Lee
“Movies don't create psychos? They make psychos more creative.”
I recommend listening to the audiobook for the sheer reason alone that it is narrated by Ghostface himself, Roger L. Jackson.
Fun trivia I didn't know prior:
SCREAM 2:
- Kevin Williamson had purposely leaked a draft of Scream 2’s script where Dewey was the killer. That way it would throw fans off and prevent the real twists from being revealed. - Williamson wrote secret codes and specific typos in his scripts that only he knew, which would allow him to know exactly who leaked the script, if it happened. - Danny Elfman was a guest composer in Scream 2. - The pole that crashed through the agent in Scream 2 was supposed to go through the stunt dummy’s chest, not head. - Williamson wouldn't have had Randy get killed in Scream 2, had he known the film would spawn into the franchise it is today.
SCREAM 3:
- Scream 3 was originally going to be a different story, but got changed after the events of Columbine. - Lance Henrikssen was essentially playing Harvey Weinstein in the plot of Scream 3, ahead of the entire Me Too movement. - Parker Posey got along swimmingly with Carrie Fisher and hanged out with her on and off set all the time. - Carrie Fisher wrote her own dialogue for Scream 3. - Fisher’s go-to snacks on set were Diet Coke and Fruit Loops.
SCREAM 4:
- The Weinstein brothers decimated the usual Scream production team, and made it extremely difficult to work with. - Kevin Williamson was pushed out because the Weinsteins did not want to wait for his schedule to clear up. Williamson did still help Wes Craven personally when Wes needed any help out of friendship. - Scream 4 is the only entry not to have Red Right Hand because the Weinstein’s refused to pay Nick Cave a decent rate given how iconic and integral the song became.
5CREAM:
- Scream 5 star Mason Gooding first saw Scream at 14, as a challenge to prove to his parents that he was mature enough to play Dead Space. - Gooding also wrote a uni paper about why Scream was ripe for revival and meant so much to the horror genre. - Williamson wanted to deliberately include a gay POC character to be more up to date with the times, and in such write the role for Jasmin Savoy-Brown. - Jack Quaid immersed himself into toxic fandom by making a reddit account, all to prep for his role.
SCREAM 6:
- For his character’s psycho vids in Scream 6, Jack Quaid sent in old teen home videos from when he used to make fake movie trailers with friends. - None of the Ghostface shrine items in Scream 6 were originals, they painstakingly recreated and thrifted what they could. - Mason Gooding got his friend Tony Revolori the role for Scream 6. - Gooding himself wasn't quite sure if his character surviving all the stabs between 5 and 6 was believable.
SCREAM 7:
- Matthew Lillard was initially told by Kevin Williamson that he was dead, but during talks for Scream 7, Williamson decided to officially bring him back. - Both Rose McGowan and Parker Posey are very open to returning in Scream 7, the prior noting that she had two beds in her room and could've had a twin.
Quotes that stood out to me the most in this Orwellian deconstruction of Spotify.
- Ch. 3: “Unsurprisingly by the mid-2010s as the increasingly passive listening environment commanded less and less attention of its users, sleep playlists were absolutely crushing it on sootify. One former employee recalled a specific all hands meeting that reflected and celebrated in the success of these sleep playlists. ‘They were very proud of this,’ the former employee recalled, ‘it proved to them that they're not a music company, they're a time filler for boredom.’ ‘There was a moment where it all started to feel Orwellian,’ the employee continued reflecting on a different later meeting. In his estimation based on data observed while at the company, there was only a tiny percentage of lean-in listeners, the vast majority of music listeners, they're not really interested in listening to music per se, they just need a soundtrack to a moment in their day. ‘I think Daniel Eck was the first person to really exploit that, I honestly think that the core to the company’s success was recognizing that the company wasn't selling music; they weren't providing music, theyre filling peoples time. And he said at a company meeting, I remember, ‘he was like, Apple music, Amazon, these aren't our competitors, our only competitor is silence. I definitely think people are afraid of silence’.”
- Ch. 4 talks about how Thomas Edison essentially monatized mood/vibe music to consumers with curated phonogram playlists.
