I Want Out of This Party: Erik C. Bloomquist’s Ten Minutes to Midnight

It is well past midnight right now, as I’m writing this post. I have a lot to think about, but I’m not in New Orleans, and this isn’t about Concrete Blonde’s “Bloodletting” or “The Vampire Song”: both fitting enough titles in and of themselves. Instead, I found myself this weekend — tired and emotionally raw — watching Erik C. Bloomquist’s Ten Minutes to Midnight.

I had this friend, once, that I used to talk with all the time: right about now into the wee hours of the morning, and beyond that. She used to say, with regards to her friends, our loved ones, and to us that we are voices in the darkness. She told me that I was a voice in the darkness: someone to speak with when everything seemed painful, terrifying, and hopeless. For thirty years at the small-town WLST radio station in which she’s been a radio disc jockey, Amy Marlowe, played by the beautiful veteran actress Caroline Williams, has been that voice: that person who took questions live on the air, and made connections with people.

Or at least, she tried.

I’ll admit that I almost misled myself coming into this film. Kreepazoid Kelly sent me a link to a Live Tweeting and Watch Party of the movie, and I fully intended on attending it but I missed the event. Luckily, I found the film and watched it. And, really, it couldn’t have come at a better time in this horror student’s opinion.

And I didn’t go to Berkley, unlike the character of Sienna whom Amy’s predatory boss, Bob, has hired to pretty much phase her out and replace her, though I suspect no one particularly just how much a “rabid bat bite” would change everything going in. That’s right. I read a description, before watching the movie, that Amy gets bitten by a rabies-infected bat, and she transforms into something. It seemed so ridiculous, and arbitrary. Even comical.

This impression didn’t last long as Amy comes in, from the storm, her neck injured pretty badly, but grimly determined to continue the job she earned years ago: to try to make a difference. But she’s tired, and cranky, and underneath all of that you can see that she’s scared: that she doesn’t really know why she’s doing this anymore, or why she’s going through the motions, or how it really all came to this.

I reviewed another vampire film, Bliss, before this movie. But unlike Bliss, where the vampire is part of the extended metaphor but almost incidental to the true beast of that narrative, the symbol of the vampire is front and centre with an almost Cabinet of Dr. Caligari surrealism, minus the non-Euclidean Expressionist geometry going nowhere. Inside, it is reality that doesn’t make sense anymore, with characters saying things that could be attributed to them complete with hallucinations and snippets of time out of space, or thoughts made visually manifest, and it’s Amy’s life that seems to be going nowhere.

The vampire, in this film, is Amy. Like Bram Stoker’s Dracula, there is is a part of her that is still holding onto her past — her humanity — but it is quickly becoming distant. There are so many vampire references in this film to the point of punsmanship. The security guard Ernie seems to keep sharpening a stake through woodworking. Aaron, Amy’s technical assistant and friend who idealizes her, gives her a red lollipop. And after she attacks, and seems to bite Sienna out of rage, she is in the washroom sucking on a used tampon: as though attempting to hold onto the youth she wasted in this establishment, the thinnest thread to her humanity, to the ideal of femininity and feminine beauty in a male-dominated establishment that drained her and spit her out, and also something defiant against that very thing that wants her to act all prim and proper against one final humiliation.

It isn’t so much the bite that changes Amy, I feel. It’s the slow realization, or the thought — as the details around her are dependent on her deteriorating perception — that everyone, and everything has betrayed her. Bob, who did not age well in thirty years from when he was a slick handsome man impressing a much younger Amy to a balding, grinning slimy ghoul more than a vampire, constantly has female interns in, and one more. Aaron doesn’t tell her about the fact that his high school friend Sienna is replacing her by Bob’s order. Sienna herself, seemingly innocent, knows or thinks she knows the game, and insults the woman she is supposed to replace.

Amy’s reality untethers, and we come along with her on the ride. We don’t know what’s real anymore, and what is in her head. It’s like experiencing a vampire’s perspective from Clan Malkavian — a bloodline of seers and madness from White Wolf’s World of Darkness — in that some events are even out of sequence. But the images are clear. The gaslighting is real as her coworkers seem to ignore, or not see her pain in her forced retirement, and Bob tries to make her think that her attack is all her fault, as Sienna calls her “crazy.” And you see a glimpse of the young woman Amy used to be, idealistic and vivid and kind, as Bob seduces her with his power position, and then uses her: and this is before we even see Amy looking physically younger, and it’s only towards the end that there is one moment of that: and then it’s gone.

