Psychological Thriller - Blog Posts

TV Shoutout: Mr. Robot

Mr. Robot is a fresh new show, but it quickly captured our attention and we don’t want you to miss it!

What it is about: Elliot Alderson (Rami Malek) is a socially-challenged cyber-security engineer who moonlights as a hacking vigilante, and discovers a hacking group with a mysterious endgame.

Why you should watch it: Plenty of things, from big to small details, set Mr. Robot apart from other courses we usually have on TV. Firstly, it is one of very few shows on TV that accurately portrays hacking—and the life and technology around it (Sam Esmail, the creator, was a coder I believe). For the ones who care, it is a very big deal since the portrayal of technology in most TV and movies has generally been... questionable.

Secondly, Mr. Robot explores the ongoing, and very relevant, fight between 99-percenters vs 1-percenters. Which might sound too vague and nebulous for some, but Mr. Robot smartly keeps the focus small—focusing on Elliot and the people he encounters instead. To keep things short, I’d just say Elliot himself is also a very interesting character, brought to life by Rami Malek’s intense talent.

Mr. Robot is also a very beautiful show to watch with a cinematic flair, and there are little touches that makes the show feel inherently progressive. Although definitely not in any significant roles (except one, for now), an Indian man, a Chinese, a gay, and young woman with hijab had all been portrayed during the total 2 episodes that had aired. It also recognizes the presence of misogyny in the tech world, and in general Mr. Robot is a very prescient show.

And it’s a damn good thriller.

Who should watch it: The ones who enjoy psychological thriller—especially Fight Club in regards to Elliot’s psychological state and Mr. Robot’s nihilism (and fans are calling it, there might be Tyler Durden-esque twist coming!)—or just general thriller, really. The techies. The paranoids, the secret anarchists, and just general TV/movie lover.

Where you should start: It’s been only a couple of episodes, so yeah, from the start. You can jump ahead to whatever episode airing, but you’ll miss the brilliant, movie-like pilot.

Status: 2 of 10 episodes already aired, and second season has been greenlighted due to strong buzz!

Bonus: The first 4-minute clip of Mr. Robot, watch!

Game concept!!!

Okay, so idk if a indie game developer ends up finding this by some off change or anyone who know more about this kind of this but I would love to see a game or horror game where the player ends up finding out at the end of the game that they are the actual villain. But they were unaware of this the whole time. Like they think that the tasks that they are completing are apart of moving the game along to help them and the npcs, however they are actually the one who are causing the harm, not fixing/helping it. Personally, as a player this concept of me playing the game as intended and finding out that all along I AM the bad guy who is preventing the good from prevailing unknowingly. I AM not the good guy in this story... This would definitely throw me for a loop. The protagonist is actually the villain... everything is simply based on perspective...

Lmk if this is dumb or already been done...

does anyone have show recommendations for people with a short attention span, i want to start a new one but i can’t find any that go fast enough for me, my favorite shows right now are american horror story, hannibal, and legends of tommorow, i mostly watch magic and psychology related shows, i need a new show to hyper-fixate on, also i don't watch shows with unnecessary sex scenes, but other than that i’m ok with gore and violence (feminine rage is greatly appreciated)

OUT THERE SCREAMING edited by JORDAN PEELE (REVIEW)

quickly: the ‘horrors’ of blackness have its natural and supernatural roots revealed (bad cop with a third eye / grandma’s love is deadly / wandering man running from nothing / in vivo alien invasion / unstable ex’s / sea siren with your sister’s face / dead man’s swamp revenge / serial killer targeting black robots / white men ruining the atmosphere / daddy’s secret / chaos in the dark / part woman part fish-devil / black magic as an HOA / grief and its blindness / games that ghosts play / negro folk tales as an american requiem / prison industrial complex goes A.I. / black magic as an addiction / whiteness as psyche and psychosis)

A fantastically original collection of short horror stories that span quite a range of horror sub-genres (sci-fi, thriller, romance, and even americana). All unapologetically Black. A superb addition to the limited number of Black horror anthologies (Tales from the Hood, anyone?).

My favorites were Wandering Devil (loverboy with wandering feet can outrun everyone but himself), The Rider (a dead man intervenes on behalf of two black women traveling alone), Flicker (an intermittent darkness unleashes chaos from the shadows), The Norwood Trouble (a group of black ‘practitioners’ will be damned if white rioters try to destroy their town), A Grief of The Dead (grief separates and reunites a pair of twin brothers), Your Happy Place (an incarcerated man must decide his reality after having it stolen from him), Hide & Seek (brothers learn to protect themselves with the same magic that wants to harm them).

★★★★★ Superb.