- Ch. 4: “If a musician decides to protest over unfair royalties, its not hard to imagine a situation where a streaming service might just replace them with somebody else, or better yet maybe just a ghost artist who doesn't actually exist.”
- Ch. 9: “If we're willingly letting corporations create culture ir determine culture for their own financial gain, that's unequivocally bad, she said. And what makes it so much worse, is that it's coached in all this language if individualism that people buy into and believe. It's an era where we can't agree on basic facts of history in general, and then we're giving corporations the power to create their own version of culture, and therefore their own versions of history. And then they make a lot of money off of it, while the people who are actually creating the work and art that make it possible for them to even do this whole scam, don't get paid anything.”
- Ch. 10: “Fandom is data.”
- Ch. 10: “Over time in the group, he started to observe the broader tendency to describing music through micro-genres: like Cottage Core, a pastoral countryside aesthetic that flourished in tiktok during the pandemic. And Dark Academia: moodboard, poetry books, dusty libraries, dark coffee, classical music. And he also started seeing a lot request for liminal space type vibes. Referring to an internet aesthetic fixation that had pictures of abandoned eerie old backrooms. But that's not a genre of music but a lot of people keep asking for it. Usually it ends up being like vaporwave.”
Ch. 10: “It seemed like any random word or phrase could be cast as a description signifier by adding ‘core’ to its ending. Everything has become an aesthetic or vibe. You lose depth when you out everything into a box or category, but we live in a capitalist world where everything is a cliche. It's just consumerism.”
- Ch. 10: “The philosopher Frederick Jameson described the concept of auto-surveillance, under which the capital and the state no longer have to do anything to you because you have learned to do it to yourself. This was fan culture reshaped by algorithmic ubiquitousness, which is to say by tools of surveillance.”
- Ch. 11: “If there was any running theme from table to table, it seems to just be rich people seeking to get more rich, with little regard to the impact they may have on working musicians.”
- Ch. 12: “It might seem like just music, but streaming services are susceptible to what's called ‘surveillance creep’ or ‘function creep’. A surveillance system might start off with one purpose, but over time it's purpose might shift and expand beyond its original use case. We might know that a streaming app is watching our every move, but it's just to recommend us more music we think, and so we're conditioned to think it's low stakes. So much so that when for example a music app starts monitoring and mapping our voices or tracking down our search history off app, maybe we don't even notice. Or when it takes the most basic facts of our listening behavior and sells them to date brokers for mood data, which then they sell to assemble more complex profiles on us.”
- Ch. 13: “At a music conference in 2019, Spotify executive Jim Anderson appeared on a panel, after which a concerned musician stood up during the Q&A to ask about the financial model and whether it was fair to artists. A disgruntled Anderson replied, ‘the platform is to distribute music not to give you money, okay.’”
Prescient in Kierkegaard’s thoughts and social critiques from start to finish, but I did feel like the first half was loaded with heavy hitting quotes. It’s said plenty of time for various authors and philosophers, but I’m always baffled when a sentiment from nearly 200 years ago, still stand the test of time and human error.
