Indiana Jones temptations for buried treasure lead to coded parchments, architectural clues, suspicious altar sounds, and ghostly horses. A crusty old bishop, the new librarian reading backwards Latin, an art restorer cleaning morbid murals, the rebellious custodian’s daughter – innuendo, icky saucy, and nasty behaviors increase as evil seeps out over this interesting variety of trapped people also including a school trip, one bickering old couple, and a couture photo shoot. Even dripping water becomes suspect once the bloody spouts, blue smoke, booby traps, gruesome deaths, and reptilian hands spread evil manifestations and infestations. Frightening confessions, decaying bodily possessions, literal bleeding hearts – today’s audiences may not appreciate the slow burn one by one, but knowing it is just a matter of when adds to the robes, stained glass, rituals, and chanting. How can one fight the bestial Satan when he’s entered the hallowed itself? Although the past and present connections can be confusing and remain unexplained beyond a happened before and will again warning, the skeletons, gory bodies, wings, and horns make for a very wild finale. This picture is not shy with its imagery nor its parallels – the demons only escape because human corruption was already there, using unleashed horrors to remind us that it’s safer to leave well enough alone. 


The Ghost – Skulls, storms, candles, deathbed cripples and melancholy music to match immediately set the Gothic mood and Scotland 1910 period stylings of this colorful 1963 Italian haunt starring Barbara Steele (Black Sunday). The dubbing is off kilter – the occasional dubbed Scottish accent is especially bemusing – and the innate video quality isn’t the best. However, syringes, séances, poisons, and risky medical research mixed with black magic possibilities add to the up to no good atmosphere and twilight surreal. Illicit meetings, gin, revolvers, straight razors – the scheming lovers are getting desperate and antsy waiting for those in the way to die. Steele is divine in white furs and lace to start before switching to black mourning veils for the reading of the will. It’s tough not to hear her voice, but some sensuous melodrama accents the suspenseful tone, tolling bells, howling dogs, and foreboding Psalm 23. Is the missing key to the safe in the dead and buried’s coat pocket? Eerie sounds, shadows, and wheelchairs moving on their own escalate to ghostly callings and spooky music box playing while the hysterics, a suspect housekeeper, and creepy apparitions intensify the macabre treasure hunt even when there is only one person onscreen. Contemporary viewers may find the ninety-five minutes slow, and this is rough around the edges – a derivative scandal and haunting that should have been tighter. Too many late but wait there’s more twists border on preposterous, yet the increasingly trippy specters do make for a few surprises. The audience dislikes the phantom, but turnabout upon the adulterers is fair play with chilling irony, mysticism, double crossings, crypts, and coffins. We know a set up is coming, but it’s tense good fun in getting there thanks to some ambient captions such as “Sound of someone knocking,” “Creaking Door,” “Sound of Footsteps,” and “Clap of Thunder.” Oh yeah. 

Macabre – It’s murder and passion via New Orleans in this atmospheric 1980 Italian swanky from director Lamberto Bava. The colorful locale is part of the plot with river boats, historic architecture, street corner jazz, and romantic melodies. The lush décor is both tacky seventies with velvet curtains and tawny patinas as well as of old thanks to gilded wallpaper, candelabras, and cluttered antiques. Cigarettes, cocktails, and pearls set off the easy to slip out of satin as illicit phone calls make mom leave the kids to babysit themselves during her dalliance. Moaning and heavy panting overheard by the white knuckled blind neighbor are intercut with child terrors, bathtub horrors, shattered glass, bloody beams, and vehicular shocks before an institution stay and return to the love nest becomes suspicious self love with altars to the deceased, ghostly footsteps, and unseen phantom encounters. Through the banister filming, windows, mirrors, and similar posturing add to the naughty mother and creepy daughter duplicity while our blind virginal musical instrument repair man must listen to the saucy and toot his own horn, so to speak, as the silent awkwardness and martini music provide emotion with little dialogue. The narrative may over-rely on the score, meandering on the pathetic situation too much, but there’s enough weirdness balancing the mellow thanks to the cruel temptations and nasty bedroom suggestions as white negligees become black sheers and candlelit interiors darken. The effortless jazz switches to pulsing, scary beats as some serious unexplained ghost sex, undead voodoo, or other unknown witchcraft escalates the decapitation innuendo and like mother, like daughter warped. Our blind audience avatar hides to not be seen, others unseen can sneak passed him, and we’re all unable to see behind closed doors – layering the suspense, voyeurism, and two fold bizarre amid bedroom shockers, ominous tokens, overcast cemeteries, and one locked refrigerator. The saucy, nudity, and gore are adult sophisticated without being vulgar in your face tits and splatter a minute like today, and tense toppers don’t have to rely on fake out scares. Granted, there are timeline fudges, some confusion, and laughable parts. It’s probably obvious what’s happening to most viewers, yet we’re glued to the screen nonetheless with ironic puns, turnabouts, kitchen frights, and titular twists. I guess edible and sexual horrors don’t mix!

For more Foreign Horror Treats, check out Our Mario Bava Essentials!

Chilling Chat: Episode 169 | Nancy Kilpatrick

chillingchat

Award-winning author Nancy Kilpatrick has published 22 novels, over 220 short stories, seven story collections, and has edited 15 anthologies, plus graphic novels and one non-nancy K.fiction book, The goth Bible: A Compendium for the Darkly Inclined (St. Martin’s Press).

Nancy is an honest and passionate writer. We spoke of inspiration, classic horror, and vampires.

NTK:  Welcome to Chilling Chat, Nancy! Thank you for joining me today.

NK: It’s my pleasure, Naching! Thank you for inviting me.

NTK: How old were you when you first discovered horror?

NK: I was a kid. We had the Saturday Night Chiller-type movies on but they were late and although it was Saturday night, I wasn’t allowed to stay up for those except on rare occasions. Horror films were my favorites and that just continued when I got old enough to watch those films. But before that, when I was in grade school (not sure of my age but likely around 6 or 7) the school visited the big library in downtown Philadelphia, where I lived, and we were each allowed to take one book out. I choose The Little Witch, which says I lot, I guess. Little did I know how famous that book was, in print for 40 years. So, my love of horror goes way back.

NTK: Who are the authors who’ve influenced you most?

NK: In horror, I tend not to mention living authors. I know way too many writers and I don’t want to offend anyone or leave anyone out. And frankly, it’s many dead authors that shaped me. Poe, Lovecraft, Carter, Jackson, Kafka, Shelley, Stoker, Byron, Bloch…even then, there are more than I’ve named. I see myself as shaped and influenced by every book I’ve ever read, even the terrible ones, and in every genre, both fiction and non-fiction. I’m kind of a lit vampire, meaning, I drink in experiences, so besides general life experiences, books and film have played a big role in who I am as a writer and likely who I am as a person.

NTK: Do you find inspiration in the books you’ve read? Where do you find inspiration?

NK: Inspiration is everywhere. I can see something, smell something, a twig on a peculiar taste, hear a sound and so on. I can have a dream and have written two stories from dreams. I daydream a lot. Many avenues lead to a story idea but the ones that lead to actually writing down those ideas in short story or novel form, those are the exceptional ideas. It’s hard to say what inspires them. One avenue for me is that I own and have read thousands of vampire novels and short fiction so I know what has been done and that always leads me to what has not been done before and how that fits into my personal view of the vampire. To a lesser extent, that works with ghosts and zombies for me, werewolves a bit less. If it’s “reality” horror, for example, nothing supernatural, more like a serial killer, there’s plenty of info on those types of killers around and that can inspire a thought. But thoughts have to connect to feeling for me because I’m essentially an emotional writer.

To keep it simple: I’m inspired when a thought or a feeling becomes a spark.

NTK: How did “Root Cellar” come about?

NK:  I lived on a farm for almost a year, 10 miles outside the small town. The house was in exchange for “fixing it up.” It was bought by a well-off Judge who didn’t want to live there but it needed repair so a few friends and I went and painted and sanded and such. When we first arrived, we explored the house. The attic was a crawl space with a peaked roof and slats on the floor. We found some creepy things there, including the coffin and the cards I put into that story. The house was also, as in the story, the “old” part and the “new” part, with all the pickled things in the stairwell down to the basement.

“Root Cellar” was originally a literary story, a story of incest. I had a phase where I tried to force myself to write ‘lit’ fiction. That didn’t last long, though I published a bit. But, I could never get over the idea that lit fic had lost its way in terms of plot. Which is one reason I love horror, because plot is still crucial and that means a story to me. Anyway, I submitted “Root Cellar” to a major newspaper that was having a short fiction contest (yes, that was exceptional!) I was the first runner up and the story was published. As I was reading it in the paper, it struck me how that story was really a vampire story so I rewrote it and published it and it’s been published several times, been in a Best-of antho, up for two awards and so on. Really, it was crucial to see that in print and recognize that what I was trying to force myself to do was not right for me. Generally, I’m pretty aware of when I’m trying to go the “wrong” way because I think it’s the “right” way, and it’s not.

Revenge of the Vampir KingNTK: You’ve written a series called Thrones of Blood. How are your vampires different from others?

NK: Because I’ve read so much vampire material and seen so many movies, and because I’ve written erotica (mainly a series of seven pastiche novels based on horror classics: Dracula; Frankenstein, Jekyll/Hyde, etc. etc.) and because I’ve seen and read erotic vampire novels and movies and wanted to infuse a series with that but not just that, I started thinking about a new series. I began writing these books about 12 or 13 or more years ago, because the idea churned for a few years before I started writing. One year in the winter I was staying alone in Florida for a month and cranked out book one and some of book two and three. Of course, all that had to be revised. I was just having fun and threw in a lot of genres and kitchen sink and had to clean up all the mess and stick to the story. There are other books, of course, with warring vampires and humans but I wanted to show the vampires as somewhat more evolved, while still violent, and that the humans might be even more violent. Ultimately, I wanted to show that because of a long life, the vampires, which are as resistant to change as humans, do have a longer perspective and can alter, at least a little. I wanted all this to come through in each book amidst the violence, the sex, the treachery, betrayals, viciousness, traitorous acts and even love and kindness where least expected.

I have not seen what I’ve done. And frankly, readers need to be a bit smart to read these books because I work with paradox a lot in my writing. It’s awfully hard to hold two opposites at the same time and that’s kind of what I hope readers will do. I also like to shift allegiances a lot. That’s kind of real life too for thoughtful people.

NTK: Do your characters have free will? Or do you plan their every move?

NK: I usually have a kind of plot overview for novels but rarely do a chapter by chapter outline. At the same time, as I write, I kind of know where I’m going. That doesn’t mean the characters want to go there and more times than not they insist on me paying attention to them. As I said, I’m an emotional writer so I have to respect my feelings and if it feels dull, wrong, just a big NO, then it won’t work for me and I have wait until something comes to me as to how to proceed. And as with all creative endeavors, one can go this way and that, both ways pretty obvious. But waiting often leads to a third way that wasn’t envisioned and that’s much better and leads to something much better. So no, I plan a bit, but I’m open to change. If I wasn’t, my characters wouldn’t work with me! (Laughs.)

What I mean by “this way and that” is that in every story, based on the conflict, there are usually two obvious resolutions of that conflict. If you go to either, the reader (who is as smart as the writer) feels bored and cheated because both resolutions are too obvious. This is where a creative solution has to make an appearance.

NTK: What makes good erotica?

NK: I was on an erotic-horror panel once with about eight or nine women and they ranged in age from youngest to oldest. At the oldest end were Nancy Holder and me. Someone asked if we writers were aroused when we wrote erotic-horror. Invariably from the younger end, there were definite and resounding “NO’s” all along and when it got to Nancy Holder, she said, kind of, maybe a little, yes. Then me, who said, “Of course I am aroused! If I can’t feel it, I can’t write it!” (Nancy H., by the way, thought I was so brave to say that, but I didn’t see myself as brave, more just honest because if I can feel the emotion of what I’m writing, I can make it believable for the reader—and that goes for the unsavory emotions too. There’s a huge difference in feeling murderous, which almost everyone has felt at some point, and committing murder. Knowing and feeling the difference is what keeps us all from acting horrifically in a spontaneous, or even a thought-out, moment.)

My seven erotic novels are The Darker Passions: Dracula; Frankenstein, Dr. Jekyll & Mr. Hyde, The Picture of Dorian Gray, The Fall of the House of Usher, Carmilla, and The Pit and the Pendulum.

NTK: What is your favorite horror movie?

NK: There are soooo many. I’d just be listing them. I’ll say a few. Daughters of Darkness (stylish). The Exorcist (the original, so scary). [REC] (an adrenalin rush for sure!) All of Romero’s zombie movies, especially Night of and Dawn of the Living Dead. 30 Days of Night (great concept and a horrific vampire gang). 28 Days Later (I like fast-moving zombies). Martin (another Romero, this one vampire). And I loved the original The Last Man on Earth with Vincent Price, a black and white based on Richard Matheson’s wonderful novel. That, of the three films based on the novel, was very creepy. Train to Busan (from South Korea, a great zombie movie, human, touching. It’s in subtitles. I’ve seen it three times.) It Stains the Sands Red (Wow, what a surprising zombie film. Two coke heads from LA, car stalled in the desert en route to see people, and a zombie comes and does guy in. The woman, seemingly a coke-head, has to “run” from the zombie but they are in the desert. It shifts and is so amazing. I was really blown away by this movie.)

You see, there are so many more I could name. Give me a minute and I can name 100 or more!

NTK: Do you have a favorite horror TV show?

NK: I liked the original Dark Shadows, and even the remake with Ben Cross. Forever Knight was fun. True Blood was incredible. (Kudos to Harris for allowing the adaptation.) There’s a great book called Vampire TV which is incredibly thick and surprisingly stuffed with TV shows of vampires alone. I also liked the old Twilight Zone, Kolchak, those kinds of X Files TV shows. Again, many more than I can name.

NTK: What’s your favorite horror novel?

NK: Again, I can’t name books by living authors so I’ll have to go with early works. And in fact, there’s little horror I’ve read or seen that I haven’t liked, even the bad stuff, because I can see merit in just about everything, sometimes just a drop of merit, but still. So that would Dracula by Stoker, Frankenstein by Mary Shelly, The Picture of Dorian Grey, all of Poe’s work, Robert Louis Stevenson’s work, even the ponderous Varney the Vampire or, The Feast of Blood which predates Dracula by a few decades. There are all sorts of wonderful novels out there and I encourage people to find and read some of what has been done in the past because, for example, the vampire did not start with Anne Rice’s books or Buffy. You’d be surprised by some of the beautiful and intense work that came The goth Biblebefore.

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

NK: At the moment, I’m working on book five in the Thrones of Blood series: Anguish of the Sapiens Queen. Book six is next up and that should be the end of the series, published in 2020. I also have a science fiction novel just about finished. The former will be out later this year and that latter…no date yet. I’m likely reissuing my horror (non-vampire) collection Cold Comfort. And I am in discussion for a new antho I’ll co-edit. This year I’ll be traveling to a few summer/fall events: Fan Expo in Toronto, and Word on the Street. Possibly Frightmare in the Falls. Early next year I’ll be at Stokercon in England.

By the way, if anyone wants to join my newsletter, which is short and once a month via email, they can go to my website: nancykilpatrick.com. The form to join is at the top.

NTK: Thank you so much for joining me today. It was an honor to interview you.

NK: Thank you, Naching, for having me.

Addicts, you can find Nancy on Facebook, Twitter, and Instagram.

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.

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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: Vampire Witches by Brian McKinley

Guest Blog by Brian McKinley

To be clear, I’m not talking about Wiccans or other modern pagans who identify as witches nowadays. In the ancient world, all through medieval times, and up until very recently, the witch was a figure of black magic and malevolence. They often symbolized everything that a culture considered evil or taboo including things like blood-drinking and cannibalism. Most “living vampires” of folklore fall into this category.

