Uncanny Clowns for Fallen Angels: Darren Lynn Bousman and Terrance Zdunich’s The Devil’s Carnival: Episode 1

(Because I’d rather be safe than sorry with TRIGGER WARNINGS, this post contains a brief mention of suicide and some discussion of intimate partner violence. Also, while I tried to keep them to a minimum, there are some SPOILERS for The Devil’s Carnival: Episode 1.)

Yesterday, as a present to their loyal sinners (aka fans), Darren Lynn Bousman and Terrance Zdunich released a trailer for their second episode of The Devil’s Carnival, an independent film series based around devilishly delicious retellings of Aesop’s fables that inverts our common conceptions of Hell and Heaven.

You probably already know of Darren Lynn Bousman—he’s a director of the popular Saw franchise. Terrance Zdunich has done a little bit of everything, not limited to illustrating, writing, and acting. The two previously worked together on a rock opera, Repo!: The Genetic Opera, an excellent movie that didn’t receive nearly as much publicity as it deserves but that has found a cult following, anyway. (Seriously, Repo! is my favorite movie. I can probably recite the entire thing: Erherm. “The not-too-distance future. An epidemic of organ failures… Chaos! Out of the tragedy…”—Wait! I’m writing a blog post. Sorry.) This past year, to the delight of fans like myself, Bousman and Zdunich released their second collaboration, The Devil’s Carnival: Episode 1, which they publicized themselves by doing a road tour of the movie, shown in small theaters across the country. At the Q & A with Bousman and Zdunich in my city, they said that they wanted to make going to the movies fun again. They certainly did. The event featured not only the movie but also local performing acts, audience participation, and a costume contest. (And, you know, a chance to meet and shake hands with Bousman and Zdunich themselves! In person! A friend and I left the theater squee-ing. I’m sure we weren’t the only ones.) The experience was not unlike going to a shadowcast of The Rocky Horror Picture Show, except for the fact that Repo! and The Devil’s Carnival are genuinely good movies that can be enjoyed in a non-ironic way.

Of course, when I say that The Devil’s Carnival is a good movie, I think it’s a good movie that requires a certain peculiar disposition. It’s for the freaks, the geeks, the weird, and the imperfect. (Or, at least, those who proudly self-identify as any one of those things.) I’ve seen the film classified as horror, but I don’t know if I would call it that, exactly. It’s macabre. It’s dark. There’s blood. And suicide. It’s creepy. It’s morbid. It’s uncanny. It’s a little confusing. And there’s singing. Lots of singing. But it’s not the upbeat, catchy singing of popular musicals. It’s completely unlike anything I’ve ever seen, and with Hollywood recycling the same old franchises and plot lines in order to create blockbusters, the sheer novelty of The Devil’s Carnival can be, in itself, arresting. I find it disarming. The eeriness of the film followed me for a long time after I’d left the theater. What I mean is, this is a movie that, like Repo!,  challenges its audience to think, to mull over the story. It unsettles more than it satisfies, partly because it is the first in a series and so must leave its viewers wanting more. But its different-ness, its newness also demands contemplation. It turns familiar conventions on their heads and mashes together the whimsical and child-like with gore and the grotesque. Also, Lucifer, the devil, is the good guy. But he doesn’t exactly inspire the warm fuzzies that we tend to associate with “the good guys.” He’s harsh and he’s fair. I think he’s brilliant, but then, I’m a fan of devil-centric stories. Why? Because I’m a freak and a geek. I’m weird and I’m imperfect.

Despite its refreshing unusualness, The Devil’s Carnival is also very traditional. Its plotlines follow retellings of Aesop’s Fables, updated to apply to contemporary situations.  For all of its inversions, the film is essentially a morality tale. Don’t be greedy and selfish. Don’t trust others naively. Grieve, but then move on. I agree with these proverbs, but it’s the film’s portrayal of the second one that I find a bit unsettling, as the moral is applied to a teenager, Tamara, who, the audience is lead to believe, dies at the hands of her abusive boyfriend. On the one hand, the film could be read as blaming the victim—faulting Tamara for getting into a bad relationship in the first place, even though, at the start of the film, she appears to be trying to leave her abuser.

On the other hand, however, the film does treat the problem of intimate partner violence as serious, literally an issue of life and death, when it is too often dismissed not only by popular culture but also by policy makers. The Scorpion, Hell’s shadow of Tamara’s earthly amore, is not left blameless, though he also does not suffer nearly as much as Tamara does, at least not in the first episode of the series, anyway. The film also explores our culture’s perception of True Love, ultimately concluding that our ideals about love are just as dangerous and deceptive as they are sweet and coddling. I, personally, do believe that, to some extent, our culture’s perceptions of True Love probably contribute to the pressure that women feel to stay in abusive relationships, in addition to other social and psychological factors. Women are taught that we are not worthy unless we are loved, or appear to be loved, by someone else. We are also taught that a good and loving woman stands by her man, no matter what he does, even if he manipulates and hits her. We are taught that anything, even abuse, is worth True Love. None of this is true, of course, but it is perpetuated by our culture’s depictions of True Love. By challenging the concept of True Love, the film does, at least to some extent, grapple with a cultural element of intimate partner violence.