THE SHARDS by BRET EASTON ELLIS (REVIEW)

quickly: a group of rich white friends are too high to notice that the new kid may be a serial killer (an imaginative young writer / a vain but popular group of friends / a new kid with a dark past / valium for breakfast, weed for lunch, ‘ludes for dinner, cocaine for dessert / boys, boys, boys / endless supplies of sex, drugs, and rock and roll / hippie cults hiding in the hills / blood sacrifices and bodily ‘arrangements’ / ‘there’s someone in the house’ / where are the adults??!)

For just a moment, I was a young, hot, high, and wealthy white seventeen-year-old in ’70s-’80s Los Angeles… My parents are never home, every day is an orgasm, and I have all the drugs and euphoria I want. In my endless pharmaceutical high, a serial killer is playing mind games with my friends and me, and I’m barely sober enough to notice it is happening.

That is THE SHARDS. I am confident that if I were to give this hardcover copy a good shake, either a quaalude, a Valium, or a mist of fine white powder may loosen itself from the bindings. These are the substances that seem to hold the story and its characters together. There’s also a hearty scoop of graphic, disturbing, deranged, stomach-churning violence… a stark contrast to the ultra-sweet lives of these young rich kids. The reality of these brutal slayings is what makes the kids’ dissociation all the more real.

★ ★ ★ ★

more thoughts: SPOILERS!

Some personal context… this isn’t the book I originally planned on reading after “HUMAN SACRIFICES” by María Ampeuro, but it was actually the perfect follow-up. The world of the characters in María’s stories were soaked in the harsh realities of capitalism, white supremacy, and patriarchy. What better pairing than a story on the other end of the spectrum… rich white kids with Daddy’s money made from exploiting others!

This is my first Bret Easton Ellis book. All I knew about the guy before reading this was that he wrote AMERICAN PSYCHO. I’ve seen the movie, but I’ve never read the book. I actually owned the book for years, and it was destroyed in a flooded storage facility. Nevertheless, I ended up meeting Bret Easton Ellis’s work anyways. Not because I sought out his penmanship, but because, as tends to happen, I just had a good feeling about the book based on the cover, description, and number of reviews.

This book made me feel poor and ugly, and I think that was the point!

This is a story about a story. The book opens with a prelude in present-day LA as our narrator, Bret Easton Ellis, is driving around and sees an old classmate, which ignites panic within him. 

From there we are sent back to the summer before Bret’s senior year begins. He is a closeted bisexual man in love with his best friend Sarah, who is dating his good friend Thom (whom he is also in love with). He doesn’t seem to be in love with his girlfriend Debbie at all. An idyllic summer spent third wheeling with Susan and Thom ends once school starts and a new guy is introduced at the morning assembly… Robert Mallory. 

Immediately, Robert gets under Bret’s skin. Bret remembers seeing Robert months before he moved to L.A., at a movie theater, but Robert’s consistent denial of this drives Bret crazy. Taking time off from the different guys at school he is secretly intimate with, he decides to follow Robert after school one day. Robert catches him in the act of tailing him and any chance they had at a friendship is ruined. From here on out, it’s a game of cat and mouse between the two. (Or maybe mouse and mouse?)

The first major OMG moment is the death of Matt (a consistently stoned hottie), one of Bret’s ‘intimate friends’. 

As Bret watches Robert ease his way into the various friend groups on campus, he begins to see a side of Robert that is only noticeable from a distance… he notices the silent calculations that Robert is constantly making as if Robert is devising some secret masterplan. It’s then that Robert begins taunting Bret, dropping hints that he knows about the relationship between Bret and Matt. It’s also then that Matt starts receiving mysterious phone calls and notices that someone has stolen his pet fish and rearranged his room. In a state of psychological anguish, he accuses Bret of being behind it, due to some ‘gay’ obsession with Matt. Soon after, Matt turns up dead. Missing for several days, then found dead and mutilated in his own backyard. 

Bret meets with Matt’s father and learns the horrid details of Matt’s death. This makes the outlines of what Bret may be dealing with become more real now. No one cares about Matt’s death enough to notice the pattern that is forming. News articles begin to appear, daily, about missing girls, missing pets, mysterious home break-ins with furniture being rearranged, and late-night attacks. The police eventually put together a profile for a killer they are calling The Trawler. There are hints that he may be connected to a roving group of Manson-esque murder hippies that are terrorizing LA.