In Ancient Rome, the Strix, sometimes also called Striga, were vampiric witches who primarily preyed upon children. They have their roots in Ancient Greek myth, where it was said that the original Strix was a couple condemned for cannibalism and transformed into large owls. Unlike witches of many other cultures , these were considered to be owl creatures who could take human form. After gathering together in a large coven and celebrating, they would fly into the night to spot unprotected children they could attack. In human form, they were often described as an old, haggard woman.

Later, in Romania, this idea may have morphed into the Strigoii: a living male witch with red hair, blue eyes, and two hearts who would send his soul out at night to drain animals and people of their life-energy. Strigoii were the seventh son of a seventh son and, when one died, it would return from the dead as a Strigoii Morti. In this form, it was a blood-drinker who was repulsed by the scent or presence of garlic—which may be where Bram Stoker got this piece of vampire lore.

In the Ghana and Tongo regions of Africa, there is the Adze: a strange creature whose natural form is that of a firefly or a ball of light, but who often takes possession of the body of a tribal sorcerer. Witches of this type are believed to have the power to astral project, speak to the dead, and use spirits to harm crops, livestock, and other people. These creatures are attracted to the blood of the tribe’s most beautiful children, but can be staved off with offerings of coconut milk and palm oil. There is generally no reliable way to detect an Adze, but it can be captured outside of its human form and destroyed.

Legends on the Gold Coast tell of the Obayifo, a born witch vampire whose draining of its victims is a long and painful process that can take days or even weeks. The Obayifo leaves its body to accomplish this during the night, but can also transform itself into a variety of animals with the help of a magical elixir.

Then there’s the Axeman (Ax-amen) is another African witch vampire with some unusual traits. For one, it takes the form of a bat to scout villages—one of very few folkloric vampires to actually have a bat connection—and find its victims. In this case, that victim is someone sleeping with a foot exposed so that it can cut a very small hole in the big toe and drink the blood. That’s right, even vampires can have a foot fetish.

In a similar vein, the native people of Central and South America had the Tlaciques (Tal-a-kays). Always female, these living witch-vampires came about as a spontaneous condition that occurred shortly after the onset of puberty with almost no warning. The Tlaciques drank the blood of infants, family members, or enemies four times a month while their family often protected their secret out of shame. They could detach the top half of their bodies and transform into various animals, like turkeys or vultures, or balls of light to travel and hunt. It was even said that they had the ability to hypnotize their prey into committing suicide. In contrast to the standard witches’ coven, the Tlaciques were thought to be territorial and organized exclusive hunting areas with others of their kind in order to minimize the chance of their detection.

Like many of the witches described earlier, the Bruja (Bru-ha) of Spain also lead a double life, appearing as an ordinary woman during the day while meeting with her coven every Tuesday and Friday night. This girls’ night out consists of devil worshiping and the practice of black magic techniques like the evil eye and the transformation into animals like ants, doves, geese, and rats. Like most vampiric witches, Bruja preferred to attack children and lone travelers to drain them of blood. One interesting element was that protections against attack by a Bruja included the use of garlic, which is not as common in vampire folklore as Hollywood would have us believe. Male versions were not unheard-of and were called Brujo. Unlike most folkloric vampires, there’s no known method of destroying a Bruja, only wards and ways to discourage attack.

Finally, the strangest of the bunch, the Malaysian Penangglan, also known as the Tanggal. A seemingly-normal woman by day, by night it detaches its head from its body and flies off into the night, dangling its entrails! In some versions, it achieves flight by flapping its ears and lungs like wings. Seriously, you can’t make this stuff up. Well, obviously someone did, but it wasn’t me.

Anyway, its victims are, predictably, usually young children, from which the Penanggalan drains blood to keep itself young. Often in stories, the Penangglan takes the role of a midwife in her human guise in order to scope out potential victims. There’s no traditional way to destroy a Penangglan, but it can be deterred by garlic and by placing thorny branches on the roof of the home which will catch the creature’s dangling intestines. Since the creature requires a large vat of vinegar after it feeds—because it has to shrink its’ bloated, swollen entrails, of course—another remedy is to find the Penangglan’s house while it’s out and spill its vinegar. Because of course then it can’t squeeze back into its’ body, right? Brilliant.

At which point I guess it just, what? Lies there and glares at you? Slinks away and becomes someone else’s problem? What kind of solution is that? This is one of many reasons why I have a hard time taking the Penangglan seriously as a threat, though it didn’t stop this idea from spreading into several other Asian cultures including the Philippines, Japan, and India where you can find variations on the flying-head-with-entrails theme. In some of those versions, at least, there are ways to kill the head once you’ve disposed of the body and vinegar.

That’s it for this round. In my next post, I’ll explore vampires with otherworldly origins.

____________________________________________________________________________________________________________________________

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.

Irish Horror Author : Emerian Rich

 

 Irish Horror Writers Month – Interview with Emerian Rich

Tell us a bit about yourself? Name, State or country?

I am Emerian Rich and I live in the beautiful San Francisco Bay Area. I write Horror, Romance, and ever so often SciFi. I’m the Horror Hostess for HorrorAddicts.net and am also an artist, graphic designer, and book designer.

What is your connection to Irish Heritage?

I am 5 generations from the cross-over, but it’s a part of our heritage we’ve kept pretty close with it.

 

Do you know what part of Ireland your ancestors came from?

County Down in Northern Ireland.

Do you live close to where they lived? Have you visited there?

No and no. It’s one of my live goals to travel there.

How and when did you start writing?

I started writing stories when I was in Middle School. I had received a journal for Christmas. I started writing about my own life, but by half-way through I was so bored of my own life, I decided to write how I wished my life would be. This new me got to go on adventures, solve crime, and experience things I could only dream of. My first novel was when I was 13. 89 pages of big, bubbly cursive in pencil on white, lined notebook paper. However, I didn’t know I wanted to be a writer until in my 20’s.

Why write Horror?

There’s something special about a story when it can horrify you and make you feel safe at the same time. I enjoy creating stories and characters that people can experience horrific situations through without leaving the comfort of their reading nook. Most people’s lives are nice and safe—which we want them to be—but there isn’t much excitement in living our daily lives. We need to escape every once in a while and dream the impossible. Sometimes the trauma the characters go through can help us work through our own.

What inspires you to write?

Beautiful locations, interesting history facts, and most of all, my dreams. Day dreams of what I wish I could do and sleeping dreams where my subconscious goes off the rails.

Does being Irish inspire any part of your writing?

As far as it being part of who I am, it’s all in my writing. My heritage did inspire one particular character most of all. The Irishman, Markham O’Leary, in my Night’s Knights Vampire Series is a direct inspiration from my own family heritage. I patterned him loosely off of my grandfather and his family.

What scares you?

What scares me in a good way is Classic Horror or Horror with a classic slant. Movies like The Woman in Black, Crimson Peak, and Ghostship have the mysterious darkness to them that I have enjoyed all my life.

What scares me in a bad way is the real-life trauma our world is going through right now. Hate crimes, domestic violence, mass murder, and the simple fact that a large part of the population no longer has respect for life in general.

Who is your favorite author?

I can never name just one. Anne Rice has been a favorite for a long time along with Andrew Neiderman and Jane Austen, but recently I’ve been delving into horror classics like The Turn of the Screw by Henry James, The Grey Woman by Elizabeth Gaskell, and The Willows by Algernon Blackwood.

What is your creative process like? What happens before you sit down to write?

I generally have so many ideas I can’t possibly write them all down fast enough. My novels are big, enormous ideas that simmer in my head for quite a while before I actually start writing them. If I’m writing a short story, I usually get the email from the publisher or see the call and get inspired by the idea or the cover. Then I think about it for a few days. In a day or two I’ll think of something awesome I want to do. I usually get the beginning and the end and write it down (long hand) as much as I can. When I have a pretty solid first draft, I read it into my phone and email it to myself. Once it’s on my computer I make it pretty, flesh out the descriptive parts, sure up the dialogue and fill in the missing bits. Then it’s ready to send to my betas.

Tell us about your current projects.

I have just finished a modern rewrite of Jane Austen’s Northanger Abbey. It’s sort of a Clueless-meets-Lydia Deetz-from-Beetlejuice YA Romance about a Horror Addict who falls in love over winter break in New York City.

I am writing my third vampire novel, Day’s Children, and have a few other short Horror stories coming out in anthologies this year.

What have you written and where can our readers find it?

Readers can find out about my vampire series, Night’s Knights, and all the other fun stuff I do at: emzbox.com

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Emerian Rich is the author of the vampire book series, Night’s Knights. She’s been published in a handful of anthologies by publishers such as Dragon Moon Press, Hidden Thoughts Press, Hazardous Press, and White Wolf Press. She is the podcast Horror Hostess of HorrorAddicts.net. You can connect with her at emzbox.com.

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: Dark Shadows Video Review

 

Kristin Battestella aka Kbatz is very excited to at last ramble about the highs and lows and ways to watch the gothic sixties soap opera Dark Shadows! In this introduction to the series, learn about the storylines, technicalities, and monster mayhem!

 

 

Get involved in the kitschy conversation on our Facebook Group!

 

To read even more of Kristin’s Dark Shadows Reviews, visit I Think, Therefore I Review.

 

Thank you for being part of Horror Addicts.net and enjoying our video, podcast, and media coverage! Next month look for our coverage from the NJ Horror Con and Film Festival March 29-31. Can’t wait!

#HOWConference – Last chance to chat?

 

Join us tonight
Thursday, February 28
for our LAST CHANCE CHAT
Live on ShoutBox Chat
9 pm pacific / 12 mid eastern

You can still chat with HorrorAddicts.net year-round by…

Joining our FB group

Women Writer’s Group

Following us on Twitter

Subscribing to our blog

Listen to our podcast on iTunes

Hope to see you tonight!

And if you’ve missed any of our awesome articles/panel discussions, check out:

Scare Yourself and Your Readers – Dina Leacock

How to Make Your Horror Tourniquet Tight – Laura Perkins

The Embodiment of YA Horror – Laura Perkins

Gary Frank Author Interview

Overlooked Elements of Promotion – Loren Rhoads

Christine Norris Author Interview

Brainstorming 101 – Laura Kaighn

Brian McKinley Author Interview

Importance of Networking – Ilene Schneider

Of course, our HorrorAddicts.net staff has come through with several horror articles and general writing tips, too:

Submitting Your Short Story – Naching Kassa

Self-Publishing Checklist for Newbies – Emerian Rich

How Not to End a Sentence with a Preposition – Kristin Battestella

Getting Out and Staying Out of the Slushpile – Emerian Rich

Vampires versus Vampires – Kristin Battestella

Baby Steps for New Authors – Emerian Rich

There’s just so much to see and do out HOW! We’ve already decided to keep using the Forum and the ShoutBox Chat for more HorrorAddicts.net perks and events! Browse our Online Conference today, tomorrow, at your own pace anytime – and be sure to tell us What You Think of HOW!

#HOWConference – Welcome Our Guest Authors!

 

 

The HorrorAddicts.net Online Writers Conference has several workshops, videos, and inspirations from locals near and far! Here’s a list featuring some of our Guest Authors:

 

Scare Yourself and Your Readers – Dina Leacock

How to Make Your Horror Tourniquet Tight – Laura Perkins

The Embodiment of YA Horror – Laura Perkins

Gary Frank Author Interview

Overlooked Elements of Promotion – Loren Rhoads

Christine Norris Author Interview

Brainstorming 101 – Laura Kaighn

Brian McKinley Author Interview

Importance of Networking – Ilene Schneider

 

Of course, our HorrorAddicts.net staff has come through with several horror articles and general writing tips, too:

 

Submitting Your Short Story – Naching Kassa

Self-Publishing Checklist for Newbies – Emerian Rich

How Not to End a Sentence with a Preposition – Kristin Battestella

Getting Out and Staying Out of the Slushpile – Emerian Rich

Vampires versus Vampires – Kristin Battestella

Baby Steps for New Authors – Emerian Rich

 

There’s just so much to see and do out HOW! We’ve already decided to keep using the Forum and the ShoutBox Chat for more HorrorAddicts.net perks and events! Browse our Online Conference today, tomorrow, at your own pace anytime – and be sure to tell us What You Think of HOW!

 

 

FRIGHTENING FLIX BY KBATZ: Poe Excursions!

 

An Excursion in Poe

by Kristin Battestella

 

A little bit of Edgar can be found in anywhere – if you know where to look.

 

Edgar Allan Poe’s The Oval PortraitStormy nights, carriages, red velvet, and antiques accent this loose 1972 adaptation alongside candles, staircases, ominous housekeepers, late relatives, and ghostly piano playing. The titular painting, apparitions, and haunted house atmosphere come early with eerie music, lovelorn letters, and fainting ladies. However the inaccurate Civil War costumes, shabby uniforms, off kilter voices, and dark print make it difficult to tell who’s Union or Confederate. The echoing overlays, visions of past couples, and angry artist can’t overcome the lookalike characters, soap opera stylings, and rip off plots. Sure Poe’s tale is thin, but here the new wife shocks everyone by coming down the stairs in Rebecca’s clothes – and yes that’s the late subject’s name. More people keep arriving, but the ghostly possessions are put on hold for flashbacks with rally calls, cavalry, and a soldier on the lamb that look borrowed from another picture. If this scandal is where the story starts, why not begin there? Of course, there’s also confusion between this movie and another with the same cast called One Minute Before Death, and the bookends make it seem like the two movies are combined into one on top of weak scripting, fly by night production, and jumpy flash cuts between the back and forth that never lets the forbidden love build. The muddled dialogue and stalling gothic romance feel like part of the story is missing – compromising the illicit, funerals, and grave robbing before more hysterics, wills, and tacked on ghosts. Though watchable – bemusing even thanks to the overlong, nonsensical dancing with the corpse finale that’s probably followed by some good old fashioned necrophilia – this could have been a better, faithful adaptation of Poe’s story instead of some kind of two for the price of one messy that doesn’t go together.

 

The Fall of the House of UsherThere’s not a lot of information available on this elusive 1949 British adaptation of Poe’s famously flawed siblings. The opening here is weird, with Brit pimps in their boys club chatting up their Poe favorites. When the story moves into the tale itself, however, solid dialogue from the book, lovely period décor, and bizarre designs put on the right demented atmosphere. Piano interludes, candlelight, unique photography, and one very creepy crazy mama add to the fun. Yes, today’s audiences may feel the plot meanders a bit with seeming slow or quiet scenes. Fortunately, the fade-in editing, ticking clocks, and slow-burning wicks encapsulate the tomb-like mood. This actually does what an adaptation should do- I want to go read the source again! It’s a bit dry, but this one is worth the Poe study or classroom comparison for the scares and macabre it gets right.

The Raven He’s hamming it up and quoting death as his talisman – Bela Lugosi is creepy as ever behind his doctor’s mask and a suave god complex for this 1935 Poe based hour. The bearded, raspy, demented looking Boris Karloff (also of the unrelated 1963 mash-up of the same name with Vincent Price and Peter Lorre) is trying to reform his criminal ways, but Lugosi’s twisted doctoring wrenches that! This quick plot wastes no time thanks to car accidents, desperate medicine, titular quotes, mad love, and torture gear. Though not a full-on, proper adaptation of the famed poem, great shadows, interiors, organ music, furs, fedoras, and screams accent the obsessed with Poe layers and madcap style. A large ensemble can make it tough to tell who is who, and we don’t see much of the Poe-esque devices or their violence compared to the torture porn we expect today. However, the time here is steeped in an entertaining interwar gothic atmosphere – the wild contraptions are fun yet there are poignant moments and comeuppance amid the haunted house attraction mayhem. Edgar aficionados and fans of the cast will enjoy the uncanny charm here.