- “Our age is essentially one of understanding and reflection, without passion, momentarily bursting into enthusiasm, and shrewdly relapsing into repose.” (pg. 3)
- "Nowadays not even a suicide kills himself in desperation. Before taking the step he deliberates so long and so carefully that he literally chokes with thought. It is even questionable whether he ought to be called a suicide, since it is really thought which takes his life He does not die with deliberation but from deliberation.” (pg. 3)
- "But the present generation, wearied by its chimerical efforts, relapses into complete in-dolence. Its condition is that of a man who has only fallen asleep towards morning: first of all come great dreams, then a feeling of laziness, and finally a witty or clever excuse for remaining in bed." (pg. 4)
- “However well-meaning and strong the individual man may be (if he could only use his strength), he still has not the passion to be able to tear himself from the coils and seductive uncertainty of reflection. Nor do his surroundings supply the events or produce the general enthusiasm necessary in order to free him.” (pg. 4-5)
- "A revolutionary age is an age of action; ours is the age of advertisement and publicity. Nothing ever happens but there is immediate publicity everywhere." (pg. 6)
- "The age of great and good actions is past, the present is the age of anticipation when even recognition is received in advance. No one is satisfied with doing something definite, every one wants to feel flattered by reflection with the illusion of having discovered at the very least a new continent.” (pg. 7)
- “Briefly, instead of being strengthened in their discernment and encouraged to do good, the guests would more probably go home with an even stronger predisposition to the most dangerous, if also the most respectable, of all diseases; to admire in public what is considered unimportant in private-since everything is made into a joke.” (pg. 9)
- "Formerly it was agreed that a man stood or fell by his actions; nowadays, on the contrary, every one idles about and comes off brilliantly with the help of a little reflection, Knowing perfectly well what ought to be done.” (pg. 9-10)
- “The present age with its sudden enthusiasms followed by apathy and indolence is very near the comic; but those who understand the comic see quite clearly that the comic is not where the present age imagines.” (pg. 10)
- "To be witty without possessing the riches of inwardness is like squandering money upon luxuries and dispensing with necessities, or, as the proverb says, like selling one's breeches to buy a wig. But an age without passion has no values, and everything is transformed into representational ideas. Thus there are certain remarks and expressions current which, though true and reasonable up to a point, are lifeless." (pg. 11)
Of the assortment, these were the stories I liked and would recommend:
- 1) The Mouth of Hell by Cody Goodfellow
- 2.) The Fourth Scene by Brian Evenson
- 3.) The Forgotten Valley by CB Jones
- 4.) In Thrall to this Good Earth by Hailey Piper
- 5.) Deus Volt by Ethan Yoder
-6.) A Dark Quadrivium by David Worn
Killer on the Road is great, The Babysitter Lives…not so much. The prior is like The Hitcher blended with Stephen King’s The Outsider. Babysitter is unfortunately another haunted house type beat that doesn’t reach the same entertainment and twist value as something like We Used to Live Here. I will say that this one did read faster than the usual SGJ’s book, and I really love the dual book combo pack format. More authors should do these double bill features where you have to flip the book over to start the backup story.
Super-Cannes Fancast:
- Dr. Jane Sinclair (young, dark hair, 5head, bold, independent, curious, hands-on, dark humour, workaholic): Alicia Vikander
- Paul Sinclair (mature, pilot, leg brace, calm, introvert, curious): Michael Fassbender
- Dr. Wilder Penrose (“robust bull-browed”, suited, boxer’s form, “minotaur” of a man, cheeky, snarky): Henry Cavill / Luke Evans
- Dr. Greenwood (went crazy, shooting spree, murderer, suicide, charming, ladies man): Tom Hiddleston / Dan Stevens
- Frank Halder (security, uptight, rules, east African, “narrow nose and steep forehead”): Babs Olusanmokun
- Pascal Zander (Black, police, corrupt leaning, bigger build, aggressive): Idris Elba / Abraham Popoola
- Simone Delage (older, sensual, classy, judgmental, stares, stern, Paul’s neighbour): Isabelle Huppert / Elizabeth Debecki
- Frances Baring (femme fatale, cleavage, fashionable, bold, forward, curious, blonde, upper class, tricky): Demi Moore / Cate Blanchett
"I swore before this head that for all future I would cast my lot with the solitary and free rather than with the triumphant and servile."
A dark prescient parable to the rise of Fascism or outright barbarity, Einst Jüngers topical—and to some controversial—Gestapo banned On the Marble Cliffs totally rings relevant today as it did on publishing in 1939. It's worth noting Jünger was a German himself, and ever fought in Why, and served in occupled Paris during WWII, but was ardently against Nazism and Communism. Certainly a contradictory figure, Jünger was against liberal utopian ideals, just as he also despised tyranny and the myriad “isms” webbing out of the pre-WWII national socialism power. While not comparing them as human beings, I'd argue there's crossover in thought and cautionary warnings with the likes of Orwell and Huxley.
His novella paints quite a contrasting narrative between the titular beauty of the Edenic marble cliffs versus the grimey, anarchic, and barbaric forest dwellers below. It's clearly an allegorical tale that can be attached to various moments in human history—the time relevant WWII and rise of the Nazi regime being most topical on release—such as the current unprecedented and shameful state of authoritarianism in the United States.