Ultimately, while the three human main characters, including Tamara, are punished for their flaws, at least part of the responsibility is thrown at the feet of God, who in the movie’s universe, is an unrealistic perfectionist, creating imperfect humans and then blaming them for their failings and barring them from Heaven. Were his creations always happy and care-free, the film suggests, God might approve of humans, but he can’t abide them as they are—flawed and surrounded by the troubles of the world. Lucifer, as the film portrays him, may be strict about his six hundred sixty-six rules, but at least he gives humans a chance to learn from their failings. He has “grace for cheap,” while Heaven offers nothing but indifference.

As I said, this is a film for the imperfect, for those who don’t fit in, and who have strange and macabre tastes in movies. In part, this cult appeal is due to the aesthetics of the movie, but I also think it has to do with the film’s depiction of Hell. In The Devil’s Carnival, Hell is for the flawed, the monstrous, and the imperfect. It’s a place where strange people—people who wouldn’t fit in Heaven and probably wouldn’t want to go there anyway—have a hope of finding their place. When I, dressed in a black corset, black gloves, and knee-high boots, went to the local showing of The Devil’s Carnival¸ I hardly stood out. There were people wearing all kinds of bizarre costumes and clothes, accented with outlandish make-up and multiple piercings and tattoos. We all looked awesome, but anywhere else, we would’ve looked freakish and probably received stares and disapproving looks. United by our love of Repo! and the work of Bousman and Zdunich, we fit right in with each other. Our difference became something to celebrate. What I like about The Devil’s Carnival, more than its delightful creepiness, is that, like a few other cult movies such as The Nightmare Before Christmas, it gives people like me a chance to get together and revel in our strangeness. Bousman and Zdunich didn’t just create a film—they’ve made an event, an experience, and a community of fans.

I have no predictions for the next episode in the series. I expect it will treat viewers to a more in-depth look at the universe that the first film established. I suspect there will be more fables. I’m quite sure that there will be more haunting songs. Whatever it brings, I’m very much looking forward to it.

Synergia: What Is Creative Writing? Part 1

(While I write a lot of critical essays, I also write creatively, mostly poetry and nonfiction. I thought I’d experiment with posting a creative  piece I’m currently working on.)

“It’s sort of like The Great Gatsby, isn’t it? Like Nick Carraway.”

“I’m sorry, sir?” I took a deep breath and tried not to fidgit. I had just presented my undergraduate capstone project, and after giving a dramatic reading of several of my creative nonfiction pieces, which were met with resounding applause from my classmates, my professors were grilling me about my work. If they liked my presentation and felt I answered their questions adequately, then I passed. But if something went wrong, I failed and the past three and half years of hard work to earn my creative writing degree were meaningless.

Dr. Truman ran one of his large, pink hands through his thin thatch of straw hair as he replied. “I mean, the point of view in your pieces. You’re on the outside, always watching everybody, never judging. You’re an observer.”

“Oh, well, yes, I guess so.” I searched for an response, one that would make me sound smart and literary and creative. Then an idea came to me. “But isn’t that our duty as writers—to observe the world around us?”

Fortunately, Dr. Smith came to my defense. “I think, Dr. Truman, if I could just interrupt briefly, that this project is unique because not only does it tell a story but it also attempts to bring critical theory into everyday life through examining life experiences with feminism and queer theory.”

With a new surge of confidence, I continued: “Thank you, Dr. Smith. Exactly! And as critical theorists, it’s also our duty to observe the world as well and point out trends and inequality where we see them.”

Dr. Smith smiled at me. I smiled back.

Dr. Truman nodded and stroked his double chin. “Yes, I think I see that.”

I held back a sigh of relief.

* * *

How does one write creative nonfiction when nothing seems to happen to one? In many of my stories, I find the events of my life building toward a sort of crescendo that never resolves. I almost get into a crazy romance or almost win the lottery, but then these dramatic scenarios never pan out or live up to their tumultuous potential. I’ve traveled, but throughout my journeys to China or England or Germany I’m usually so jet-lagged and so hell-bent on squeezing the most out of the few precious moments I have there that I’m in too much of a sleepy daze to write about my experiences. I also don’t find traveling to be greatly revelatory. I learn things about other cultures or places while I travel, but I rarely learn much about myself.