 

Spirits of the DeadI’m not really a Jane Fonda fan, but she looks superb in this colorful 1968 Italian anthology with designs from Edgar Allan Poe. Perfect locales, music, horses, castles, and foggy coasts set an ethereal, dreamy mood for the first tale here. The period costumes and sixties fusion might be a bit too Barbarella, and some will be put off by the spoken French and reading subtitles. Yet Fonda fans will enjoy the suggested kinky and ménage taunts- even if it’s her brother Peter (Easy Rider) sparking the obsessions. ‘Metzengerstein’ is more sauce than scares, but it might have made a nice fantasy movie by itself.  By contrast, ‘William Wilson’ adds Italian occupation and religious motifs for the second installment.  Iffy kid acting, look a likes, and flashbacks can be confusing to start and some of the butchery won’t be for everyone. However great fashions, sweet cadavers, autopsy educations, and historical brutalities are scary good- not to mention a dark-haired, poker playing Brigitte Bardot (And God Created Woman) to keep the questions on one’s conscious and duality from getting too dry. Terrence Stamp (Billy Budd) is a wonderful drunkard in the almost too trippy ‘Toby Dammit’ finale, but cool Roman amusement, bizarre locations, and weird play within a play production keep the plot from being too nonsensical. Though the final ten minutes get tough, the well-edited and intense driving scenes make for a fitting overall conclusion.  Not all will enjoy the near-psychedelic period and foreign sensibilities, but this is some twisted fun for fans of the players and all involved.

 

Tale of a Vampire – A delicious Julian Sands (Warlock, people, Warlock) leads this 1992 brooding character study brimming with “Annabel Lee” and Poe references to match the bleak back alleys, dark morgues, abandoned blue buildings, and dreary British mood. Despite the underlying urge to bite, predatory love, black cats, creepy vampire beds, and sucking on some bloody fingers, this isn’t a gorefest thanks to multilayered social awkwardness, melancholy, loss, and conflict. This lovelorn vampire spends his time in the rare books section of a sweet old library – you use that card catalog! The plot is unfortunately very slow, the isolated characters have no sounding board, and confusing flashbacks of lookalike women and lost bliss don’t explain much. The centuries ago golden patinas are well shot, however the uneven pacing and flawed constructs interfere with the storytelling. We should have seen the past to start, using that previous to accent the current torment and slightly unreal, demented fairy tale tone. Why is the audience more sad than creeped by this thirsty stalker? Fine performances carry the drama once the characters actually interact by quoting history and poets in insightful two-handers. “’Tis better to have loved and lost” and all that. Lighting and shadow schemes add to the mysterious rivals, for good love or ill pain possibilities, and strange seductions. Can it really be love if a vampire’s idea of romance is to consume the life of his lover? It’s oddly pleasing to see this kind of twisted vampire bite symbolism rather than teenage moon eyes, and this simmer builds to a fine finale with some interesting surprises. While not scary, the Gothic romanticism and Victorian waxing on forever and death not being the end of love provide a solid helping of morbid and memento mori.

 

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!

 

 

Thank you for being part of Horror Addicts.net and enjoying our video, podcast, and media coverage!

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Get involved: https://www.facebook.com/groups/horroraddicts.net/

Our Writers Conference Coming in February2019: http://horroraddictswriters.freeforums.net/

Paranormal and Horror Author Panel – South Jersey Writers Conference

Moderator Brian McKinley joins authors William Gold, Christine Norris, J.P. Simmons, and J.L. Brown to discuss vampires, science fiction, young adult, paranormal, steampunk, urban fantasy, witches, and much much more on the writing process, world building, social media marketing, and author brands at the South Jersey Writers Conference November 10.

 

 

Videos also available from the South Jersey Writers Conference include Networking Night with mystery author Ilene Schneider and the NaNoWriMo address from speculative writer K.A. Magrowski.

For more information, visit https://www.facebook.com/groups/southjerseywritersconference/

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.

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

*********      

 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

FRIGHTENING FLIX BY KBATZ: SUMMER VAMPIRES!

 

Summer Vampires, Oh My!

By Kristin Battestella

 

It’s SPF 1000 for these pale undead tales!

 

A Girl Walks Home Alone at Night – The black and white patina of this 2014 Persian language spooky invokes a specific fifties or spaghetti western mood. Retro cars, big old TVs, and greaser styles are transposed to a modern, mid-century rundown and post-industrial bleak with kids begging on the street, unusual hookers, an old man injecting “medicine” between his toes, and icky drug dealers. Arash is already paying for his father’s mistakes and taking guff from the rich – but a deadly vamp with a demonic voice and a belying angelic appearance rolls into town, cleaning up Dodge and making things better for the downtrodden. Fine scoring with carnival music touches and rhythmic, edgy throwbacks contrast the stillness and topsy turvy gender roles, for the fallen pimp, collapsing father figure, and absent mothers have created a vacuum for our eponymous mystery and the dark power hidden under her chador. We know the fangs and deservedly gruesome will happen amid the slow build drama or drug and sex frenzy but not when, leaving brief squishing effects, mild blood splatter, and attacking crescendos to speak for the minimal dialogue. A well-behaved stray cat parallels the titular feline predatory, yet sardonic skateboarding adds humor. Arash dresses up as Dracula, gets some bad ecstasy, and meets the real thing but retains his innocence and kindness among the cruelty – the simplicity of homemade ear piercings is much more charming compared to today’s wham bam sex or moon eyes romance. It’s an unconventional mix of straight drama and simmering horror, however at times writer and director Ana Lily Amirpour seems unsure which storyline is priority. The quirky vignettes and dialogue are nice while other scenes are pointless and the silence or music does more. This should have been a short feature or a limited series – viewers want to know The Girl better but this picture can’t rely on earlier unseen shorts or companion comic books. With 100 minutes to fill here, the structure should have been tighter, perhaps with labeled character chapters and our vamp in both senses of the word connecting them. A sagging middle dampens the impact of critical scenes, and this feels more indie cool than truly foreign film – it’s almost faux foreign with no real cultural references. Audiences accustomed to frights a minute will also be disappointed in the handful of horror moments amid the isolated interplay and justifiable girl power. Fortunately, this unusual world gets better as the protagonists go forth. Her bad frees his bad, is that a good or bad thing? There really should be a vampire drama category, and despite its flaws, this unique tale using horror to address social contradictions is worth a look. And there’s a Bee Gees poster, people. ¡The Bee Gees!


Kiss of the Damned – This 2013 vampire tale feels much older thanks to a seventies style opening, video stores, Old World names, European accents, retro clothes, and bonus Montgomery Clift movies on the television. Ominous music, moody candlelight, and a bleak seaside house foreshadow the blood spilling to come, and the property comes complete with an un-tempting, blood disorder maid taking phone messages for her mistress – a lonely translator who’s never available during the day and indisposed until evening thanks to a “medical condition” where she can’t be exposed to sunlight. Wink. Intercut, handicam vamp violence and edgy, intrusive music or over-emphasizing flashes, however, are unnecessary, and melancholy pain with choice pop moments or ironic classical cues do better. Blue lighting, headlights, and golden interiors accent nighttime filming, creating a stylish mature alongside the frank conversations addressing how to chain a girl to the bed. Sexy turned killer teeth, wild eyes, askew angles, and violent thrashing elevate the alluring but dangerous as the heavy petting escalates in spite of the consequences. Reluctant Djuna knows this romance could be doomed, but Paolo wants to get sucked dry at both ends. (¿¡?!) Such erotic yet creepy may be too weird for some, but this realistic vampire relationship is refreshing and fast moving – the vampire turning happens early and the entire picture isn’t a dying for love question. More time is taken for the lifestyle details on living forever, heightened senses, and the charming couple that preys together stays together. Problematic sisters and centuries old sibling rivalry parallel the role reversals and too good to be true good vampire behaviors. Biting on the club scene versus love and living posh, sisters forgetting their mother’s face, cocktail parties and a close-knit vampire community discussing why inferior humans reign and synthetic blood isn’t FDA approved – there’s just enough gore and blood to recognize the messy brimming beneath the gilded surface. The tense debate on whether they are monsters or not and why they shouldn’t self-loath gets better as it goes on with bloody slip ups, saucy conflicts, sunlight perils, and deliberate virgin blood trickery. Although some scoring and editing are rough around the edges and debut writer and director Xan Cassavetes packs a lot of flash early on in the film to lure audiences, the likable cast and fine drama don’t need anything else. This would have made a fine long form series, and I’m glad the vampire genre is growing up again with films like this.

 

Twixt – Washed up horror writer Val Kilmer (The Doors) stars in this 2011 Francis Ford Coppola directed askewer set in a sleepy town featuring zany Sheriff Bruce Dern (The ‘burbs) and a belfry with seven clocks each telling a different time. One hear tells of twelve ghostly kids playing at midnight and a thirteenth child damned, and bodies in the morgue are free for the viewing since the serial killer’s calling card is a giant wooden stake. Bat houses are totally different from bird houses, and the abandoned hotel once sheltered Edgar Allan Poe. Val’s ponytail, Fedora, and drinking hit home the hoofing it, down on his luck author – his bookstore signing is in the bookshelf half of the hardware store! He’s asking for advances so his estranged wife won’t sell priceless literary collectibles, and Joanne Whalley’s (Willow) angry video chats tops off the backwoods humor. Old fashioned lanterns, fax machines, radios, split screen calls, tolling bells, clockwork groans, and wonky camera angles accent the weird nighttime blues, silver patinas, eerie woods, and decayed buildings. Distorted movements, slow motion fireplaces, skyline perspectives, exaggerate neon signs, specific red accents, and individual lighting schemes become increasingly distorted, and Elle Fanning’s (Maleficent) a mysterious porcelain doll-like girl. At times, the Sin City-esque style seems odd for odd’s sake, but the onscreen editor wants a vampire book with a story not just bullshit visuals, and a portable table and chair, ritual writing space, and blank computer screens wink at the select all delete that perhaps only writers can understand. Yes, it’s obvious we may be in an onscreen fiction thanks to the maybe maybe not dream quality, moonlit breakfasts, and imaginary conversations with Ben Chaplin’s (The Truth about Cats & Dogs) Poe blending the titular sense of time together. Is this the creative subconscious, a story in progress, or a purgatory limbo for our author? The interpretive subtext layers the warped atmosphere, but the busy tale within a tale, life imitating art twists end abruptly with typical creepy minister prayers, snakes, mea culpa, and literary catharsis. This isn’t perfect and probably too full of itself – nobody is going to red pencil Coppola – but this didn’t deserve to be a festival blink with a delayed video release. In fact, Coppola’s intentions as a live interactive film with different versions depending on audience reaction remain intriguing, making the picture either all dream, all reality, or all inside story rather than a patchwork narrative with pieces of each. Today, this choose your own adventure concept would be a water cooler Netflix event! Of course, the industry doesn’t embrace out there film making, and one also needs Coppola’s Godfather clout and financial freedom to do this kind of hobbyist release. Many will hate such uneven indulgence, but the oddities here are worth a look.

FRIGHTENING FLIX BY KBATZ: SWEET RECENT SCARES

 

Sweet Recent Scares

by Kristin Battestella

 

Ghosts, vampires, and cults, oh my! This trio of recent tales get the scares right!

 

I am the Pretty Thing that Lives in The House – Ruth Wilson (Luther, The Affair) stars in this 2016 Netflix original written and directed by Oz Perkins (The Blackcoat’s Daughter). Poetic voiceovers tell of a house being borrowed by the living while dark screens and period silhouettes come in and out of focus, creating an aged feeling for our colonial house, ailing horror author, and her jilted live in nurse Lily – who must always wear white, can’t be touched, and slaps her own hand for snooping. Certainly there are obvious implications with repeated phrases, solitary scenes, one side phone calls, whispering voices, and no outdoor perspectives to disrupt our attention from the suspect footsteps and undisturbed décor. Old music with ironic lyrics, cassettes, rotary phones, typewriters, static TV antennas, and Grateful Dead shirts also invoke a trapped in the past mood implying that the thin veil between life and death is soon to be broken. Shadowed, almost black and white shots and doorways framed in darkness make the audience question which side of the looking glass we are on – slow zooms peer into the dark frames or blacked out night time windows. There are shock moments, but the one woman play design is intense without being loud or in your face. Blindfolds, old fashioned dresses, mirrors, musty papers, and mysterious boxes increase amid moldy walls and suspicious characters from our author’s 1960 novel The Lady in the Walls – creating slow burn literary flashbacks, parallel self-awareness, ghostly uncertainty, and feminine duality on wilted old age blooms versus forever beautiful flowers. Is this a linear story or are the past, present, living, and dead blending together? Again, the answers are apparent with book titles and name hints hidden in plain sight. No one eats, sleeps, or bathrooms yet this ghostly rot and repetition may take multiple viewings for full discussion, interpretation, and analysis. Although there are some pretentious arty for the sake of it moments – not the papa Anthony Perkins scenes on the TV! – knocking on the walls, a flipped up rug, buzzing flies, and a will requesting another woman writer come to chronicle this “House of Stories” are atmosphere enough without run of the mill wham bam effects. This individual horror experience remains can’t look away intriguing for old school horror fans not expecting thrills a minute and those who enjoy a seventies, no concept of time mood.

 

Midnight Son – An aversion to sunlight, skin conditions, and the need for human blood make for a deadly quarter life crisis in this 2011 indie gem from Scott Leberecht (Life After Pi). There’s not much dialogue early – and the DVD has deleted scenes, interviews, and commentaries but no subtitles – yet the visual storytelling doesn’t need anything uber talkative. Interesting schemes denote the false night time light with yellow lamps, neon accents, string bulbs, blue kitchen designs, and choice reds as the doctor diagnoses anemia, jaundice, and malnourishment. Rare steak isn’t doing the trick, but the sight of blood on a bandage at the ho hum night security job gets the heart racing for something tasty. Early Google research moments get out of the way in favor of painting memories of the sun, solitary vampire movie watching, checking for fangs, testing for a reaction to crosses, and having a laugh at the clichés. Loneliness, street peddlers, deadbeats, and debt – life’s already down on its luck so what’s a little vampirism? The vampire vis-a-vis for drug use and life sucks may be trite today, but this allegory has an older, working protagonist stopping in the corner butcher for some blood by the pint to hide in his coffee cup. Companionship and fantastic possibilities can be found in unlikely places, and it’s neat to see just how many things a basement dwelling vampire can really do at night. Although I like his bed with the blackout curtains, this is a potential turned bleak world – the natural awkwardness is understandable and casually realistic. Jacob’s smart, talented, and just hampered by his…health problems…and an ER opportunist is willing to trade blood for a price. Rather than shock horror exploitative, we have an intimate, invested view for the increasing slurps, bloody makeouts, and desperateness. Quick camera flashes leave room for suggestion as bodily changes, night vision, infections, and love bites interfere with potential relationships, murder investigations, gallery possibilities, and you know, trying to get somewhere in life. Can you be a good and normal vampire or is amoral violence the only answer? Though plain to some with nothing super unexpected, the simple constructs echo the mature progression, honest drama, and self-aware focus without the need for horror spectacle. This is a fine story with a small but well rounded, multi-ethnic cast, and it’s one of the best same writer/director pictures I’ve seen in a very long while.

 

Sacrifice – Radha Mitchell (Pitch Black), Rupert Graves (Sherlock), and David Robb (Downton Abbey) star in this 2016 adaptation of Sharon Bolton’s novel beginning with brisk New York pregnancy emergencies before moving to Scotland’s great mountains, rocky coasts, and end of the world island isolation for an adoption. Standing stones, jokes about mistaking “runes” for “ruins”, and talk of Druids, Normans, and ritual sacrifice pepper the scene setting job interviews, hospital tours, and dinner with the wealthy, well-connected, but secretive in-laws. A dead animal on the property reveals a buried body, and our lady obstetrician butts into the police investigation of this bog discovery, studying creepy photos and x-rays of the corpse to suggest the victim had recently given birth before her insides were excised. Quality science, Tollund Man references, and flood clues jar against trow myths, unique folklore, and inscription evidence. The authorities don’t want to hear any of that old sacrificial talk, but these mothers and lady cops are intelligent women talking about history and murder rather than men or gossip. While the well-paced, multilayered investigations may build the spooky versus facts with suspicions and tense cloak and dagger, this is not an overt horror picture. The story here feels caught in the middle when it should have been either a straight crime drama or gone with all out fantastics. There are some plot confusions as well – who is who and all the details aren’t totally clear, leaving an abrupt end with serious unanswered questions. Fortunately, surveillance, shadows, chases in the dark office at night, and lights going out add suspense. Late wives, a clinic full of pregnant but anonymous women – who doesn’t want this medical mystery solved and why? This is a small island, and not being in on its secrets can prove fatal with dangerous bridges or fiery car accidents. Body switches, clandestine interviews, identifying tattoos, hidden passages, and bagpipes tossed in for good measure seemingly tidy the case, and a likable, mature cast anchors the maternal fears and cult demands of this unique little thriller.