Bret makes the decision to divide himself between a true, hidden Bret, and a false, public Bret. Public Bret will play the role of a model student and boyfriend, while private Bret investigates Robert Mallory, whom he believes to be The Trawler. Valium, Quaaludes, and marijuana form the wall between the real and fake Brets. (Imagine someone breaking into your home, and you pop a pill and hide in a closet, falling asleep, and just hoping they pass you by.) Cue an endless string of parties, conversations, car rides, class assignments, and missed calls from Debbie (and The Trawler) that Bret floats through.

Fast forward past more missing women, Bret following Robert Mallory through the streets of LA, Bret being followed by a mysterious van through the streets of LA, Bret being taunted by The Trawler, Bret meeting with Robert’s aunt and finding out about Robert’s dark past, Bret breaking into Robert’s second home, Bret sleeping with Debbie’s dad, and Bret’s numerous attempts at telling someone what may be happening with Robert and being called crazy, etc. 

Eventually, we reach the foggy climax. After Debbie goes missing, Bret is convinced that Susan is the Trawler’s next victim. Robert’s next victim. He decides to take matters into his own hands. That night, Susan and Thom are attacked at Susan’s home by a masked assailant. Susan bites the assailant and he runs out (but not before disfiguring Susan’s breast, and Thom’s leg). Robert comes to the rescue, getting them help, and then heads back to his apartment. Bret arrives at Robert’s apartment soon after and a fight ensues that leads to Robert jumping to his death. Bret is alive and tells a version of the story that exonerates himself, and there is no one to dispute it. 

It is only in the denouement that it is revealed that Bret was the attacker that night of Susan and Thom’s attempted killing… and this is where I started to come down off the story’s canna/lude/coke/valium high… We find out that Bret is Susan and Thom’s attacker after Susan recognizes the bite mark she left on her attacker’s arm, casually peeking out from Bret’s long sleeve Polo. He breaks her hand and threatens her, to keep her quiet. (It’s only years later that Bret finds out Susan immediately told Thom about what she saw on Bret’s arm).

Coupled with this jarring reveal, we are also told (through a letter written to the press) that The Trawler is neither Bret nor Robert. The Trawler is independent of both young men but is indeed a part of the cult roaming the hills of LA. They claim that Robert Mallory was ‘their God’, and the mutilated bodies were ’sacrifices’ given to ‘the God’. Then I just sat with the book closed and wondered what I had just read.

I went back and forth on whether I felt this deserved 4 or 5 stars (like my opinion matters LOL). What gives me doubt is the execution of the ending. As bulky of a book as THE SHARDS is, the writing was actually pretty easy to follow. It flowed frictionlessly from one page to the next. I didn’t even mind all the extraneous storylines because they flowed, and added flesh to the characters. However, the last few chapters ended in such an odd package of revelations and reveals that it almost seemed as if a different writer had tried to finish the story with Bret’s voice.

Now, I must also say, that after reading the book I did a lite Google search on Bret Easton Ellis, just to see what he’s up to today. Unsurprisingly, he seems to be exactly the man I’d expect him to be after growing up as a well-to-do SoCal private school kid (i.e., his book White, 2019). He has not escaped the haze of privilege and wealth, that tends to blind those with his upbringing, from the complex harsh multi-ethnic multi-cultural struggles of the world. I wasn’t disappointed though. Just confirmed. Only a privileged asshole could write so excellently about vanity, insecurity, and recreational pharmaceuticals. 

THE HAUNTING OF HILL HOUSE by SHIRLEY JACKSON (REVIEW)

quickly: a young woman is consumed by an old haunted house awakened by a professor studying the paranormal (a thirty-something going through the emotional crises of thirty-somethings / an eccentric outcast college professor / dank old mansions hidden in the woods / stoic caretakers who are almost as old as hill house / open doors closing, closed doors opening / the mind wandering to dark and strange places).

this is a short and quick gothic horror tale with a 60’s emotional sensibility. that said, it had the feeling that what shirley jackson really wanted to write about hill house had been censored or underwritten so as to not offend ‘the general public’. maybe it is almost 30 years of horror movie watching under my belt, but i just couldn’t find the thrill and suspense in this novel. i could see this being a nice sunday after church mystery read. but… i don’t go to church, and i was intrigued but not thrilled.

★ ★ ★

more thoughts: SPOILERS!

Some personal context… I just finished The Vanishing Half, a drama about a set of twins. As always, I was eager to get back into the mystery/thriller/horror genre. I’m venturing out, looking for new writers who can write with the heart and soul that real horror requires. So far, Andy Davidson’s The Boatman’s Daughter has been my favorite horror-thriller writer I’ve read this year. The Hollow Kind was good as well.

Shirley Jackson was on several ‘must read’ horror lists. This was my first Shirley Jackson book, and I’ve wanted to read it ever since seeing The Haunting of Hill House series produced by Netflix. Now… I had prepared myself for the book to be different from the movie… but sheesh! It is two pages and a plot twist away from being night and day.