I’m also not funny, which is almost a prerequisite for being a successful creative nonfiction writer. Either you have to have overcome an addiction or some sort of abusive relationship or you have to be funny. If you have all three and a good agent, you can write a bestseller. Overcoming mental illness is good too, but like most of my experiences, my depression and anxiety have never made for a three part story arc. Instead of being like the lover you meet unexpectedly, spend years with, and finally leave and make peace with, my experiences with mental illness have been more like a day-to-day slog. They’re the lazy roommates that showed up one day and have never left, and I try to work around them as best I can. I expect this is most people’s experience with mental illness, but it doesn’t exactly make for a thrilling memoir, or else we’d all be on the bestseller lists.

What I do have, however, are dramatic, funny friends. And as a creative nonfiction writer, this is the next best thing to being dramatic and funny myself. My friends get into the crazy relationships, triumph against some horrible disease, or make amusing quips, and I go along for the ride. If I’m there when it happens, I figure it’s just as much my story. Right? So I change some names, make up a few details, invent some dialogue, and omit certain identifying particulars, and I have a meaningful, amusing story that I think people will find worth reading. I may only be a supporting character, but I still get to narrate from my own point of view.

It’s also much easier to bring order to someone else’s life than my own. In other people, I don’t see the self doubts, the neuroticism, or the apprehensions. I just see the final product, the front that we all put on to impress the rest of the world. I know it’s a front, but that doesn’t mean I’m not as duped by it as everyone else. I look at people on the bus and think that just because they’re wearing a suit or Gucci pumps they must have life all figured out. Most likely they’re looking at me and, despite my jeans and t-shirt, thinking the same thing. When other people relay their lives to me, I can pick out patterns or romanticize them. In my own life things just seem to happen at the whims of chaos, and I never quite know what I’m getting into until it’s already over. It’s easier to package other people’s lives into neat, tidy stories with a theme and a meaningful ending. My own life never seems to make sense.

Click here for Part 2.

With the Slightest Little Effort of His Ghost-Like Charms: Identity and the Appeal of Jack Skellington and The Nightmare before Christmas

The Florida sun shone off the pale yellow and pink pastels of the hotel walls. Samantha, Joe, [not their real names] and I sat on the curb while leaning against our luggage and instrument cases. Despite the brilliant, white sunshine and the heavy humidity, we were all dressed head to toe in black. The last hold-outs of the Goth craze of the early 2000s, we each sported thick, black eyeliner, black t-shirts, black jeans, and black boots. Samantha was also wearing a lacey, black tutu over her pants, which must have been warm but looked fetching on her petite frame.

Joe yawned. “When is the bus supposed to get here?”

I glanced at my watch. “About fifteen minutes ago.” We were on our way back to that conformist institution called high school from a marching band trip to Disney World. There we were misfits and band geeks, weird in our penchant for black nail polish and obscure music. But here on the curb, even in the brightness of the Florida sun, we fit in with each other, a black murder of crows amongst gaggles of white swans.

Samantha yawned too and pulled a pillow out of her backpack. It was white and round and covered in fleece, thick black yarn stitches slashed through the middle and two large black, familiar eyes stared up at us.

“Oooo! That’s awesome!” I squealed with delight.

“Jack! Jack! Give me Jack!” Joe shouted as soon as he saw the pillow. He snatched it from Samantha and hugged the plush face of Jack Skellington, Tim Burton’s anti-hero of The Nightmare before Christmas, that icon of angsty, Goth high schoolers and Hot Topic posers.

“Give it back!” Samantha whined. She reached for the pillow and then playfully slapped Joe when he held it out of her reach.

“Hey!” he barked and then grudgingly returned the cushion.

“My Jack!” Samantha said, holding it against her chest, over her heart.

* * *

What is it about Jack Skellington, about Nightmare before Christmas, that so appeals to teenagers, especially those who take to wearing black and listening to heavy metal or alternative rock music alone in their rooms? It’s been almost twenty years since the movie came out, and yet I still see that cartoon skeleton face nearly everywhere—usually in malls and usually around Halloween and Christmas. Many children’s movies have not been nearly as resilient and many of them certainly haven’t appealed so heavily to the teen market. Even more haven’t stuck with me personally, but Nightmare before Christmas has. Even in my twenties, I have a Jack Skellington poster in my apartment. I own a Jack Skellington tote bag. I even decorate my Christmas tree with Nightmare decorations and two of my favorite t-shirts feature screen-prints of Jack and Sally. What about this quirky movie keeps it coming back every Christmas? Why are teenagers, some probably born after the movie came out, still drawn to Jack’s eerie smile? And why can’t I, even after I’ve long left Santa Claus and the Easter Bunny behind, give up on Jack Skellington?