 

But Skip

White Settlers – A city couple moves to a too good to be true Scottish fixer upper on a medieval battle site in this 2014 British snoozer also called The Blood Lands. After the usual cool opening credits, are we there yet driving to the horrors, a somewhat shady estate agent, no phone signals, and a move in montage; the very unprepared wife realizes she’s afraid of being in an isolated handyman house without power. Of course, her jerk husband makes Scottish jokes, refusing to let up on his bullshit attitude even when there’s a scary break in and unseen attackers. The outdoor saucy, surprisingly immature and incompatible couple, and nighttime suspicious are typical clichés, and the divine scenery, historical references, and great house are never used to their full potential. When the description refers to ancient battles, one sort of expects something wild like ghosts or cults and past meets present horror – not guys in pig masks angry at the new neighbors. It’s tough to feel any of the supposed English versus Scottish subtext because the horror is so substandard. Eden Lake had better us versus them twists, and I swear I just saw this terrorizing hooligans in animal masks trope in at least three other horror house siege movies. Although flashlights and fog make it difficult to see much of anything here, and our wife has to apologize to her asshole husband for her being afraid even while she’s the superior fighter. Maybe this isn’t that bad on its own, but it’s certainly disappointing if you are expecting anything more than Brits chasing some other Brits through the woods in the dark. Nothing here is horror sentient – people go back to check the still body, bads talk rather than act to create a contrived victim escape, and who trusts the creepy little boy for help? Hello, McFly. If you didn’t want any English buying your Scottish property, why not blame the real estate lady who sold it to them? Or the bank that made the price so high? How is unrealistically terrorizing and ridiculously kicking out the new owners so you can move in going to get rid of any of the real world consequences?

Kbatz: Buffy Season 7

 

It’s Very Messy, but Buffy Season 7 Ends Right

by Kristin Battestella

 

The seventh and final 2002-2003 twenty-two episode season of Buffy the Vampire Slayer certainly has its ups and downs with new slayer potentials creating multiple storylines amid the nostalgic series reflection. Most of the year is uneven at best with too many characters and a plodding pace. However Buffy’s big finale remains a sentimental must see for long time fans.

Vampire Slayer Buffy Summers (Sarah Michelle Gellar) is hired by Principal Wood (D.B. Woodside) at the new Sunnydale High school where her sister Dawn (Michelle Trachtenberg) attends. Unfortunately, there’s little time for construction manager Xander Harris (Nicholas Brendan) to work or reformed witch Willow Rosenberg (Alyson Hannigan) to return to college, for ex-watcher Rupert Giles (Anthony Stewart Head) reports that potential slayers all over the world are being killed by The First Evil. The Hellmouth beneath the high school is stewing, putting vengeance demon Anya (Emma Caulfield) on the outs with the evil community and testing vampire Spike’s (James Marsters) inability to deal with his newly earned soul. As the public abandons Sunnydale, the small Scooby army is joined by former Trio hostage Andrew (Tom Lenk) and Slayer bad girl Faith (Eliza Dushku) to fight against the ancient Turok-Han vampires and The First’s ruthless disciple Caleb (Nathan Fillion).

The seventh season opener “Lessons” is a pleasing re-introduction to Sunnydale High School, its creepy basement, and the suspicious new principal with an office directly above the Hellmouth. There’s certainly some residual energy on the grounds, and it might have been interesting to stay with this renewed school paranoia. Let Buffy be the occasional adult as new school evils and fresh characters arrive to replace those departing. Scenes from the earliest seasons haven’t been in the opening credits for some time, but numerous references to prior Buffy years pepper the foreshadowing, soul revelations, and demons under pressure. Although the plot is convenient, “Same Time, Same Place” perhaps admits last season skewed too dark – the gang is down to Buffy, Xander, and Dawn before the Scoobies come together again for more yellow crayon reminders. Our main girls help each other heal in similar but parallel separations, and this unique episode with no billed guest stars shows what Buffy can do with a total bottle episode. “Help” also mirrors Buffy’s beginnings with invisible girls unnoticed and hanging at the morgue on a school night. The bullying and suicide conversations are slightly after school special, but in Sunnydale, it’s easier to consider the slayer way or something spooky rather than normal human resolutions. There are demonic twists for sure, but the cryptic predictions build real world life and work better than all the dark metaphors. “Him” does the high school love spell again, complete with the old Sunnydale High cheer leading uniform and A Summer Place music. Despite annoying Dawn moments and dated then cool lingo, this is a self-aware revisit with all involved in the crushing gone awry. In contrast to these lighthearted back to Buffy roots, “Conversations with Dead People” halts the paranormal life moves on potential with a solid mix of supernatural catharsis and deceptions. The isolated vignettes layer multiple foundations while the tension, possessed house, and too good to be true afterlife conversations remain intimate angst and personal horror.

Sadly, most of this season Buffy is disjointed with anonymous potentials detracting from the core gang. With only one big bad lacking the usual Buffy seasonal structure, this could have been a much shorter year, yet the previouslies each episode get longer. That two minute recap eats into an already short forty-three minutes with credits, providing less time for the important things amid ominous cliffhangers and toiling games. Cluttered characters and too much exposition add to the increasingly messy timeline – some episodes continue right where the action leaves off while others never acknowledge gaps in time. Continuity also plays willy nilly with a non-corporeal baddie touching people or objects, leaving viewers to weed out what is fact, error, important, or meh. It’s tough to appreciate the taunts and changing face of The First as actual badness thanks to tired scripts and an over it apocalypse feeling. Such convenient even lazy writing is surprising when Buffy is usually so well interwoven. Season Seven is undecided on whether this is a reset with the global youths or an inward goodbye wrap. Buffy is welcome to do either, but the apathy on choosing makes it easy to tune out now just as it did when the season originally aired. “From beneath it devours” mantras come up empty, and “Beneath You” is a filler attempt at combining good character conversations with monster of the week unnecessary. This is supposedly the bad before bad was even bad, yet it hasn’t been mentioned since Season Three and Buffy doesn’t realize this is The First until “Never Leave Me.” Pieces of episodes have great scenes, but “Bring on the Night” is all talk. Real world school cancellations and residents leaving town finally come in “Empty Places,” but Faith takes everybody to the Bronze, Giles doesn’t trust Spike, Spike doesn’t trust Giles, and peeps be disrespecting Andrew by stealing his Hot Pockets!

Fortunately, the girl power confrontations and women in charge conversations about much more than boys increase the Hellmouth consequences in “Get It Done.” Who The Slayer is and how the job can be redefined finally get back to the First Slayer roots – although such good pieces can be tough to swallow when the obvious First Slayer answers from earlier seasons are selectively ignored. Past slayer angst, vampires both friend and foe, period William the Bloody flashbacks, and motherly conflicts do right in “Lies My Parents Told Me” with deep seeded memories and oedipal mother/slayer sons kink. Not to mention the self-aware jokes on the speeches and confusions about the chip, a trigger, a soul, which one the military gave Spike, and which one is off, on, or making him kill again but not anymore. The wasting time arguing on how to argue comes to a hilt with “Touched,” but not before a speech from Spike interrupted by a speech from Willow cut off by a speech from Faith saying the time for speech giving is done. Thankfully, this entry is about each couple having their moments before the end, and it is indeed touching as well as groundbreaking with steamy interracial sex scenes and equal lesbian action unheard of on American television lo these fifteen years ago. Though commonplace now, it’s another reminder of how important Buffy The Vampire Slayer really is, and “End of Days” takes up the mantle with Sword in the Stone inspiration and Indiana Jones and the Last Crusade old lady guardians. The bombs and magic weapons are slightly episodes of the week for Buffy rather than penultimate heavy, but old friendships are reconnected and everyone has their time with what’s really important – like explaining what happened to Mr. Kitty Fantastico! The series is able to say goodbye with a message on whether you win or not being up to you, but there’s a chuckle. too: “What’s your name?” “Buffy.” “No, really.” The prophetic gems and potentials come full circle in the “Chosen” finale by facing the fear of being alone with an eponymous army changing the call to fight against evil. Naturally, it wouldn’t be a Season Seven drinking game without one more speech, but a course of action is finally taken and Dungeons & Dragons is played in the calm before the battle. While some fighting and effects are hokey or crowded, there’s also a cinematic flair with superb moments from the original Scooby Gang – save the world and go to the mall. The slayers make the rules, take it to the evil, and kick ass. It’s an excellent culmination to the series with huge tearjerker moments and a totally fitting goodbye to the Hellmouth, “Welcome to Sunnydale” sign and all.

Kind of sort of counselor Buffy almost has a real job, yet she looks like she did in the first season – just with better symbolic white clothing. High school is a familiar setting, but she’s older, wiser, able to deal and admits to dating hottie dead guys. Buffy has some undead therapy, too, a sit-down examination on her inferiority complex about her superiority complex. The Slayer must always isolate herself, and Buffy feels unqualified for any proper life position. Good thing she has bigger Hellmouth concerns! She doesn’t want any legacy, for what she does is too important for the world to know about it, and Buffy becomes increasingly snotty and defiant despite doing little to fight The First. Her catatonic breakdown late in Season Five seemed a better crack under pressure with fewer roundabouts and rogue fighting getting people killed, and this disservice pulls Buffy a touch too far astray. Deep down she’s still not over killing Angel way back when, and it understandably takes Buffy sometime before trusting Spike again. Luckily, she comes to defend and rely on him, inadvertently confessing she previously had feelings for Spike. The audience has to conveniently forget that Spike told her about Nikki Wood in great detail as Buffy also seems to forget, but amid all the apocalypse crazy, these relationship pauses give Buffy the clarity she needs. Yes, it is a speech about unbaked cookie dough, however, it’s easy to forget how young Buffy really is because she’s been through so much. This time the end of the world is coming round and Buffy realizes she has her whole life ahead of her and it’s okay to not be ready for whatever else there is. She doesn’t want to be the one and only, so she faces self-doubt, embracing a new comfort in her own skin alongside a mature frankness with Spike. Of course, Buffy never was much with the damseling, but now she has to learn how to be just like everyone else.

 

Vampire Spike is on the case trying to unravel what’s happening in his own head in “Sleeper.” Double Spikes and The First’s non-corporeal switcharoos are confusing, but Juliet Landau’s Drusilla disguise helps make The First feel more real as Spike isn’t handling the remorse of his newly acquired soul too well and hanging out near the Hellmouth for The First’s taunts add to his torment. Spike’s crazy basement talk comes in handy, however, and his brief past with Anya is addressed amid multiple questions about his chip, evil brainwashing triggers, and his soul reprieves. His previous attack on Buffy is put front and center to start the season, as Spike knows he has no right to ask for help from her. It’s eerie to see him biting people again, reminding the audience his struggle over his previous villainy will get worse before it gets better. Does he still need to be on a leash or should his chip be removed? Spike drinks to avoid all the household’s human temptations but insists he is there to become good enough and do what Buffy wants. The Initiative chip was done to him, but he sought his soul, and Spike feels good fighting bad guys. He wants Angel’s pretty charm that calls for a champion strong enough to wield it. Spike, a hero, whodathunkit?! He remains loyal to Buffy, literally sniffing her out when she’s tossed from the house, and he’s not fooled by her seeming acceptance of defeat. Spike and Buffy have it out once and for all, coming to a deeper understanding of who each is and what they are together. Even if you aren’t a Spuffy fan – I love both characters but still don’t know if I like them together – there are some endearing late-season moments between them.

Unfortunately, I don’t feel sorry for Willow learning her lesson via a mystical English retreat, and it’s incredibly frustrating that this uber powerful witch who can poof anything better is knocked out of the fight and made awkward again over contrived can’t or won’t magic hang ups. Let her face the bad memories at home and get back into a lighthearted academic usefulness as in the earlier seasons, for Willow has no right to distrust anyone or call out others for any evilness. If potential slayers are making ready, then where are all the other magic experts and trainees for Willow to host or join? If all these characters are doing nothing, why not school other magically inclined people like Dawn, Anya, or Andrew to Wicca power? It’s as if Buffy doesn’t know what to do with Willow’s magic beyond the lesbian sex metaphors, but at least her relationship with Iyari Limon as Kennedy can be realistically portrayed without that wink. Sassy Kennedy acts tough, but the superior potential attitude feels try hard, and the spoiled rich girl is taken down a notch after pushing Willow to do more non-sex magics. Likewise, the uneven “The Killer in Me” is riddled with unnecessary Initiative throwbacks and a repressed grief Willow as Warren hex due to the new lady romance. Been there, done that, and still “So, so tired of it!” Thankfully, Xander has mellowed in his old age, becoming a single parent figure comfortable with himself, his job, and driving everyone to school. His past jerk behavior isn’t forgotten and Xander objects to still being called Buffy’s boy, however, he’s a firm voice of reason, fortifying the house in construction as well as alleviating fears with humor. Xander relates to the potential girls waiting to be chosen, knowing their struggle to be so near but just outside the spotlight. He repairs his relationship with Anya and trusts Buffy even as he pays a hefty price for his loyalty and refuses to let Willow magically heal him. Through it, all Xander’s in good spirits and ready to be there at the end – if only because it is his job to bring Buffy back to life after each apocalypse.

Anya isn’t doing too well as a vengeance demon and spends the early episodes as a magical support plot point before the bemusing Old Norseth speech, subtitles, and period flair of “Selfless” complete with a cute revisit to “Once More with Feeling” and an explanation about the bunnies contrasting her dark and gruesome vengeance deeds. Demon fun with Kali Rocha as Hallfrek and consequences from Andy Umberger as D’Offryn or not, Anya must decide which side she is on with wild spiders, lingering feelings for Xander, and head to heads with Buffy coming to the hilt. I’m not sure where in the series, but we should have had her backstory episode much sooner instead of Anya as merely Xander’s girlfriend who admittedly does little but provide sarcasm. She uses her demon connections, gets into the interrogations, and applies her poor bedside manner when telling how ripe and overcrowded the house is. Her hair changing stir crazy leads to some fun moments with Andrew, who agrees her hospital supply robbery with Jaws quotes makes her the perfect woman. Sunnydale is all kinds of screwed, but Anya isn’t leaving town for this apocalypse. Besides, she’s spot on in saying Dawn isn’t good for anything. The teen still needs to be rescued or babysat a few times, but she does seem to find her place as a junior watcher style researcher. Of course, that doesn’t mean her information is well received, and her idea of developing a demon database based on detective work rather than last season’s out of hand use of magic is ignored. She’s growing up and has some humorous moments, but it makes no sense how her mystical same blood of Buffy means she is not a potential slayer. Despite wise youth observations about no one asking for help when they need it or that is isn’t evil that makes vampires with or without souls love or hate slayers, there are just too many people making speeches already, and if Dawn was mentioned as being secreted away to safety with the unseen good witches coven in England, her absence would not have been noticed.

D.B. Woodside’s (24) Principal Wood is quite interesting for Buffy, a character not quite friend or foe who should have been used more – even as a suspected mini bad for the first half of the season. Wood knows more about Buffy than he admits, calling her school record checkered while he describes himself as a snappy dressing, sexy vampire fighting guy. He knows Spike is a liability but lets his personal history with the vampire cloud his judgment as they begrudgingly fight alongside each other. Sadly, Wood ends up just kind of there, with too much busy and inconsistency in “First Date” interfering with his revelations. I still also want more of Eliza Dushku as Faith, an inexplicably late arrival to Season Seven who’s right that she should have gotten the FYI on The First. Faith opines that Buffy protecting vampires makes her the bad slayer and now she is the good one who chose to serve her time. It’s delightful to see her really meet Spike not exactly for the first time, and their bantering about who is the more reformed bad – not to mention Faith’s chemistry with Spike and Wood – was spin off worthy for sure. The best parts of “Dirty Girls” are the ones without Buffy, and the good and evil religious parallels add to the saucy and Faith’s kinky reminiscing. Buffy should have used the lingering resentment between who is the real slayer in charge to the fullest, and The First appearing as Harry Groener’s Mayor Wilkins helps Faith face her past. She admits she enjoys being part of something bigger, even if a weapon that could be hers of course really belongs to Buffy, and in the end, Faith goes from defensive about her slayer burden to encouraging the man interested to “have a little faith.”