I think there are a few images that stand out at me. The juxtaposition of the different characters in different roles shows Amy’s human mind degrading, with both hopes of what could have been, and resentment. Ernie sharpening the stake every time she sees him, is something of an inevitability. Even going off to see the sunrise has the connotation of going off into the sunset, but for a vampire we all know what means. Amy starts to see Sienna as the vampire monster usurping her, after she bites her: this creature that is both disfigured — and yet not on the surface ugly — who even in one iteration of the cinematic narrative wounds Bob: her new boss that she claims she can move on from to pursue greater dreams. This twisted Sienna probably never existed, but represents the deformed version of the ideal young and pretty, and internalized misogynist woman that Amy despises because of Sienna herself, but also because she can still see that in herself. And when she kills Sienna, she is really destroying the part of herself that at the time she thinks is separate from her, as she embraces the blood-splattered beautiful beast that she once feared, that she tried to suppress, the anger she tried to control, but has now become.

But the red phone scene, more than the ominous “For she’s a jolly good fellow” celebration at the end with the coffin, is the most heartbreaking. We see Amy lose her cool, completely, as Sienna is supposed to sit in to learn the ropes, and she uses the show she once loved to attack both the callers, and Sienna, and the radio station she’s worked at for ages. Yet the red phone — there is always red in this movie — stands out to me because I believe the voice on the other line thanking Amy for being there for her for so many years, and wanting to be her is, in fact, Amy. It’s Amy’s voice in the darkness that she’s always wanted. It’s what she was to other people. It’s what she perverted towards the end out of bitterness for what was done to her.

It is, really, the last of Amy’s humanity thanking her for being her.

I think it’s pretty safe to say I sympathized with Amy throughout the entire film. There are other aspects that might not have happened, or occurred the way they did, but it honestly doesn’t even matter. Amy ends the film, more or less, wondering if she actually did touch other people, ten minutes to midnight, three hours before the Hour of the Wolf, but so close to the end of one day and the beginning of another that she has no idea will even occur, or if she will ever see it. She also wonders if anyone is really who they say they are, or seemed to be: including herself.

It is a powerful film to consider, and made stronger because of Caroline Williams’ fierce, distinguished passion as Amy. It could have been a different film entirely. It could have been silly, like the strange descriptive summary I read with a zany vengeance-caper of blood and gore. We could have seen Aaron, who all but worshiped Amy, be the vampire that immortalizes her because he wants to preserve her beauty and keep him with her — doing what she is doing — forever. Hell, Ernie and Bob are nice red herrings — damn red again — because it almost seemed like they purposefully knew what she was, and that Bob turned into a vampire years ago as she “hasn’t seen sunlight in a while” because of the nightshift, and Ernie could easily have been a vampire hunter, or a thug to kill her by Bob after she is done.

We could have easily watched Amy slaughter everyone as a mindless revenant, or infect everybody with a zombie vampirism. But this film stuck to its principles: of a woman who defied misogyny, who had been humiliated by it, who had been seduced, subjected to grossness and disrespect, and whose mind is shaped by the forces of constant stress, gaslighting, and heartbreak but still rages into that good night, leaving a mess rivalling that of the insides of a red velvet food cake that I don’t think she ever got that chance to eat.

Instead, we see her at a party filled with people she thought she knew but never did, with others she’s never seen before, presenting her with presents of frozen time, and a vial of blood, and a coffin. And, as weird as this might sound, I feel like this film is more of a tragedy than a horror movie. Because even as she’s afraid, Amy wonders if anything she did mattered, despite her visceral defiance against the inevitable, she just wants this senseless party to end.

Perhaps sunrise will mark the aftermath of one story and the start of another.

A Visceral Response to Lifers: Horror Fan For Life

I wrote another version of this, but like many films — horror or otherwise — I feel like I lost the plot. I tried to be too clever about it, which is something I’ve been accusing other creators, in other media, of being. But this isn’t something to try to be smart about. It’s something I wish I can say directly, and as clearly as possible. It’s how someone else’s story — and the experiences of others — hit me under the umbrella of the horror genre.