French director, poet, and all around renaissance man Jean Cocteau said about Junger, “Some people had dirty hands, some had clean hands, but Jünger had no hands." While surely to be taken as a white-gloved indictment, it's worth noting Cocteu himself was also not too dissimilar to Junger in their mutual apolitical contradictions during such a radically political time. And in this collegial criticism lays one of the biggest thematic points to take from On the Marble Cliffs: inaction and turning a blind eye just because something doesn't affect you, leads to a worsening condition of the human state. Stated better by the quite of debated origin, “The only thing necessary for the triumph of evil is for good men to do nothing." Jünger’s prescient cautionary tale released on the cusp of WWII has far too many similarities to today’s world than comfortable, and I highly recommend reading this lesser-known classic.
“The media landscape of the present day is a map in search of a territory. A huge volume of sensational and often toxic imagery inundates our minds, much of it fictional in content. How do we make sense of this ceaseless flow of advertising and publicity, news and entertainment, where presidential campaigns and moon voyages are presented in terms indistinguishable from the launch of a new candy bar or deodorant? What actually happens on the level of our unconscious minds when, within minutes on the same TV screen, a prime minister is assassinated, an actress makes love, an injured child is carried from a car crash? Faced with these charged events, prepackaged emotions already in place, we can only stitch together a set of emergency scenarios, just as our sleeping minds extemporize a narrative from the unrelated memories that veer through the cortical night. In the waking dream that now constitutes everyday reality, images of a blood-spattered widow, the chromium trim of a limousine windshield, the stylised glamour of a motorcade, fuse together to provide a secondary narrative with very different meanings.”
~
The exploration of the inner psyche in the aftermath of the pop culture explosion and media saturation of the 1960s offers a complex interplay between collective trauma and cultural phenomena. The connectivity of events such as the JFK assassination and the Vietnam War contrasts sharply with the fascination of cars, brutality architecture, and the idolization and lust of figures like Marilyn Monroe, James Dean, Jayne Mansfield, Elizabeth Taylor, and even Ronald Reagan. With equal parts medical history, sexual fantasy, warmongering, and psychopathic obsession, J.G. Ballard navigates this fragmented landscape, probing the depths of taboo within a disintegrated reality in search of meaning and belonging. This leads to a critical inquiry: do our most chaotic thoughts and desires constitute the final frontier of original thought in a homogenizing herd mentality society?
As Ballard once aptly noted in an interview, “Psychopathology is the last reservoir of the human imagination.” In his provocative work, The Atrocity Exhibition, he presents a compelling depiction of modern "doom-scrolling" reflective of today's algorithm-driven engagement on platforms like YouTube, TikTok, and Insta; not literally, but in reading this nonlinear narrative, it felt like one of the best portrayals of such. This overwhelming submergence of global life marking events at each turn, of varying significance yet inescapable to your senses. It doesn't matter if you don't listen to Taylor Swift or Sabrina Carpenter, you're going to be bombarded with whatever they're up to at all times, just as you're going to be waterboarded with whatever the current political dirtbag is spouting regardless of how hard you try to censor seeing him. Ballard captures the essence of the social media and dark web interconnectivity and deviance—perhaps unintentionally. The material traverses a spectrum of hyperviolence, political dissension, celebrity scandals, sexuality, mental health, and the entwined nature of materialism and capitalist allure—all wrapped within a surreal encapsulation of contemporary existence. At times, it felt like you were listening to the rants of Brad Pitt’s character in 12 Monkeys.
The novel's fragmented structure poses challenges that stem more from its unconventional form and frankness than its content. Upon its initial publication, The Atrocity Exhibition was likely met with an unprepared audience, one not yet fully desensitized to the overwhelming media landscape of today. But in a contemporary mind state, I argue that it holds more palpable value and resonance to its weight. Its experimental narrative served as a precursor to his later work, Crash, which was also controversial and seen as taboo by the masses on release—but perhaps adhering more to a metamodernist condition. Regardless of your stance on his works, like his fellow literary predecessors Wells, Huxley, and Orwell, Ballard demonstrates an uncanny ability to foresee societal issues and trends ahead of their time.