I recall Nathan Fillion’s (Firefly) Caleb as being more important than he actually is, and his evil priest with the dirty slayer girls metaphors also could have been a mini bad face to The First early in the season instead of a mere five episodes late. Caleb has some great warped sermons with evil reversions on the Last Supper, communion, wine, and blood. His misplaced righteous defines who’s good, bad, clean or bad folk. Unfortunately, the hammy quips are too tired, and explanations on his mergings with The First to gain his super strength are almost an afterthought in the second to the last episode. So, The First wants to make all humans soulless with such merges but needs a buried ancient weapon to do this slayer mojo reversion. We could have used that information just a little bit sooner. Likewise annoying, sorry not sorry to say, are the potential slayers – Amanda, Annabelle, Molly, Kennedy, Rona, Vi, Chao-Ahn, Chloe, Eve, Colleen, Shannon, Laverne & Shirley. Even Buffy can’t remember the names of what is said to be thirty odd cardboard placeholders with iffy accents and terrible style. Their number, abilities, who they are, where they sleep, and who did or didn’t tell who what and when remains ridiculously confusing. The potentials admit to having squat in “Showtime,” and the desperately unprepared girls are a terrible little army with entire scenes of fearful debates on their said unpreparedness. Buffy takes too long to realize the slayer line changes and First impostors infiltrate the unknowns far too easily. By “Potential” Spike’s trigger is still in doubt yet he gets neck and neck with these girls during their little slayer boot camp. School and training are unrealistically balanced, as are bruises and injuries so serious one episode but gone the next. As the first episode aired after the series’ winter break, “Potential” also resets any strides made with more round and round vampire studies that ultimately go nowhere.

Outside of the perhaps understandably absent Oz and Tara, nearly everybody who has ever been on Buffy has a goodbye moment, including each Big Bad, Elizabeth Anne Allen as evil witch Amy, and James C. Leary as the fun and floppy eared demon Clem. Special guest star Anthony Stewart Head’s authority as Giles is desperately needed, but brief suspicions about him regarding The First are unnecessary and hollow. His usual voice of information is mishandled as well, with Giles’ Watcher wisdom cast aside for plot contrivances. Fortunately, David Boreanaz’s brief crossover as Angel has more clarity with mystical tokens given and pissy jealously over his no longer being the only vampire with a soul. Bittersweet moments come with Kristine Sutherland as Joyce Summers and Danny Strong as Jonathan, however, I am completely over Adam Busch as Warren and The Trio as villains. Tom Lenk’s Andrew starts weak with lingering what’s his name Tucker’s brother clichés, and my word Buffy gets ridiculously finite with too many pop culture references and geeky fan service, making this annoying character annoying indeed. Thankfully, Andrew – a “guestage” who bakes as his reform from evil – is not wrong when he says this season is Episode I boring, and props to his Dalton as Bond appreciation! Though a fun departure before the big final episodes, “Storyteller” uses Andrew’s video camera point of view for more meaning than it lets on underneath the Masterpiece Theatre ironies, retro video style, and need to document the slayer legacy with embellished liberties. Some B plotting out of the unique viewpoint loses steam, but Year Seven could have opened with the in media res here. This hour captures Buffy’s not taking itself too seriously tone despite the demon bads – something this toiling season often forgets – and everything gets up to speed with revelations to the camera confessor as it should be.

But say hey, it’s 2003 and they have cell phones now! Well, one shared flip phone that’s left behind by teen girls and gets reception in the basement – yeah right! – but it’s those corded landlines where you must remember the numbers to dial that are really scary. Series from this era were probably the last ones where world building could be so isolated with no newspapers or television reports necessary. Online police scanners could have been handy, however primitive internet searches result in nothing but unhelpful Geocities web pages. People need to explain what Googling is, and looking up “evil” on your work computer is never a good idea. The Bronze and its hip music moments should have been retired a long time ago, and certain fashions and weak monster effects shout Y2K. Buffy also strays from its own style with borrowing from Vertigo or The Terminator. Fatal opening montages featuring worldwide potentials strive for exotic edgy but end up mere Run Lola Run copies. The scoring is also embarrassingly noticeable, swelling for each of those redundant speeches. There are some fun splitscreen effects to visually accent the hysteria, but the perpetually beat up yet unrealistically repaired Summers House is too crowded and inadvertently symbolic of this busy Buffy season. Camping out in the damaged Magic Box could have interesting, and maybe Xander’s apartment on that higher floor might have been a bit more secure against the anonymous Bringers, lame Turok-Han vampires, or demon of the week easy. At least they admit one bathroom in the house is a problem, and hehe, Zima.

Today, Buffy’s final leg would have been twelve episodes tops – eight with no punches pulled. I want to zoom over all the superfluous with only a viewer sense of loyalty to carry through the forgettable hours yet can only take so many episodes at a time. However, it’s odd to complain that Buffy doesn’t know what to do with itself this season since the series is must see exceptional television overall. Year Seven makes me want to go back and marathon my favorites, and I repeatedly stopped and started this rewatch several times – only going forth with the last few shows once Buffy was expiring from Netflix as a lazy excuse to continue. Season Seven is both nostalgic good and rocky tough, but all the negatives know when to take a backseat as Buffy The Vampire Slayer ultimately ties itself together in one final, pretty bow. 

 

Live Action Reviews! by Crystal Connor: It’s Better To Be Alive

The music I am going to be reviewing for you today comes from a rap artist named Kasim Gary but who is widely known as Guillotine, however his mature and unique style of dark storytelling was inspired by more than just movies. Encouraged by both his father and brother and armed with the historical knowledge of art and dark literature concepts Guillotine creates more than just music. As a true fan and architect Guillotine has many contributing irons in the fires of horror, which is precisely why the name Guillotine is swiftly rising to the top of Horrorcore.  For those of you who are unfamiliar with the term or are wondering why I am reviewing a rap artist on a horror blog, the term is meant to describe a subgenre of horror called, which is rap music that is inspired by horror movies. Oftentimes their music videos resemble or flat mistaken for short horror films, which is why I knew reviewing his work would be a good fit here at Horror Addicts.

The Darkness

I love the whisperings at the beginning of the video. The sharp juxtaposition of order and chaos, normality and the freakishness is a common theme throughout and towards the end you start to wonder if what’s going on is actually happening or a hallucination caused by some sort of psychosis.

 

Expect Me To Change

This one had me at “I’m an addict for scaring the people.” Yes, my squad #AllHorrorEverything this is why I think this is my favorite song and the video is grotesquely beautiful. This one is for the gore hounds and nothing is spared. The makeup is stunning, the blood and splatter are over the top. The ‘villain’ in this video brand new dollar bill crisp, exquisitely dressed, and downright gorgeous. And you all know how I feel about bad guys. Oh, be still my beating heart.

Much Better to Be Alive
I really loved the visuals in this video, but I wasn’t really feeling the music because I am not really a fan of the dubstep style.

Lost It to the Music

This is my 2nd favorite from this album, the beat makes you turn up the volume and the villain in the video hooded, his weapon of choice 1st a hammer, then an ax, and then…well, I’ll let you see it for yourself.

Gotcha Duckin
Everything about this video, the lyrics, the beat, the imagery is old school hip hop blended with 80s slasher films nostalgia. It’s nicely done.

The Last Freestyle

Clocking in at 9 minutes and 26 seconds like The Darkness, this is more than a short film than a music video.  The Last Freestyle is shot in a bleak post-apocalyptic world and right off the bat, there is plenty for fans of zombie genre & gore hounds to sink their teeth into. Once the rapping starts you’ll find yourself bobbing your head to a classical hip-hop beat with lyrics that flow like water. The only difference here is instead of rapping about fast cars, beautiful women, and expensive jewels Guillotine uses zombies as a metaphor to describe the realities of growing up and living in the inner city.

So Near

This video opens up with a quote from Clive Barker, “Everybody is a book of blood; wherever we’re opened, we’re red.” This should have prepared me. But it didn’t. This track is more of a short story than it is a song, and I was I distracted by light upbeat rhythm and what was going on that when he said, “This little sexy petite Christian girl in a bad mood,” I was like WTF?!! All the shit she’s done just a minute into the song and she’s a Christian girl…oh contraire! Lol, you’ll see what I mean when you listen to the song.

 

Dope Emcee

This is a nice short video with lyrics paying homage to the MCs who seemed to have inspired him.

It’s Better to Be Alive

Bringing up the rear of my top three, this seems to be the 1st version of Much Better to Be Alive but I’m not sure why he thought it needed to be remade. The absence of the dubstep sets these lyrics on fire, there aren’t any special effects or heavy makeup in this video, and it seems to have been shot in the living room which only serves to highlight the lyrics.

 

Depending on how old you are you may have heard of another Horrorcore group that goes by the name of Insane Clown Posse. However,  the aforementioned hip-hop duo is not the only one who has paved the way to allow Guillotine to arrive where he is today. Make no mistake about it, he is the descent of a rich, long line of Horrorcore forefathers.  Dare I say, he has made his musical ancestors proud.

To learn more about Horrorcore and discover other Horrorcore artist, Nico Amarca’s article: Obscure Hip-Hop Genres: HORRORCORE written for Highsnobiety, and Benjamin Welton’s: 6 Horrorcore Rappers For Metalheads are excellent places to start.

http://www.highsnobiety.com/2015/05/28/horrorcore/

http://www.metalinjection.net/lists/6-horrorcore-rappers-metalheads-might-enjoy

To purchase this album It’s Better To Be Alive and sample more of his music: https://guillotinethekasinochamp.bandcamp.com/

To view and purchase the artwork: http://darkart.bigcartel.com/

 

BUT WAIT….THERE’S MORE!!!

Master Imaginationist and Instagram photographer Crystal Connor is the Chief Imagineer working for the Department of Sleep Prevention’s Nightmare Division. A Washington State native she loves anything to do with monsters, bad guys (as in evil-geniuses & super-villains.  Not ‘those’ kind her mother warned her about), rogue scientific experiments, jewelry, sky-high high-heeled shoes & unreasonably priced handbags.

She is also the founder of CrystalCon, a symposium that brings both Science Fiction & Fantasy writers and STEM professions together to mix and mingle with fans, educators, and inventors in attempts to answer a new take on an age-old question … which came first, the science or the fiction?

When she’s not terrorizing her fans and racking up frequent flyers miles by gallivanting all over the country attending fan conventions and writer’s conferences she reviews indie horror and science fiction films for both her personal blog and HorrorAddicts.net

She is also considering changing her professional title to dramatization specialist because it so much more theatrical than being a mere drama queen.

The Website

The Fanpage

Download your free copy of …And They All Lived Happily Ever After! from Podiobooks.com and see why the name Crystal Connor has become “A Trusted Name in Terror!” 

http://podiobooks.com/title/and-they-all-lived-happily-ever-after

Kbatz: The Munsters Season One

 

The Munsters Debut remains Macabre Good Fun

by Kristin Battestella

 

Meet the lovable and naive Herman Munster (Fred Gwynne) – a 150 year old green skinned Frankenstein’s monster – and his vampire housewife Lily (Yvonne De Carlo) along with their Grandpa Count (Al Lewis), unfortunately normal niece Marilyn (Beverly Owen, Pat Priest), and young werewolf son Eddie (Butch Patrick) in the 1964-65 Season One debut of The Munsters. Though often derivative, gimmicky, and of its time, The Munsters jam packs these first thirty-eight episodes with gags, wit, and slapstick brimming with Halloween mood. 
Fittingly, “Munster Masquerade” begins The Munsters with young romance and cross culture social clashes. These high society dames are worried about misspelling “Munster as Monster,” but the titular kin think an uppity masquerade party complete with King Arthur and Little Bo Peep costumes is horrifying! The Munsters establishes its series tone and now familiar tricks early, however, such gags and reverse quips – we weren’t dug up last night, put the color back in your cheeks, not letting the lack of rain spoil the evening – are part of the spooky, for the laughs charm. One might not expect much in these short twenty-five minutes or less run times, but the horror tropes, sci-fi humor, and lighthearted morals are surprisingly well balanced. The Munsters may not realize what they are, yet they make a point of being kind because they know what creeps regular folks may be. As a redo of the previous two test pilots, “My Fair Munster” is almost a bottle episode of mean neighbors despite that Munster friendliness alongside rectifying Marilyn’s old maid status with Grandpa’s mistaken love potion. “Rock-A-Bye Munster” adds self-awareness with a trick television and mini Frankenstein’s monster toys, leading to a witty case of mistaken pregnancy and the birth of the Munster Koach. The robot is hokey and the clash with truant officers remains unrealistic, yet “Tin Can Man” provides great funeral jokes and fatal quips before Herman falls asleep in the backseat as their car is stolen for a bank heist getaway in “The Midnight Ride of Herman Munster.” His innocence ups the zany plot twists, as he is surprised they want to go to the bank at dawn – it’s too early to be open – and he won’t speed in a 25 miles per hour zone when they leave. Likewise “The Sleeping Cutie” piles on the hypnosis humor, a pill that turns water into gasoline, sleeping potions, and a suitor named “prince.” What could possibly go wrong? Instead of a night picnic in the cemetery, the family braves the fresh air so Eddie can camp like the other boys in “Grandpa’s Call of the Wild.” Naturally, the trip spells disaster for Grandpa – who brings his electric chair outdoors and almost ends up in the zoo. The clan teamwork continues in “All-Star Munster” when Herman is mistaken for a basketball star by redneck visitors misunderstanding the comparably well to do Munsters, and “Bats of a Feather” fully introduces the family pets – Kitty with its lion’s roar, Spot the dragon under the stairs, and that “spoiled bat” Igor. Hey, why isn’t their temperamental raven in the cuckoo clock considered for the pet fair? I protest.

 

Herman’s detective school moonlighting and fun disguises raise Lily’s jealous suspicions in “Follow That Munster,” and the lighthearted marital discord carries over in “Love Locked Out” when Herman is sleeping on the couch until both separately go to a marriage counselor for inadvertently competing advice. Eddie finally has a friend over in “Come Back, Little Googie” but he’s an insulting, nasty boy trying to trick everybody, providing for The Munsters special brand of cruel versus kind lessons. Relocating to Buffalo for Herman’s promotion in “Munsters on the Move” wouldn’t be a problem if they didn’t scare away potential home buyers – literally! Unfortunately, life insurance crooks are trying to kill Herman with on set accidents in “Movie Star Munster,” but such stunts don’t hurt him, forcing them to up their risks. Granted, there are scams like this practically every other episode on The Munsters – Herman always signs some kind of terrible contract in a quest for fame and fortune. However, the escalating trappings here are mad fun, and although diva Herman may be dumb enough not to read the fine print, but I’ll be darn he isn’t doing a scene if he doesn’t feel the character’s motivation! Fashion shows faux pas, a disastrous golf course, and snooty club members give everyone their moment in “Country Club Munsters” – complete with hatred and veiled statements reminding The Munsters how such bigoted people aren’t up to their kindly standards. “Love Comes to Mockingbird Heights” sees the family working both for and against a cad banker making moves on Marilyn just for the Munster gold, and say hey, Uncle Creature from the Black Lagoon pays a visit before a hilarious museum excursion leaves Herman locked in a sarcophagus for “Mummy Munster.” Women in the workplace jealousy anchors “Lily Munster, Girl Model,” and ridiculously fun Nutcracker spins and pirouettes have the whole family in on the magic act for “Munster the Magnificent.” Herman making friends and helping a little boy in “Yes, Galen, There Is a Herman” accents The Munsters with slightly serious Frankenstein movie parallels, and the eponymous boy’s disbelieving family takes him to a psychiatrist. Sure, today it is creepy the way Uncle Herman picks up a boy on the street and takes him back to his dungeon to watch Grandpa’s home movies, but the wink within a wink embracing fantasy versus destructive reality makes for a fine little finale on The Munsters debut.