A few months ago, about a month into life beginning to stand still thanks to the Pandemic, KreepazoidKelly: a makeup artist, model, interviewer, and general good will and ambassador for horror media and the community mentioned that there is an article about her in Fangoria Magazine. At the time, I thought she had written something for Fangoria, but it is a piece created by the writer and actress BJ Colangelo from many of their interactions about KreepazoidKelly — or Kelly Barlow — an ultimate horror fanatic: a “lifer.”

BJ Colangelo’s article about Kelly, titled “Lifers: Horror Fan For Life,” can be found in Fangoria Vol. 2, Issue 7. It talks about her life, her influences, her achievements, and her struggles with brain cancer and its associated maladies, along with the emotional toll its taken on her, while at the same time relating it all back to their mutual love of horror. Both Colangelo and Kelly are cancer survivors as well as horror fanatics, and I can’t and won’t speak for their experiences, but there are two things in the article that really hit home for me: that stabbed me in the gut.

Before I go into that, there is a way that Colangelo frames her entire article that really appeals to me, because it’s something we all do: not just in the horror fandom, but in all geek circles. Interspersed throughout her writing is an ongoing, short form dialogue with Kelly comparing and contrasting different horror characters, and asking for her favourite films and moments, and why. It’s something I actually want to engage with on my own, because as I read it, some of my own answers came to mind as I imagine they did with a lot of Fangoria readers.

Quick! Without thinking! Who would win in a chainsaw fight, Leatherface or Ash, and why?

Colangelo explains why they do this, and I can understand it as well. For Kelly, and others like her, it is a way to distract from the constant of daily pain. It is the reason why someone with chronic and/or terminal illnesses — or someone associated with them, someone knowing or watching someone they love go through them — can enjoy, and even embrace, horror. It’s better than dwelling on it, or being overwhelmed by the despair of that helplessness, of not being able to do anything about the inevitable beyond simply continuing to fight, to exist, to keep engaging, and going on for as long as you can.

Kind of like I will be in this article.” I will tell you. “Because as of this writing I haven’t seen Chainsaw Massacre yet, but while I know Ash from Evil Dead is far more intimate with his chainsaw out of necessity, Leatherface’s is his love, and I will have to go with Kelly on that answer because, seriously? Ash can barely focus on the things that matter. Like, you know, that mystical spell that comes from The Day The Earth Stood Still? Klaatu barada, um … oh damn. I’ve lost my train of thought, and I’m dead now. Because Leatherface.

Kelly is someone who, with the chainsaw of her beloved genre, could eviscerate a person like myself who lost something, and tries to fill that void with the remnant of what came before that loss, literally and metaphorically opening me up to realization that there is still so much left to feel, and discover. She has done enough horror makeup to know how to make it look like her insides are on her outsides, and taking what is inside of her and projecting it externally: expressing it, accepting it.

Quick! Without thinking! Friday the 13th, or Halloween and why?

I’m terrible at not-thinking. Grief makes it even worse. I’m at a loss. I am only starting my journey in horror with fans around me, while Kelly, and Colangelo, and others have been in it for ages. I know, as I write this, I am putting myself into the conversation — not just between the two of them, but between the dialogue that has been happening with so many people in the horror fandom and the industry for years. Even so, it tugs at the corners of my blackened, twisted heart.

“I’ve barely seen either horror series.” I admit to you all. “But while I love Halloween because it’s how I truly found and interacted with the Drive-In Mutant Fam for the first time with my story prompt, Friday The Thirteenth makes more sense to me because Jason Voorhees is dead, and even though that isn’t always true in continuity, it makes more sense that he has supernatural powers and can survive anything compared to what should be a simple lunatic like Michael Myers. 

It affects me, because I know I might not ever be able to have this conversation, because I wish I could. I’d seen Kelly in passing on Twitter ages ago through mutual horror followers, talking about her illness, receiving support from so many people whose lives she touched, or who just heard her like I had. I also left my support. It wasn’t until a little while ago that I’d seen her post again, and after some interaction we added each other on social media. I began to look at her interactions with others, fans and creators, and her own Live-Tweets during The Last Drive-In on Shudder. What I saw — which Colangelo also states in her article — is someone who promotes both mainstream industrial and independent horror productions and works, a person who attempts to keep engaging with a community: a truly beautiful being, inside and out.

In her article, Colangelo mentions how in October of 2019 Kelly found out that her cancer is terminal.

Quick! Without thinking! If you could keep any horror monster as a pet, who would you keep, and why?