While The Atrocity Exhibition tends to exhibit repetition—particularly in the latter third "who shot who" segments—its capacity to provoke thought and introspection remains significant. Ballard’s oeuvre challenges readers to reflect critically on their positions within the sociocultural climate, a rare feat among contemporary authors.
Despite calling just about everything that escalated out of the COVID-19 pandemic years prior, Severance disappointingly has nothing to say. And yes, I see your raised hands, but no, this book has nothing to do with the hit Apple show of the same name. The book was rather disappointing and filled with a a whole lot of filler flashback that did not really add any depth to the characters you couldn't piece already. It could just be because I recently rewatched it, but while reading this version of a strange infectious virus (from China), I thought of the Canadian indie horror, Pontypool. There was a resemblance with how the infected acted, and how our protagonists are mostly placed in a single location. But don’t confuse that comparison with quality or horror, as the worst Severance gets, is a casual observation of a woman missing a jaw.
The Meg meets Journey to the Center of the Earth, with a heavy focus on dinosaurs. Simple action fun with some decent yet unexpected character development. I would very much like to read a teased sequel.
Fancast
- Mackenzie: Charlize Theron
- Ian: Jason Statham / Aaron Pierre
- Babo: Djimon Hounsou
- Nash: Sharlto Copley / Chris Hemsworth
A vibrant portrayal of life presented in jazz form: messy, loud, improvised, collaborative, and irreverently original. This is what you would expect from a literary icon who helped found an entire movement. Jack Kerouac's iconic novel On the Road truly lives up to its positive reputation and embodies a life-affirming joie de vivre. This is my first Kerouac read, though I am familiar with various quotes from him, with one of my faves being: “Nowhere to go but everywhere, so keep on rolling under the stars.”
Like the quote, On the Road unfolds like a stream of consciousness as the author embarks on a somewhat autobiographical journey across the country several times. Each journey features a unique assortment of supporting characters, inspired by real figures from Kerouac's life, who enhance the reverie of existence. Figures of the Beat generation such as Allen Ginsberg and William S. Burroughs, among others who embody the sentiment of the free spirited and unconstrained of their generation. Ultimately it’s a story about embracing life to its raw fullest; to live in the moment without hesitation or judgment amidst all its highs and lows.
Film Recs:
- Easy Rider
- Babylon
- Y tu Mama Tambien
- American Honey
- Kill Your Darlings
Stoner fancast:
- William Stoner: Timothée Chalamet / Adam Driver
- David Masters: David Jonsson
- Gordon Finch: Harris Dickinson / Paul Dano
- Archer Sloane: Ethan Hawke
- Edith Stoner: Florence Pugh / Jessie Buckley
- Grace Stoner: Emily Carey
- Hollis Lomax: Cary Elwes
- Charles Walker: Fred Hechinger
- Katherine Driscoll: Nell Tiger Free / Lily Sullivan
John Williams presents perhaps one of the most profoundly human protagonists in his classic novel Stoner, effectively contrasting romanticism with stark realism through the decades of William Stoner's life. Williams meticulously crafts a narrative steeped in poignant naturalism, revealing a sincere authenticity in the portrayal of our mundane existence. This theme resonates with Osamu Dazai's No Longer Human, although it navigates through a somewhat less oppressive lens. Just as smilarly, Wim Wenders’s Perfect Days film echoes in its exploration of everyday life, although Wenders finds a bit more nuanced optimism.
As a character, Stoner embodies the intricate balance of stoicism and relatable ordinary humanity, serving as a cautionary figure against the perils of indecision and complacency. It is essential to clarify that this portrayal does not imply that Stoner squandered his life or allowed his aspirations to dissipate; rather, it encapsulates the quintessential struggle of seeking a meaningful existence as opposed to the hazards of passively drifting through life with a mindset of mediocrity and inaction. As much as Stoner comes off as likable, there were myriad a chapter where I found myself infuriated by his inability to take charge when it mattered.