Of course with so many episodes, The Munsters certainly has a few clunkers including the bickering couple using The Munsters for their own gain in Pike’s Pique” and the shocking townsfolk reactions and presumed to be celebrating Halloween excuses in “Family Portrait.” The harp and phonograph of “Far Out Munsters” are fun, as is the irony of The Munsters liking The Beatles despite being initially too old fashioned for rock n roll – “You know, they’re almost as good as Kate Smith!” However, although the Beatniks invading Mockingbird Heights accept The Munsters as all right, the capitalizing Fab Four covers miss the mark along with the ham radio and mistaken aliens of “If a Martian Answers, Hang Up.” Too many stunt episodes in a row like “Herman the Rookie” complete with Dodgers guest stars and get rich quick schemes like the desolate timeshare of “Herman’s Happy Valley” feel like we’ve seen this same old already. You don’t have to watch The Munsters in order, but when one tunes in for every episode, you know what you’re going to get. With so many one trick ponies, it’s somewhat amazing The Munsters lasted as long as it did, and the series also has numerous inconsistencies. The make up stylings are redesigned in the earlier episodes, and even the credits change halfway through this first season with Fred Gwynne moving from his last “and” billing to first. The juvenile crank speed running away in horror exits get old fast, and bungling cop jokes suggest more than a hint of Fred Gwynne and Al Lewis’ prior series Car 54, Where are You? The vampires on The Munsters adhere to no traditional undead rules, and how do a vampy wife and a monster man end up with a werewolf son, anyway? Throwaway dates, locations, and relations change from episode to episode with no clear show bible logistics. It’s no fun seeing so called regular folks trying to swindle the family, yet The Munsters relies on too many of these scam sitcom scripts when that contrast isn’t necessary compared to the titular topsy turvy perspective. Fifty years on, some jokes and pop culture references may not be understood by today’s audiences, and it is unfortunately very surprising to hear terms like wetback and gyp or Romani jokes alongside woeful Asian stereotypes in what is such a beloved and otherwise family friendly show. Honestly, I’m surprised these rare but jarring moments weren’t edited out for the video release.

 

Sure he works at a funeral parlor, however Herman Munster is a normal guy who wants his idyllic mid century family to be safe. So what if he’s a dunce at his might and stomps his foot when he doesn’t get his way. “Fiddlesticks!” is Herman’s go to exclaim, especially when he’s late for the carpool that picks him up in the back of the parlor’s Hearst – and he’s ticklish, too. Herman may crack the mirror – literallybut he’s more worried about his bills than being mistaken for the misspelled monster in the headlines crook of “A Walk on the Mild Side.” Always concerned about money, Herman tries a disastrous laundromat job in “Herman’s Raise” as well as wrestling on the weekends for extra cash in “Herman the Great.” However, he’s simply too sweet to be ruthless against the cheating competition. Herman won’t disobey a “Don’t Walk” sign but blows up the signal when he presses the button! Gwynne excels in solo physical humor scenes with few words as in “Dance With Me, Herman,” and he plays a suave lookalike in “Knock Wood, Here Comes Charlie” complete with a British accent and monocle. Fearful, finger pointing mobs may be played for laughs on The Munsters, but Herman makes sure his kin isn’t involved with the nasty folks in town, and more looking through the window Mary Shelley motifs are made humorous when Herman tries dieting at Thanksgiving in “Low-Cal Munster.” Herman and his wife Lily sit on the couch together and read, rock on the porch together during a storm, have a beach date on a rainy day, and – gasp – sleep in the same bed! Lily’s pussycat is more handsome than that unfortunate Cary Grant in her eyes. Although the family fears her wrath and she does get annoyed at his bungling when Herman and Grandpa are mistaken for burglars in Halloween masks in “Don’t Bank on Herman,” Lily easily forgives. She’s a good mom, too – sewing Eddie’s doll and raising Marilyn despite her niece’s “flaws.” Lily cleans nine rooms and a dungeon, vacuums with a vacuum set to exhaust the dust, and cooks oatmeal, pancakes, and Herman’s favorite cream of vulture soup. She plays the harp, sleeps with her namesake flower, and in “Herman’s Rival,” the 137 years young nee Dracula does palm readings at the local tea room. Although her white hair streaks and make up design varies at times, Yvonne De Carlo (The Ten Commandments) is always delightful thanks to bat necklaces, a werewolf stole, tiaras, iconic gowns, sparkling taffeta coffin capes, and “Chanel No. 13.”

Likewise, Al Lewis is all in good fun as that charming 400 year old widower Grandpa. The Count – known to turn into a wolf himself – has a werewolf son named Lester and still loves him some ladies despite having had over one hundred wives and falling for a mail order bride scam in “Autumn Croakus.” Occasionally, Lewis breaks the fourth wall, and these talking to himself asides or sight gags add self-aware wit. Grandpa hangs upside down in the living room, takes his eggs night side up, and roots against the Angels. Yes, there are a lot of hammy Dracula cliches on The Munsters – Grandpa’s cape and widow’s peak alone – but there is always a lovable quip or two to match his cool basement laboratory, potions, wacky inventions, and the latest money making scheme up his sleeve. Grandpa watches television and soap operas are his favorite comedy, but he has a naughty streak, too – tempting Herman with trick pens or food when he can’t eat. Unfortunately, their bemusing bromance does suffer in “Grandpa Leaves Home” when the feeling unloved Count runs off to perform in an ill-received magic club act. Grandpa’s tricks aren’t as good as they used to be, and such endeavors always have hair-brained results on The Munsters. Child star Butch Patrick’s Eddie hangs with his Grandpa the most, helping him in the dungeon when he’s not howling at the moon or playing in the fireplace, that is. Wolf look and all, “Edward Wolfgang Munster” is a gosh darn cute little boy with his little short pants, knee socks, pointed ears, and Woof Woof doll. He’s so tiny beside the seven foot Herman and no bigger than the golf bag when he caddies for his dad! Fortunately, his small stature means Eddie can hide in the cabinet or other fun places, and he has a pet door where one can deliver his bedtime glass of milk. Although he plays baseball with the other kids, they often don’t believe his stories about the Munster household – which unfortunately seem to happen mostly without Eddie. I’m glad The Munsters isn’t Eddie-focused in a Beaver Cleaver gone Halloween fashion, and the series was in fact envisioned as a parody on Leave it to Beaver by producers Joe Donnelly and Bob Mosher. However, Patrick often only has one scene even when the episode’s premise starts with him, and he’s most often seen with his back to the camera at the family table. Eddie’s Nickname” is his only centric episode, but we do get to see his room in detail alongside nice father and son time and some moral lessons. Besides, today he would have a far worse nickname then “Shorty.”

 

She’s supposed to be Lily’s sister’s daughter, yet Marilyn’s mother is never mentioned by Lily or Grandpa, and her last name is still somehow Munster. Yeah. It’s somewhat sad that The Munsters’ normal blonde niece is so underdeveloped that the Beverly Owens to Pat Priest casting change in Episode 14 is almost completely unnoticeable. The Munsters does at least make good use of Marilyn’s repeatedly scaring away dates right from the start, and each unsuitable suitor gone is for the better as far as her Aunt Lily and Uncle Herman are concerned. The family pities her for being so “ugly” or “hopeless” and think she looks better with the bags under her eyes when she can’t sleep. They insist she stay in school and get an education because she’s only going to get a boy to like her for her brain! Marilyn does get a kiss in “Love Comes to Mockingbird Heights” – where we see her girly bedroom inside the left gable of the Munster Mansion complete with floral wallpaper, a canopy bed, and dainty furniture which Herman finds “distasteful.” Though never shown having plots or hobbies of her own and mentioned as being off studying when not included, Marilyn is briefly seen playing the organ and being Herman’s talent show magician’s assistant. She doesn’t desperately fall for every wolf on the make, either, and can tell when someone is suspicious. Most of Marilyn’s scenes, however, are with Lily, and it’s apparent the character really only exists as a soundboard for the wife at home. Like Eddie, Marilyn has one scene and few lines per episode. On the rare occasion they are alone onscreen, the cousins are still talking about others rather than having stories of their own. Marilyn has one shtick and one shtick alone, but it is a fun one, and the would-be con artists who knock on The Munsters’ door deserve to find this innocent and demure decoy. For sure, The Munsters has its fair share of famous and recognizable guests including postman John Fielder (The Bob Newhart Show) and Bewitched’s Paul Lynde in several episodes as Dr. Dudley. Batman’s Commissioner Gordon Neil Hamilton is here, too, with Bill Mummy (Lost in Space), Pat Buttram (Green Acres), Barbara Babcock (Dr. Quinn Medicine Woman), Harvey Korman (The Carol Burnett Show), Don Rickles, and more. I must say, I would have certainly watched a spinoff featuring John Carradine as Herman’s undertaker boss Mr. Gateman!

Although the drag racing creation of the Dragula roadster in “Hot Rod Herman” will conflict with the later Munster, Go Home movie plots and a regular car driven by an unseen ghost is seen only once early on, the aforementioned Munster Koach is always good fun. Likewise, the cowabunga theme music remains as memorable as the always recognizable Munster Mansion – a great television house that has appeared in other films and television shows such as The ‘Burbs and Desperate Housewives yet continues to inspire builders who want to live at 1313 Mockingbird Lane. Sure, the kitchen is kind of drab. The décor is too derelict trashy and hellllooo dust mites rather than fancy Gothic sophistication – at Halloween one always strives for the latter and ends up with the former! However, that candlestick phone in the indoor coffin phone booth is yes please, and let’s throw in some nostalgic bells and whistles such as that $2 with a 50 cent tip taxi cab fee for good measure. Secret passages, creaking doors, and cobwebs spook up The Munsters as do phonographs, candelabras, cool spell books, and creepy potion ingredients. I wish the series had been in color – if The Munsters had lasted for a third year on CBS in the 1966-67 season, it could not have remained black and white. Thankfully, the smoke, fog, bubbling cauldrons, poofs of dust, and objects moving by themselves benefit from the eerie grayscale palette while setting the spooky Halloween funhouse atmosphere. Although the uneven sound is perhaps understandable, the laugh track and cutesy music effects feel like an intrusive insecurity today. The Munsters is a funny show, and the audience gets the puns a minute without the canned response – and we prefer our own spontaneous chuckles to being told we are too dumb to know good comedy when we see it. The pet jokes are much more fun on The Munsters thanks to some surprisingly not bad special effects. Not only are those opening stairs cool, but Spot’s flames and pyrotechnic gags, Kitty’s lion roar, wolf or animal filming, and bemusing bat work accent the horror humor. As to that grouchy cuckoo clock raven voiced by Mel Blanc…want!

All the mid-century so-called fantasy sitcoms have their gimmicks, and The Munsters is at once of its time with simplistic plots, stock character tropes, and lighthearted happy family motifs in costumed dressings. Too many episodes in a row can be tiring or annoying when every half hour seems the same. Fortunately, the very affordable Complete Series DVDs add to the fun with actor spotlights, behind the scenes features, unaired pilots and color versions – treats not available on current retro channel airings or streaming options. The Munsters uses every trick at its disposal to crank out its weekly humorous horror wheelhouse, and ironically, any derivative hang ups also make this debut easy to marathon for a weekend. Viewers can pay attention or casually tune in for the best gags or leave Herman, Lily, and the gang on to occupy the kids. Let the delightful family frights of The Munsters Season One play for a harmless party or Halloween mood any time of year.

David’s Haunted Library: Alethia and Drawing Dead

Little Ridge is an odd little town, there is an island somewhere off the coast but no one seems to remember where it is. It all started when a couple of the town’s residents started to disappear. One day Thettie Harper and her family discover one of the missing people it causes problems within the whole town. Thettie’s one ally is Lee and it’s up to them to find answers.

What really might be causing the problems in the town is the lake itself. There is something evil in that lake below the island that is haunting Little Ridge This is a book about the horror of losing your memory, what we leave behind and terror itself.

Aletheia by J.S. Breukelaar is about the damage that has been done and the damage that will happen. The story has elements of the supernatural and a love story to it. This is a complex character driven novel that you really have to pay attention to in order to get all the details right. Most of all I loved the mood of the story and the fact that it has to deal with how choices we made in the past change how thing will be in the present. Aletheia is a book that builds slowly to a good ending and if you like a well thought out ghost story you will like it.

http://www.crystallakepub.com/

Faolan O’Connor grew up in New York City and joined the mob at an early age. He worked as a hired killer in order to get power, respect, and money, but little by little it destroyed his family and everything he loved. One fateful night in 1935 he goes out to perform his last hit, hoping to die in the process. What he gets instead is immortality from a vampire and the boss of New York, Darcy Killian. Faolan’s whole world changes but not how you think it would.

Faolan already led a life of violence and destruction, but as a vampire, his feelings start to change. He wants power but he wants to help his city too. The only way he can do that is by taking down the boss of New York, Killian. He may have a lot of enemies but he makes a lot of friends on the way, if he plays his cards right he may get redemption and the power he desires.

Drawing Dead by Brian McKinley is a novel about vampire mobsters set during The Great Depression in New York City. Just the way this novel feels when you start reading, hooked me right away. The Way Brian describes the surroundings and the characters showed that he really did his homework on what life was like in organized crime and in the Depression. When you read this book you feel like you are right there with the characters and you know them personally.

It’s hard to pick out my favorite scenes in this book since there were so many. The one I loved was after Faolan wins a promotion from his boss, he decides to return to his mother’s home because he feels the need to reconcile with all of the evil and destruction he has caused in the past. When he gets there he finds that his mother has passed and there are squatters living in his boyhood home. At this point, he has to decide to let his vampire instincts kick in and kill the family or have mercy on them. What he does is a total surprise and shows how Faolan is evolving as a character. Another part that really stands out is a scene where a vampire named Frank shows that he is not the evil monster that we think he is, but if you find out his secret, it could be the last secret you ever find out.

There is also a great scene where Killian shows Faolan what he has planned for the 1939 New York World’s Fair. Killian’s vision sounds like it’s a step in the direction of what America is like in the present day with small businesses becoming a thing of the past and corporations running everything. As Faolan is hearing this, he is thinking that he doesn’t like this New York of the future and loves his city the way it is. While reading this I found myself wondering how Faolan would change as a character when he reaches the present day. Since he is a vampire he would still be around.

Drawing Dead could be considered a masterpiece, It’s a tale of redemption that works as a horror novel, a crime novel and it fits nicely into the historical fiction category. Though what really makes this novel great is how complex the characters are. Each of them has good and bad points, even the main villain doesn’t come across as pure evil. This was a novel that for me was hard to put down and you don’t have to be a vampire or organized crime fan to love it, my favorite parts were all the references to the 1930’s. Brian McKinley is an author to watch in the future and there will be more books to come in this series.

Kbatz: The Oblong Box and Scream and Scream Again for April

 

The Oblong Box Along and Scream and Scream Again Dated, but All in Good Fun

By Kristin Battestella

 

The Vincent Price fest is never over, so along comes The Oblong Box and its double bill with Scream and Scream Again. Though not as special as some of Price’s previous Poe and Corman collaborations, this duet celebrates not one horror master, but two. Vincent Price, meet Christopher Lee.

Julian Markham (Price) has returned from his family’s African plantation with his cursed and deformed brother Edward (Alister Williamson) – who Julian keeps locked in an upstairs room. Despite the mysterious behaviors at his estate, Julian hopes to marry the young and beautiful Elizabeth (Hilary Dwyer). The Markham lawyers Samuel Trench (Peter Arne, Chitty Chitty Bang Bang) and Mark Norton (Carl Rigg, Marked Personal), however, plot Edward’s escape and cure along with African witchdoctor N’Galo (Harry Baird, The Italian Job). Unfortunately, Edward is accidentally buried alive in their scheme. Once rescued by Dr. Neuhart (Christopher Lee) and his grave robbers, the masked Edward romances the pretties and plots his revenge.