The story begins with Eleanor, and she is the spotlight we follow through the dark tale of Hill House. We meet her as she is having some kind of ‘life moment’… stealing a car half owned by her sister and running off to participate in some supernatural experiment in a secluded house by an unknown doctor. She is desperate to get away and be a part of somewhere other than where she has been.

Eleanor arrives first at the multi-leveled, multi-roomed,  multi-gardened Hill House, greeted by the old caretakers, The Dudleys, who make it clear that they go nowhere near the house after sundown. The other members of this adventurous gang arrive shortly after: Dr. Montague, the paranormal expert; Theodore, who like Eleanor, was selected because of their past history of psychic/supernatural occurrences; and Luke, heir to Hill House.

Everyone is affected by Hill House’s impressively dark aura, and the disturbances begin immediately. Doors acting in their own accordance, strange nightmares and daydreams, and doors knocking at night. Eleanor is the most affected by Hill House, sometimes seeming to be totally entranced. 

Amidst the nightly disturbances, a strange love triangle develops between Eleanor, Theo, and Luke. Eleanor is whom we have the most background information about, and it is clear that her subconscious, Hill House, or whatever other dark force, is playing on the years worth of guilt and trauma of taking care of a dying mother. Any home away from home, including Hill House, will do.

The disturbances increase after Dr. Montegue’s wife, Mrs. Montegue, arrives with her sidekick Arthur. Their 19th-century style calls to the spirit realm, result in messages from the beyond, seemingly directed toward Eleanor, sending her psyche further into the depths of Hill House’s shadows.

After Eleanor sleepwalks up the rickety railing of the library in the tower, putting herself in danger, Dr. Montague sends Eleanor home. But… as foreshadowed at the beginning of the story, Hill House never lets its prey leave. In a state, not herself at the time, Elanore puts the pedal to the metal and floors it into a tree on her way off the property. It’s only at the last moment that she realizes she had not been herself at that something else had been acting for her.

I hoped to like this story much more than I did. I’ve heard so much about her writing, and seen so many of my other favorite horror writers cite her. It’s also obvious to see how Shirley Jackson’s story of Hill House has created many tropes that we see in horror today. I don't even have to list them... (though Rose Red is one that comes to mind immediately).

I understand the time period and style of writing, and that wasn’t what I disliked. I think it was just a level of detail and poetry that I had expected and did not receive. The writing has the feeling that Kid’s Bop has to regular music. Still catchy, and has a groove, but the voice is for a general audience, and the true spirit of the lyrics have been censored.

I CRIED watching The Haunting of Hill House on Netflix. I wish I had received even a quarter of that much emotion from this book. I’ll have to do some research on Shirley Jackson. I want to know more about the context of her work and its cultural impact. After, I also have “We Have Always Lived In The Castle”, which I am going to read soon.

A three for me for now, but I appreciate what it’s done for the culture of horror. I’m open to changing my mind on this one later though.

"I learned that being female is as prefab, thoughtless, soulless, and abjectly capitalist as a Big Mac. It’s not important that it’s real. It’s only important that it’s tasty."

A Certain Hunger || Chelsea G. Summers (2019)

A snippet from my current work in progress, The Ithaca Mandate.

Genre mix: Sci-Fi, WLW Romance, Psychological Thriller

Synopsis:

When Lieutenant Judith Quinn is jolted out of stasis by Commander Lyris to find their starship crippled and adrift, she’s dragged into a nightmare unlike any she’s ever known. But as they work to piece together what brought Ithaca to her knees and salvage what remains, Judith feels an unsettling shift in her Commander. The woman she once knew—once loved—is different, marked by the accident that drove them apart, burdened by the augmentations that keep her together, and driven by a desperation that feels frighteningly personal.

As the ship descends into ruin and old feelings transform into a lifeline, Judith must confront the disturbing realization that the real danger may lie not in the wreckage surrounding them, but in how much of herself she will abandon to reconnect with what matters the most.

catch me once, catch me twice

author:

Seedus

summary:

“Seems like it’s two different abilities. While Akutagawa is under the Mafia’s care and in a coma… Nakahara seems to have simply vanished. He’s nowhere to be found.” Dazai cracks the pen he was holding.

Chuuya Nakahara just turned twenty-four.

Except when he wakes up, he's seventeen.

Or: Yokohama is under attack and Dazai Osamu will become the Demon Prodigy again if it's what it takes to bring Chuuya back.

I have my main Final End of Term Exam Tomorrow...

Which movie/series should I watch to pass my time?