This resonates with the sentiment of Hippocrates: "Ars longa, vita brevis," emphasizing the enduring nature of art against the ephemeral nature of life, inviting inner reflection on the pursuit of fulfillment amidst the brevity of our mortal existence.
“The problem was you had to keep choosing between one evil or another, and no matter what you chose, they sliced a little more off you, until there was nothing left. At the age of 25 most people were finished. A whole goddamned nation of assholes driving automobiles, eating, having babies, doing everything in the worst way possible, like voting for the presidential candidate who reminded them most of themselves.”
Vulgarity, pessimism, realism, indifference, and unjustified suffering, greatness and/or simple lives are not guaranteed for every person; life is not fair, and your born into circumstances cannot always be escaped. But that doesn't mean you should just give up. Charles Bukowski would probably tell you to start drinking yourself blacked out drunk, gamble, and to go have plenty of sex. Do whatever the hell you like, and don't be so scared or shy away of it. Be honest to yourself through the regret, the shame, the pain, and the mes; no love without heartache, no meaning without sacrifice, no guts, no glory. You can spend 50 years with no purpose before it finally clicks through the raw pain, but you'll never find it by doing nothing. You need to do something even if it will hurt and cut deeply. “Don't try.” But when whatever urge flowing through you just bursts out on its own without you willing it into existence, then perhaps “If you're going to try, go all the way.” The important things in life should not feel like a choice to you. And other times, maybe the best thing for you in the moment is to get whooped by a young Mexican boy in an arcade game.
Undeniably influenced by the telekinetic elements of Stephen King’s Carrie and End of Watch, Psychic Teenage Bloodbath is exactly what it says on the tin. I'd actually even throw in some similarities to Stephen Graham Jones’s Night of the Mannequins and I Was a Teenage Slasher. You get a, well, psychic teenage bloodbath. Alrighty then, thanks for reading! Ok, seriously, as my first Carl John Lee (side penname for Scottish horror afficiando and writer, David Sodergren) I must say it did not blow me away. Granted, I have an incredibly high tolerance for all things violent and disturbing—actively searching for things to gross me out—but I was expecting things to get far more out of hand in its marketed extreme gore. In fact, the book opens up with a forward from fellow horror writer Judith Sonnet who goes into non-spoiler detail about things to expect, paired with a trigger warning list at the back: effectively a warning to the reader. Now don't get me wrong, very messed up things do take place within this revenge tale (including but not limited to attempted rape, necrophilia, cannibalism, castration), but it just wasn't enough to get a blip from my clearly dark soul.
I'm relatively new to the Splatterpunk scene (the best I've liked so far being Dead Inside and Brainwyrms), so take my subjective critiques with grains of salt. I did enjoy my time with Psychic Teenage Bloodbath, but in the words of the iconic Colin Farrell, “Not to sound pear-shaped, but I wanted it to be a little spicier.” The scenes of gore weren't necessarily added just for the sake of gore, as many of them fit the character motivations and mental states, but most if not all of them were also seen coming. Additional fair warning, this does get more sexual than most of the Sodergren books I've read so far.
—•—
Film Recs:
- Carrie
- Tragedy Girls
- Freaky
- Malignant
YA Annihilation that spends too long getting to its point, that by the time we get to the existential nitty-gritty, we’re already packing up. I do like the setting and initial mystery, but the author did not capitalize on the saved timed he had from skipping the actual apocalypse. Endgame Gantz had similar themes with more depth.
Stephen King explains that he believes Night Shift, Skeleton Crew, and Nightmares & Dreamscapes to all be one trilogy of his shorts. The latter of which consisting of some shorts he didn't think were entirely ready on the same level as the other two collections at first.