I’ve been thinking about how I wish I could talk with her. I know that Kelly has many people leaving her well-wishes and even in a best case scenario, being well-rested, and comfortable she can’t get to us all. A major part of me, after everything, wishes I found her before now, even wishes I’d gone further into horror more than a year ago. But it’s not just because of Kelly.

I mentioned, earlier, how there are two elements in Colangelo’s article that stood out at me, that stabbed me directly, and went for the killing blow. One of these things, was dealing with the question of why someone who was dying or suffering from a serious chronic illness would still want to surround themselves with horror. Colangelo seems to state that horror can take the terror someone is feeling toward their own sense of mortality and put it on the outside, allowing it to be faced tangibly. Perhaps there is also the catharsis of it, the purging of all those volatile emotions and fears into something resembling meaning against the backdrop of the senseless and unfairness of a chaotic and arbitrary world.

And then BJ Colangelo, while listing the wide array of Kelly’s ailments related to her cancer, mentioned scleroderma.

I would also choose Bob from Creepshow‘s ‘The Finger.'” I admit to all of you, my face bowed down. “He’s a mess and he kills massive amounts of people. But he’s loyal. You never doubt his love for you. Ever. He would be the best pet ever. I wonder if you could order him to kill a nation, or an entire world for you. But I think I already know the answer to that. Such a large love from such a small, beloved, monstrosity.”

My former partner, Kaarina Wilson, had been sick for a long time. She passed away in April, from complications due to various auto-immune disorders: including, primarily, scleroderma.

Going into our relationship, I knew Kaarina had been an advocate for auto-immune awareness. She led workshops, went into marathons to raise money for treatments and education, and throughout all that agony she would present herself and attempt to help others. Horror, to her, was what she was experiencing, what she was feeling from the that place of the inside turned out. When she experienced the horror genre, when she engaged in it, it allowed her to glorify that part of her mortality: to accept it. And while I can’t speak for for her or Kelly, or anyone, I’ve always gotten the idea that horror — in illustrating terrifying death — shows the vitality and voraciousness of that need to live: to truly do something, to be something, with whatever you have left.

I remember when I spent more time with her, Kaarina would look down at her finger. Scleroderma hardens and tightens parts of the skin, and bodily connections. It often has other illnesses like Raynaud’s associated with it that affect circulation. It got bad. Often, she would say that she would lose that finger.

She never did.

For me, horror isn’t so much dealing with the prospect of my own mortality, even during the current Pandemic, but processing grief, and that sense of a loss of time. That melancholy has always been there in me, and I imagine in a lot of other people — fans or otherwise — but my focus on the genre at this time, with my own interest in story and the darkness of the world, is something driven by my own sense of pain and loss, in an attempt to give me some meaning — and to reach out to others — in an extremely lonely time.

It’s why I began interacting more with the Mutant Fam, and participating in the Last Drive-In. And, in so doing, creating this Blog, then finding Kelly again, reading the Fangoria article about her, and writing this entire response. It comes full circle, like the limited spheres of social interaction we are supposed to have now in this time of the Pandemic, the bubbles we are supposed to isolate within to prevent the spread of disease, like the repeating psychodramas of things inside our heads that are hard to ignore during this time of trauma we are only beginning to know that others have been living with far longer than ourselves.

I am taking the bad, and the ugly in me and putting it out there, and projecting it. I know that. I think everyone of us in horror at some point or another does something like this. I don’t know when it will stop. I don’t know if it ever will. It’s like, I am writing for two instead of one. I am reaching out into the darkness to find a light that is similar to my own. To capture what is lost. To hold onto someone or something that won’t always be there, and should never be taken for granted.

Quick. Without thinking. If you could only watch one more horror movie before the end of your life, what would you watch and why?

Once, that would have taken me forever to answer. But I would choose Justin Benson and Aaron Moorhead’s The Endless, because every reality and every life is a cycle, and they be both beautiful and horrific, and sometimes the most heartrending beauty is that moment when you have to say goodbye and let go — to abandon the familiar cycle of desperate nostalgia and fear, and embrace the terrifying, yet exhilarating vista of the unknown.

Like I’ve said before, and especially now on this Blog: I am no Doctor. I am just a student of horror. And KreepazoidKelly — Kelly — if you are reading this:

Quick. Without thinking. What is a piece of horror, literary or cinematic, fictional or no, that really hit you where it hurts? And why?