 

He may be top-billed, but there’s not as much of our beloved, over the top Vincent Price (The Tomb of Ligeia, House of Usher) in 1969’s The Oblong Box. Although he’s less than a decade removed from the early success of American International Pictures’ Poe series, Price looks a little old for his leading lady Elizabeth. Fortunately, outside of these quibbles, there’s still plenty to love. Julian looks the worn, conflicted English noble. Can he dare to hope while he’s also walking a deadly line of guilt and destruction? Price makes the most of his given scenes, both as a disturbed brother and a charming husband. Again Hilary Dwyer (Wuthering Heights, Hadleigh) seems a little young, but this works in her tender relationship and naivety with Julian. Likewise, Sally Gleeson (Bless This House) looks and acts the pretty -if a little naughty-maid.

Hammer Horror alum and Lord of the Rings veteran Christopher Lee also doesn’t have as creepy a role as I might have liked, but his mad doctor is a high brow mad doctor. He pays slick swindlers to steal the bodies of the recently deceased for his research, but Neuhart does his doctoring while wearing a silk tie and waistcoat. He gets down and dirty with cadavers in the name of science, but Neuhart objects to Edward’s blackmail and murderous revenge. There isn’t much time for this stylized ambiguity in The Oblong Box, but Lee’s presence and voice command your attention in all his scenes.

 

Price, yes, Lee, lovely- but The Oblong Box is Alister Williamson’s (The Abdominal Mr. Phibes) picture. Yes, the masked man who’s true face you never even see and who the voice was actually dubbed steals this picture. It would have been intriguing for Price to play both brothers-or even Lee take a turn under the crimson hood- but the voice and style of both men are too easily recognized. Williamson and his Edward are mysterious, unknown. What does he look like under that hood? We know he’s been wronged and wants to see Edward find justice, but how far will his revenge go? Which side of the law is he on -and why do the ladies find him so irresistible? This is England, 1865 as only 1969 could recreate. Williamson gives Edward charm and tenderness with some ladies, then rapacious violence with others. He’s naughty, nice, misunderstood, and vengeful-not bad for our unknown, unseen, and unheard actor, eh?

The cast keeps The Oblong Box charming, but this very loosely Poe inspired adaptation from Lawrence Huntington (Douglas Fairbanks Jr. Presents) and Christopher Wicking (Murders in the Rue Morgue) isn’t as strong as it could be. Director Gordon Hessler (The Golden Voyage of Sinbad) spends too much time on the stereotypical mistreatment of colonial Africa and blaxploitation-like zooms and voodoo montages. If you want to talk about the unjusts of slavery, set the entire picture in Africa and let the actors go to their scary depths.

 

Thankfully, the visual mix of the sixties and Victorian styles ties The Oblong Box together. The color and costumes are great even though Americans might be a little confused by the English style. When we see 1865 on tombstones, we think hoop skirts and Civil War extravagance ala Gone with the Wind. Here, however, the ladies “be-bustled” in a more mid to late 1880s style. Nevertheless, there’s plenty of bawdy English taverns and cleavage bearing working girls. The outdoor locations are also a treat, and there are even a few daytime graveside scenes- a rarity in these old horror flicks.

The Oblong Box isn’t perfect, but there are a few filmmaking strides here, too. The early, up close, claustrophobic deaths are from the askew killer’s point of view. We want to look away, but can’t. Despite the story’s thin execution, the charm and classic stylings of the cast win out -along with the mystery at hand. We can’t help but watch just to see if our hooded killer is caught and unmasked. Freaky faces, scares, voodoo, and violence -we just can’t help ourselves, can we?

Thankfully, Hessler, Wicking, Price, and Lee reunited the following year for 1970’s Scream and Scream Again. Who could they possibly add to up the horror ante? Why, Peter Cushing, of course!

 

 

Superintendent Bellavur (Alfred Marks, Albert and Victoria) and fellow officer Sylvia (Judy Huxtable, The Touchables) investigate a string of vampire murders. Each victim has ties to local scientist Dr. Browning (Price) and his nurse Jane (Uta Levka). Before Bellavur and morgue assistant David (Christopher Matthews, Scars of Dracula) can solve the case, Intelligence commissioner Fredmont (Lee) must strike a deal with torturous foreign dictator Konratz (Marshall Jones, Crossroads), who wants the files detailing the vampire case. Konratz has overstepped Major Benedek (Cushing) and taken control of a very grim conspiracy that has its subjects screaming and screaming some more.

 

Vincent Price is another year older now, and his old style presence and charisma is a little out of place amid fast-paced Brit coppers. The juxtaposition of all these young go-go folks would make Price seem past his prime -even though we know he has another thirty years of solid work ahead of him. His scenes are few and far between, but his Dr. Browning is so slick. He proves his worth against the hip stylings with suave answers for our detectives and high Frankenstein ideals. He’s a mad scientist with the best of intentions and Price leads us to Scream and Scream Again’s big finish. If the body stealing doctor with the vat of acid isn’t our bad guy, that’s scary.

Well, our man Dracula, aka Christopher Lee, as a good guy police minister-surely this can’t be? Again, there’s not nearly enough of him in Scream and Scream Again, but it’s a treat to see Lee young, modern, besuited and fedora wearing! Fremont has all the lines and politicking needed, using Konratz and Browning to his advantage. Who will come out on top? Who’s really behind all our slim and shady? In the end, Lee’s dominating presence is delightful, as is the freaky style of Uta Levka, another alum from The Oblong Box. This nurse’s devoid eyes and lack of lines would make any patient shudder.

 

Fellow Hammer Horror veteran and Sherlock Holmes star Peter Cushing doesn’t appear for the first half hour, but it’s no surprise that he would be the Major in charge of a Nazi-esque dictatorship successfully taking over a small European country. Unfortunately, his suave class and control over such ugly business is all too brief for Scream and Scream Again. I don’t know who the rest of the people here are and I really don’t care -and it seems the marketing folks who put Price, Lee, and Cushing in bold print knew that. Don’t Wicking and Hessler realize we can handle Price, Lee, and Cushing at the same time-nay we want to see them, we have to see them, we need to see them in more than these briefities! Forget the teenyboppers and bell-bottoms already!

It’s annoying and misleading, yes, as it has little to do with the film; but you have to admit Scream and Scream Again is a crafty title. There’s a nice chase sequence ala Bond as well, but is this so titled flick hip action or horror? Scream and Scream Again has a very interesting concept of realistic, multiple storylines amid scares and fast pacing. Unfortunately, the non-linear and jumpy approach disjoints and unravels any strides made. Each story could have been its own film, and each isn’t given its full deserving depths here. The swanky 1970 music and British contemporary style are very dated now. Scream and Scream Again might have been served better as a traditional period piece, but that probably wouldn’t have worked with Peter Saxon’s source novel. Fans of the cast’s other horror work might feel a little alienated by these vague thoughts on science and conspiracy, and Scream and Scream Again spends too much of its time trying to be hip and avant-garde with its pop music and interweaving trio of storylines.

 

I’ve been critical of the dated styles and misdirection of Scream and Scream Again because it’s a lost opportunity to do something really spectacular with our trio of horror masters. Having said that, it is still a scary and freaky film-psychotic and experimental doctors, cops chasing pseudo-vampire killers, maniacal governments torturing its subjects. When you look at Scream and Scream Again like that, well, then any fan of old school horror should be all for it!

Although these double billed DVDs are an affordable, quick and easy bang for your buck; most of them are a little older, and often double sided. It’s kind of a pain to flip the disc, but it’s better to have these gems digitally restored than not at all. (Insert rant here about how half the films made before 1950 no longer exist and that all the classics that aren’t available on DVD should be restored before any more Disney Direct to Video drivel comes out, thank you.) There are subtitles here at least if no features beyond trailers. What’s really unfortunate for Prince and Lee fans? Their next collaboration with Peter Cushing-and John Carradine- 1983’s House of the Long Shadows, is not available on DVD. Thankfully, The Oblong Box is viewable online.

Though seriously flawed and imperfect by modern standards, both The Oblong Box and Scream and Scream Again make for a fun night of horror and camp. Both may be too bawdy or uninteresting for the kids, but horror enthusiasts and fans of the cast can have a fun, quick marathon for Halloween or any time of the year.

David’s Haunted Library: The Final Reconciliation and Skin Deep/Ordinary Monsters

Thirty years ago a new progressive rock band exploded onto the music scene called The Yellow Kings. The band was made up of 4 teenagers with big dreams who released an ep and toured America, eventually landing a record contract. Along the way, they meet a young woman named Camilla who has an odd influence on the band. After their first tour, The Yellow Kings went out to Los Angeles to record their first album, a concept album called The Final Reconciliation. Little did they know it would be their last album and very few people would ever hear it.

The album was shelved after The Yellow Kings put on an album release party in an L.A. nightclub where they planned to play the full album for the first time. The concert ended in a disaster which killed almost 200 people and left only one band member alive. For the first time since that fatal night, The Yellow Kings lead guitarist and sole survivor Aiden Cross has agreed to be interviewed about the events leading up to that tragic night.

The Final Reconciliation by Todd Keisling is inspired by Robert W. Chamber’s “The King in Yellow.” Written in 1895 it was also the inspiration behind some of H.P. Lovecraft’s work. In the 1895 story, it was a play that if read brings madness to the people reading it. In this story if you listen to the full album it creates chaos. I wasn’t familiar with the source material but loved how it was presented in this book. The idea of a heavy metal album opening a portal to another world and making people go crazy is a great concept.

This cosmic horror novella is more than just a new twist on old mythology, though, it’s also the story of kids from a working class background achieving their dreams and worst nightmares at the same time. One of my favorite parts of this book was when three members of the band return to their hometown from their first tour and you see the background they come from. They don’t get a warm welcome, their parents don’t understand the bands need to follow their passion instead of working a blue collar job. In a short time, The Yellow Kings achieve a high level of success before it all comes crashing down. You know early on that it’s all going to end in disaster, which leads me to what I didn’t like about the story. You knew what was going to happen from the beginning, it’s just a question of how we’re going to get to the final result.

The Final Reconciliation is a great little horror tale that mixes music, mythology and a coming of age story all into one. The description of The Yellow Kings kingdom comes to life brilliantly and the final scenes in the Nightclub disaster were wonderfully grotesque. Todd Keisling does an excellent job of setting a mood of dread and keeping it going throughout the book. I think most of all I loved the concept of a progressive rock album being the key to a world of terror. If you are familiar with the Cthulhu mythos you shouldn’t pass up this book.

Skin Deep/Ordinary Monsters by Frank Martin is a different kind of horror book. It includes two stand alone pulp fiction style horror novellas and a comic.  The first story is called Skin Deep “A Vampire Story Of Love.” The story centers around a  girl named Laura who is a track and field star in high school, rebelling against her parents. She sneaks into bars and complains that her parents pushed her into track, but her attitude becomes a big problem when she meets a Cajun vampire who teaches her a lesson in love she won’t forget.

Skin Deep is the kind of story that comes to mind for me when I think of pulp fiction. It’s a simple story with simple characters and its a lot of fun when the vampire shows himself. The beginning is boring but as the story moves along it gets better. I loved the vampire and the final gory scenes in the story are excellent. Skin Deep is a story that has its flaws, such as parents that Laura thinks are overbearing but in reality come across as non caring, until the end. Laura also has a sister named Jessica who has a story that is never fully explained. That being said the scenes with the vampire in it make this story worth it and we even get a nice message about not having to live the role that people expect of you.

The second story is called Ordinary Monsters and is about two teenage best friends whose friendship is put to the ultimate test when an old family secret is revealed.  This is an excellent werewolf story which touches on such subjects as the Nazi concentration camps, dealing with anger and how far loyalty will go. I love the scenes from the werewolves point of view and the description of the change from human to werewolf was brilliant. This story represents why werewolves have always been my favorite monster. It’s all about a person dealing with an inner rage that they have no control over, this book is worth your time for this story alone.

Skin Deep/Ordinary Monsters also includes a beautifully illustrated comic that tells the story of a werewolf and vampire doing battle during World War 2. I felt both of these stories got off to a slow start and had the feel that they were coming from a first time writer, but both got better as the monster was introduced into the story. This book is a fun read that fans of a good monster story will love and with cover art like that, who can resist.

 

 

David’s Haunted Library: Baker: Demons and other Night Things (The Magic Now Series Book 3)

DavidsHaunted

30832333Baker Johnson has a gift and a curse. He has the ability to read people by just looking at them, but he is haunted by a dark past and doesn’t like to be close to people. At least not living ones. Baker is a demonologist, exorcist, and keeper of cursed objects living in the 1930’s. Baker: Demons and other Night Things by Terry West includes 4 stories about Baker Johnson as he gets introduced into the Night Things universe.

The first story is The Giving Of Things Cold and Cursed and is about Baker inheriting his uncle’s Black Room where he kept cursed objects. To Baker’s surprise many of the objects have been given away and now he needs to clean up the mess. In this story we find out about Baker’s personality and why he does the things he does. Baker is a complex character, he uses his gift because he has to, but he isn’t happy, he just accepts it as his station in life.

The second story is The Servant Of The Red Quill. Here Baker is called to a home of a wealthy collector of Cursed objects, where he has to perform an exorcist on the man’s daughter who is being possessed by a spirit tied to a book written by Marquis de Sade. I loved the concept of this story, I loved that we learned more about The family Baker had and I liked how Baker acts when the demon uses Baker’s family against him. The Baker character grows in this story and I found myself starting to like him despite his flaws.

The next one is called The Dark Alp, this one once again has Baker grow as a character as we see him being haunted by a nightmare demon. Not everything is as it appears in this story, I loved the ending and I loved how once again Baker is confronted with the ghosts of his past but he shows that he is more powerful than his past. In all these stories I loved that there seemed to be a theme of not letting your past define you.

The last story called A Weird Tale ties Baker to the Night Things universe. The story opens with H.P. Lovecraft telling Baker that the old gods are coming and nothing can stop them from destroying the world. These words haunt Baker and that leads to a meeting with Johnny Stucke who pays Baker to hand over a cursed object that might change everything. We see a very different Baker in this story, he now has a team backing him up but he still has to contend with the darkness within. Once again I loved the ending and how it sets up future Night Things stories.

This book also includes a sample of Terry West’s next Night Thing book. If you are not familiar with Terry West’s work this is a good book to start with. West knows how to make memorable characters that are flawed and that you can relate to at the same time. What is interesting about Baker is that he has this dark history but despite that, he still tries to do the right thing and we see the character grow into a different person through each of these stories. Terry West knows what horror fans like to read and this book is a great example of how horror should be written.

 

 

David’s Haunted Library: Night Things: Undead And Kicking

David's Haunted Library

 

 

30190570What would our world be like if vampires, werewolves, zombies, ghouls, mermen and other creature walked the earth? They aren’t all trying to hurt humans, some of them just want to make an honest living and be accepted. People still fear what they don’t understand and even though some accept the Night Things, others aren’t so trusting. So the night things are given devices that track their every move.

Times are changing after the events of Z Day and Johnny Stucke, a Night thing himself is getting involved in politics. One of his first orders of business was getting Dr. Herbert West to work on a way to control zombies. Enter recently deceased professional MMA fighter Carol Haddon. Her DNA may hold the secret to changing the world’s zombies. Carol has also drawn the attention of Herbert West’s greatest enemy Jack The Ripper. Due to an accident Dr. West has made Jack more powerful than ever and if Dr. West can’t defeat him, it could bring on the apocalypse.

Night Things: Undead And Kicking by Terry M. West  is the second book in The Magic Now series and there is so much going on here that a 2 paragraph description hardly does it justice. The plot moves along at a brisk pace, it includes several sub plots and some great characters. There are also some great cameos from popular creatures and people known to classic horror fans. What makes this masterpiece of horror stand out over other works in the genre is how Terry M. West presents his characters.