- Crouch End (Lovecraftian horror)
- Suffer the Little Children (feels Clive Barkerian)
- Sorry Right Number (Hitchcock would've loved this Twilight Zone style ep)
- Popsy (the recent Abigail movie definitely read this)
- Chattery Teeth (feels like parallel to The Monkey)
- The Night Flier (Nightmare at 20,000 Feet if the plane also landed)
- 10 O'clock People (King's They Live)
- Rainy Season (Shirley Jackson's The Summer People meet The Nest)
- The End of the Whole Mess (could be a Twilight Zone ep)
- Ummey's Last Case (great Barton Finkish concept that should be adapted)
- Home Delivery (small island community zombie short)
- The Moving Finger (guy loses his mind locked in his apartment type beat)
- Dolan's Cadillac (might be the most screen adaptation potential, which it does have one)
- Doctor's Case (King's jab at Sherlock & Watson)
- The Fifth Quarter
- It Grows on You
- My Pretty Pony (feels like a brief flashback of a bigger story)
- Sneakers (incredibly underwhelming given the potential)
- You Know They've got a Hell of a Band (bland despite the premise)
- Dedication (as usual, King is rather odd when writing Black characters, and this is an entire Black narrative here)
- The House on Maple Street (forgot it instantly)
- The Beggar and the Diamond (not a King story, but added in)
I don't count the poem Brooklyn August, or Head Down, as that was King sitting about his son's real baseball game.
After watching the German adaptation of his book, Cut Off, I've been very intrigued by Sebastian Fitzek. He seems like the perfect fit for fellow fans of David Fincher and the Dragon Tattoo series. And so far, I can wholeheartedly say he is 2/2 in terms of dark mysteries with the tendency to dip into the unpredictable depravity of humanity. I was a little let down by how little Rebecca Hall is in this audiobook, but that isn't to say she nor the cast did a bad job.
If like me, you were expecting some cool horror/thriller twist based on how the book markets itself, avoid this. In a Dark Dark Wood is one of the most basic books I've read in a while, and the protagonist is one of the most idiotic. Really?!? 10 years from a teenage relationship, in addition to answering this decade old long cut off friendship invite?? Really? What are you thinking, and move the hell on.
Finished this in one sitting on account of it being brisk to read through, and having a consistently tense pace. Predictable—especially given the artistic choice to have a cold open essentially telling us the fates of the main cast—but still entertaining to read. It's a strong debut horror book, and one that will surely keep my eyes at attention for Kiefer's next book. My only primarily point of critique, would be that the characters could have been fleshed out better and made to be a bit more relatable: I didn't connect to any of the characters, and found one of them to have quite the drastic and unearned shift.
I strongly recommend this to fans of Briardark, The Ruins, and maybe even a little bit of the Wrong Turn remake.
Very much the Samurai oriented Game of Thrones that word of mouth sold it to be. I'd go an additional step further in specifying a more acute comparison to House of the Dragon, as Shogun leans more into the socio-political aspects of its feudal 16th century Japan. It's over 1000pg count allows the characters to breathe and develop through its various revelations, fights, betrayals, and romantic ties. While I would say that author James Clavell gets a little trigger happy with his assumption that seppuku was committed on the fly left and right, Clavell does take detailed pauses to showcase the stark cultural differences between the English, Portuguese, Spanish, and of course, Japanese. It's a tome to get through, but I did enjoy my time with it—possibly the longest I've taken to read a single book ever.
Fancast
Director: Ben Affleck
Ted: Matt Damon
Lily: Riley Keough / Meghann Fahy
Miranda: Blake Lively / Anne Hathaway
Brad: Casey Affleck / Bobby Cannavale / Wyatt Russell
Eric: Callum Turner / Jacob Elordi
Det. Henry Kimball: Joel Edgerton / Clive Owen
Det. Roberta James: Jodie Turner-Smith
David: Michael Douglas / Timothy Dalton
Sharon: Sharon Stone / Susan Sarandon
Weird Tales ranked:
- The Call of Ctulu
- The Third Guy
- Disappear Donna
- The World Breaker
- Black God's Kill
- Up from Slavery
- Bait
- Church at the Bottom of the Sea
- The Damp Man
- Dead Jack and the Case of the Blood Fairy
- The Game
- Blood Moon
- Prezzo
- Legal Rites
- The Vengeance of Nitocris
- Jagannath
- Worms of the Earth
- The Scythe
- How to Make the Animal Perfect?
- Slaughter House
- Cupid is a Knavish Lad
- Vampire Chaser
- Lady Cataract Comes to the Mosque