For instance the main character is Carol Haddon. When she is introduced we see her as someone who feels compassion for the Night Things, she works in a shelter for them and we hear her comparing them to immigrants(love the metaphor). We also see her as a bad ass MMA fighter, but at the same time she is a vulnerable human being who goes to a therapist to deal with feelings she has for her mother. At this point Carol comes across as a complex person and things get harder for her as we find out that the two people helping her, Johnny Stucke and Herbert West have their own agenda and might not have her best interest at heart. That being said they are better than Jack The Ripper who would like nothing better than to rip the dna from her bone marrow. Carol is a hero you can relate to because she’s a compassionate person in a bad situation. Then we have Johhny Stuck and Herbert West who are shades of grey. They want to help Carol but at the same time they have an agenda that has already made major problems for Carol. You see the good and bad in both and it makes you like them that much more.

Undead And Kicking is the type of book that you can point to when people ask you why you like horror. Terry M. West is a horror fan writing books that he knows other horror fans will love. This story puts a fresh spin on classic horror mythology and also manages to add humor, great characters and plenty of blood and good scares to the mix.  I can’t say enough good things about this book and I hope there are several more books in The Magic Now series.

Kbatz: Friday the 13th: The Series Season 1

Frightening Flix

 

Friday the 13th The Series Gets off to a Memorable Start

by Kristin Battestella

 

No, this 1987 television series has nothing to do with Jason Voorhees and the Friday the 13th film franchise. This Friday the 13th is an American/Canadian co-production that debuts with twenty-six episodes of curses, scares, creepy, and campy charm.

 

Distant cousins Micki Foster (singer Louise Robey) and Ryan Dallion (John D. LeMay) are bequeathed a mysterious antique store from their suspicious and relatively unknown late Uncle Lewis Vendredi (R. G. Armstrong). Unfortunately, this eclectic inventory isn’t for sale, as the store’s contents are comprised of cursed items from Uncle Lewis’ deal with the devil. All previously sold and demonically indestructible merchandise – ranging from as small as a compact mirror to as big as an electric chair – must be reacquired and returned to the special vault beneath the Curious Goods store. With the help of occult researcher Jack Marshak (Chris Wiggins), Micki and Ryan must now pursue former customers who aren’t always so willing to part with their antique’s particular evil enchantment.

 

Yes, some of the antique retrieval plots are silly and dated, but Friday the 13th has many memorable episodes beginning with “The Inheritance” and its devilish retribution complete with flaming hoof prints on the stairs. The series premise is introduced alongside a killer doll, a little girl in peril, and playground dangers with creepy lullabies, thunderstorms, and howling winds. It’s easy to get behind our trio in their evil object of the week quest, for the ravens, monastery, suspicious brotherhood, and quill that writes the deaths to come of “The Poison Pen” add an eerie medieval mood with hoods, candles, chanting, spiders, and guillotines. Despite some rad eighties moments, “A Cup of Time” has skeletons, murder, and deadly sips from an ordinary looking mug. Maybe old ladies fighting over teatime with a punk score is hokey, but the fountain of youth desperation remains wicked. Normally, it would be good business to have some fun dress up and magic tricks for “Hellowe’en,” however a crystal ball, good scares, and ominous smoke and mirrors assure this party at Curious Goods wasn’t the best idea – especially when your guests fiddle with the merchandise. This spooky atmosphere, demonic rituals, and a race against the sunrise sets the tone for Friday the 13th perfectly while the autopsies, hospitals, morgue drawers, and elevator injuries accent the Jack the Ripper scalpel in “Doctor Jack.” What if an operation with an accursed objected wielded by a skilled surgeon with a superiority complex was your only chance at survival? The titular effects, camera works, and enchanted gloves of “Shadow Boxer” are no less preposterous yet Friday the 13th is again memorable with a green locker room patina, old school gym feelings, and a down on his luck sports fall from grace. There’s humor, suspense, justice being taken into one’s own hands, and they have to wait for the pictures to develop overnight. The horror!

 

The crazy, rich old ladies and killer yardwork of “Root of All Evil” are slow at times, but we do get to know our characters’ relationships and responsibilities better amid this intense, man-sized mulcher action. It’s good to get away from the shop for the harvest struggles and rural farms of “Scarecrow,” too. Scythes and heads on the front porch create an off-kilter slasher tone before the David Cronenberg (Videodrome) directed “Faith Healer” and its rousing, fire and brimstone con man claims – and an ominous medieval white glove that does the trick. Is such power for good or ill when for every life it heals, it must take another? White, clean, pure suits quickly become sullied with back alleys, leprosy sores, and pestilence consequences as this glove literally burns itself onto the hand where its deeds and demands cannot be escaped. These impressive morality and faith debates give way to perhaps my most memorable Friday the 13th episode, “The Baron’s Bride.” A time traveling vampire fantasy may see like a big leap of faith – especially once the colorful gothic décor and capes switch to black and white carriages and angry mobs. However, the Stoker myths and traditional vampire lore hold up alongside fast action and a whiff of romance. Sunken treasures, stormy nights, and scary phone calls in “Bedazzled” make being alone at night at Curious Goods as spooky as you’d expect. This bottle show takes place almost entirely in the store with good old fashioned scares and invading crooks who don’t stop once their cursed antique has been locked away in the vault. “Vanity’s Mirror” is another memorable Friday the 13th hour thanks to beauty obsessions and an innocuous little compact causing too much torment. Cruel teasing and ugly duckling relatable forgive any hello eighties high school motifs – in fact, the pitiful prom designs add to the creative deaths, quality gore, and alluring retribution.

 

I’m sorry doesn’t cut it when you execute wrong man in “The Electrocutioner,” but grainy jailhouse footage sets the mood for this electronically charged dentist who’s out for some shocking revenge. Unsympathetic kills and nitric oxide play into our medical fears with this wrongful sense of justice as do the trepanning techniques, draining spinal fluids, and simple but desperate patients in “Brain Drain.” Cool mad laboratory equipment and brains in tanks anchor the intelligence transfers, trephanator talk, and intangible, Flowers for Algernon sciences. Friday the 13th goes all out for the mid-season two-parter “The Quilt of Hathor (Part 1)” and “The Quilt of Hathor (Part 2): The Awakening” for a trip to a good old fashioned thee and thou religious community hiding the titular evil homespun and its sinful dreams brimming with red décor, forbidden fruits, and baroque frocks. Horse drawn carriages, snow, and culture clash suspicions accent the forbidden romance and religious fervor. Who knew being so penitent didn’t mean you couldn’t be any less nasty? Okay, the old speaketh arguing may make some chuckle, but the witchcraft finger pointing, fiery mobs, and comeuppance twists match the horror where we least suspect it superb. Likewise, flashbulbs, dark rooms, and a Geraldo-esque newscaster with best alibi ever develop “Double Exposure” alongside gory bubbling, doppelgangers, and machete killings. It’s interesting to see this early commentary on scandalous crimes boosting nightly ratings when we have instant breaking news alerts everywhere today. Maybe this episode felt the need to go all out with crazy dreams, evil television motifs, and slasher slick after the slightly slower two-parter before it and Ryan having two loves of his life two episodes in a row is poor placement. However, the ticking clock twists here are memorable fun before the pregnancy fears and medical defects make for a warped sense of necessity in “What a Mother Wouldn’t Do.” No one wants to harm a baby, but an evil cradle can fix all that! The parental defense, Titanic history, and watery deaths give this Friday the 13th debut year a penultimate topper.

 

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The middle of this season is very strong, however, with such a high episode number, Friday the 13th was bound to have a few clunkers. Ugly statues, honky tonk stalkers, seedy motels, and unlikable, obsessive frat boys ruin “Cupid’s Quiver,” and the lack of authorities illumes one of the series’ ongoing impossibilities. Early on, our trio aren’t very smooth investigators and think they have the right to break in all over a college campus because they’re antique dealers! Magician secrets, beautiful assistants, fatal theatrics, and the cutthroat of magic show business don’t save “The Great Montarro.” It’s a pity since this is one of the few Jack centric episodes, but the sideshow tricks and Houdini wannabe divas are more laughable than ominous. “Tales of the Undead” has comic book shop nostalgia and an evil edition that kills you within its pages – a fantastic possibility ruined by a trash can looking monster costume. The ‘Take on Me’ music video from A-ha did it better! Though the poisonous insects and creepy crawlies will disturb some audiences,“Tattoo” is a cliché Chinatown crime plot with seemingly deliberate bad Kung Fu lip reading, submissive Asian prostitutes, and every other old Oriental stereotype crammed into one episode. Maybe the horror aspects aren’t all bad, but these mediocre episodes are a letdown when following immediately after such memorable Friday the 13th hours. “The Pirate’s Promise” offers lighthouse quaint, eerie foghorns, and phantom boats that take modern babes in exchange for gold bullion. Unfortunately, the mutinous history can’t help our cousins not bungle it up without Jack, and the Miami Vice wannabes, counterfeit money, and macho talk in “Badge of Honor” is likewise D.O.A.. The up close camera shots, day glo lighting, and jazzy score try for a jaded, gritty noir piece, but even with steamy Micki times, this one is embarrassingly dated and out of place. The Egyptian relics, trapped in the vault peril, and evil green effects make for a great framework for “Bottle of Dreams,” but sadly, this final episode of the season is largely a clip show that should have been the second to last airing instead. Sure, it’s an overlong season, however we aren’t going to forget all the good times that soon!

 

Billed as just Robey on Friday the 13th, our Micki is certainly beautiful – but my goodness that is big red hair! Some obvious extensions and then-vogue Jem styles make Micki always seem MTV ready, but her frilly tank tops, skirts, and uppity shoulder pads often make her appear more tiny compared to the baddies or disproportionate with her giant bobblehead hair. Initially doubtful, squeamish, and needing to be rescued, Micki’s bad feelings about their situation increase over the course of the season. She accepts responsibility and wants to do the right thing – Micki isn’t willing to leave anyone in danger and chooses this antiques recovery quest over her potential wedding. At times, she does regret giving up her old life for this so-called job but also gets pretentious in her righteousness. She’s an antique dealer in a battle of good versus evil and that gives her a license to go anywhere and intrude on anyone – even going undercover as a boy! Micki gets in on the action more and comes to handle herself alone just fine – except when our intrepid team doesn’t succeed or when the plot doesn’t make a whole lot of sense. Both cousins still have parents, so why did they inherit the shop? Why do they all live at Curious Goods? Micki has some romance and visiting Friday the 13th old flames, however it’s always played as too eighties steamy – and we’re expected to believe she brings guys home when Ryan sleeps on the other side of a glass door? Micki’s not herself in “The Baron’s Bride,” but it’s fun to see her personality changes and vamped persona because we already like and respect her moxie.

 

Ironically, watching Friday the 13th back in the day, I always thought John D. LeMay’s (also of the unrelated Jason Goes to Hell: The Final Friday) Ryan Dallion had a crush on Micki, and the dialogue always makes sure to reiterate how through marriage or distantly related they are. They do have fun chemistry even when Ryan is a jerky Andrew McCarthy knock off to start. He thinks Curious Goods is cool and gets his information on the supernatural from his comic books. Ryan is self aware, however, and adds humor and realistic logic on how their simplest answer must be the correct one – which helps ground the audience when he enjoys playing the hero detective in a yuppie suit. Some of the eighties brat pack cool is kind of meh today, but Ryan fits right in undercover at high school! There are consequences to their collection, of course, and he is injured a few times, adding a sense of realism and not reset fantasy even though Friday the 13th has an evil of the week design. “Double Exposure” gives Ryan too many lady loves in a row, but his romance in “The Quilt of Hathor” makes the character grow up a little alongside the eerie colored smoke and his side of the family’s dangerous business prospects in “Pipe Dream.” Though this plot is a little thin, the personal ties keep viewers interested. Will Ryan treat the cursed object and its consequences any different now that Uncle Lewis wasn’t the only family member in on the devilish bargains? Ryan openly discusses the series premise, the evil behaviors, and moral turnarounds he’s seen. By the end of this debut season, it isn’t so cool, and Ryan develops a cynical edge with more than a few regrets.

 

Already experienced in the occult and its negative allure, Chris Wiggins (Babar) as Jack Marshak is a wonderful mentor for our young cousins – an Obi-wan Kenobi who acquired the antiques that Uncle Lewis cursed and re-released to the public who greatly regrets his unwitting part. Ever resourceful, Jack uses newspapers and tabloids to find curious stories that may lead to their quarry. At times, he only appears briefly in bemusing ways to help, but his quirky street connections add depth to the quest. Jack has a lot of exposition to quickly deliver early on Friday the 13th, but his knowledge of their evil manifest and gruff authority grounds the fantastic. Unfortunately, Jack doesn’t appear in all the episodes, and the one-liners about him being off elsewhere on a retrieval mission are convenient but disappointing. Today, an older ex-occultist battling alone against evil objects around the globe sounds like a good series premise itself. The storylines with Jack present have just a bit more finesse, and he has his doubts about whether our young team is up to snuff. “Brain Drain” also offers a bittersweet rekindled romance for Jack, but he nonetheless dusts himself off and is there to save the day when things go wrong. But why does he have to sleep downstairs by the creepy vault? In antithesis to Jack, television veteran R.G. Armstrong (Pat Garret and Billy the Kid) also makes several guest appearances as Lewis Vendredi, that devil bargaining late uncle who sold his soul and spread evil all in a day’s work. Just because he’s dead doesn’t mean he won’t pop up now and again! Carrie Snodgrass (Diary of a Mad Housewife) should have stayed longer as Jack’s love interest, however genre audiences will find maybe not necessarily name players but numerous recognizable character actors adding extra charm to Friday the 13th. Ray Walston from My Favorite Martian, Catherine Disher of Forever Knight, Sarah Polley from Avonlea – I swear Philip Akin brought some of the dojo sets from Highlander: The Series with him!

 

Whelp. This was 1987 and 88, so the shorts, sport coat, rolled up sleeves, and slim tie together or the big earrings, big belts, high waisted jeans, and giant shoulder pads eighties meets forties caricature fashion should go without saying as bad. Fortunately, Friday the 13th does have spooky, to the point opening credits complete with a creepy waving monkey to hit home the peeking through the keyhole ominous artifacts tone. Curious Goods is a neat and comforting shop in its own evil way. We never get to fully see the entire set brightly lit with the layout completely known, which works for on set logistics whilst adding the potential for mysterious nooks and crannies where anything can happen. Dusty interiors, record players, corded phones, and cassette tapes in the answering machine add period nostalgia in addition to the past curios and clutter alongside television static, adjusting the rabbit ears, two whole channels, and a giant flash on that camera. Where else could you use the line, “Let’s go out to dinner – you, me, your camera – and see what develops.” *rimshot* Remember, on Friday the 13th they couldn’t just Google their case. Our team goes to the library to make copies! Some special effects are hammy and poor while other gore designs are seamless enough to maintain the scary, desperate atmosphere despite dim lighting and a flat picture making it tough to see everything. The sound is also uneven at times, but stormy effects and recognizable, fitting theme music with whimsical tinkles and crystal chimes accent the shadows, silhouettes, flashlights, and lanterns. There are some jump scares on Friday the 13th, but the gags are admittedly humorous, adding campy appeal to the fast moving forty-five minute episodes.

 

I’d like to skip over the clunkers and Friday the 13th has its fair share of dated, cheap faults in this debut season. Fortunately, most of the fond thoughts from watching the series then hold up now thanks to a not always cut and dry good versus evil. It wouldn’t be any fun if it was easy to retrieve these cursed tchotchkes all wrapped in a pretty bow. Even my mom wanted to know what channel Friday the 13th was on – which surprisingly doesn’t seem to be anywhere despite the increasing popularity of retro-themed channels and horror anthologies. DVD sets are available, however, as well as Amazon Prime streaming. Today Friday the 13th may seem like a relatively short-lived series, but this first year has more than enough memorable curses, evil, and eighties fun for paranormal audiences to revisit or enjoy anew.