For those of you who missed out on Tim Burton’s dark fairy tale, I’ll give you a summary: The premise of The Nightmare before Christmas is that each major holiday—Halloween, Christmas, Easter, Thanksgiving—is created in a magical town. Halloween, naturally, is created in Halloween Town, a village made up of twisted castles and crumbing walls and inhabited by vampires, an evil scientist, werewolves, and a whole host of other ghouls and goblins. Despite their macabre appearance, the inhabitants of Halloween Town are friendly, helpful folk. They just have an aesthetic that inverts our own. Skulls and rotting hands are beautiful while snowflakes and Christmas trees are ugly. While Halloween Town is officially run by a mayor, the real boss in town is the local celebrity, Jack Skellington the Pumpkin King, the scariest monster in the world. Jack, seemingly, has it all—a castle home, good friends, and adoring fans. But he’s bored. He feels stuck in a rut, doing the same thing year after year. So one night, after the town’s usual Halloween festivities, he takes a walk through an enchanted forest and finds the magic doors to the other holiday towns. He stumbles into Christmas Town, inhabited by efficient and ever-smiling elves and, of course, Santa Claus, and is amazed. He decides to bring the joy of Christmas to Halloween Town, but the fiends and phantoms just can’t wrap their heads around the concept of Christmas. So Jack modifies the holiday into a morbid parody of Yuletide. The well-meaning but misguided residents of Halloween Town decide to bring their version of Christmas to the world, so they kidnap Santa Claus and Jack takes off in a coffin-shaped sleigh pulled by eight skeleton reindeer to deliver presents of dead rats and giant snakes (all wrapped in black paper and topped with festive black bows) to terrified little girls and boys. The National Guard eventually shoots down Jack’s sleigh, and he realizes that he’s made a terrible mistake. He isn’t meant to be Santa Claus—he’s the Pumpkin King, destined to give people a good scare on Halloween! He rushes back to Halloween Town and sets Santa Claus free. Christmas is restored to its usual cheeriness, and Jack has a renewed sense of who he’s meant to be and what his purpose is. He goes back to his patch of jack-o’-lanterns and his town full of ghosts, knowing that that is where he belongs.

To really understand the appeal of this movie to a certain subset of people, especially teenaged people, I think it’s worth comparing Halloween and Christmas in our culture. Halloween is a dark holiday, a holiday to playfully face our fears and find out that they maybe aren’t that scary. It’s also a holiday to explore our identities. We try on new clothes, new costumes, and new personas. It’s a time when it’s socially acceptable for “good girls” to look promiscuous, normally polite and well-mannered children can indulge their love of sweets, and teenagers and college students can pull pranks across the neighborhood. Halloween is about celebrating the Others of our culture, whether those others are the scary misfits, creepy monsters, or our own secret fears and identities. Christmas, conversely, is a holiday that invokes and virtues of generosity and good will. It’s about spending time with family, eating good food, giving and receiving presents, and basking in the warmth of companionship in the depths of winter. It’s a holiday upon which we’re supposed to be jolly. If Halloween is about facing the parts of ourselves we usually keep hidden, Christmas is about putting on a front of our happiest, most idealized selves.

But what if your idealized self isn’t what your family or your culture tell you you’re supposed to idealize? Or what if you just can’t stand pretending to be cheerful when you really feel anxious and sad? Or what if you just want to be honest about those dark, hidden parts of yourself that you’re told you’re supposed to keep secret? As a teenager, I felt like that, and I know I’m not the only one. In high school, I watched the popular girls cake on the newest eye shadows and mascaras featured in Vogue.  I overheard them talk about the latest diets and weight loss regimes mentioned in Cosmo. I saw them sashay into class wearing designer jeans sported by major actresses. And they were smiling, always smiling! They told the teachers what they wanted to hear and they told their boyfriends what they wanted to hear. To me, it all seemed so fake, like they were wearing a mask, a costume.

With my black clothes and eyeliner, I was wearing a costume too, but at least I felt that my costume was of my own making. I wore it to please myself and no one else. I was, in my own eyes, a rebel. Instead of designer clothes, I wore thrifted outfits. Instead of memorizing the lyrics to the latest pop songs, I memorized the poetry of Emily Dickinson and Edgar Allan Poe. My friends and I flaunted our difference. We felt sad inside, so we wore our sadness outside. We felt like the world of popular, pretty people had rejected us, so we rejected the world of the popular, pretty people. What they thought was ugly was beautiful to us, and we found beauty in the dark, secret places that everyone told us were ugly.

Of course, a great deal of this rebellion was, at least on my part, based in jealousy. I’d be willing to bet that a lot of other teenagers also harbor a similar resentment to the popular people, the pretty people, the people-pleasing people. For whatever reason, they seemed to have what we didn’t, whether it was in conventionally attractive looks, better social skills, or just the stamina to repress what they were really thinking and mold themselves into whatever they needed to be in a given situation. Other people liked them. Looking back now, I realize that these popular kids probably felt as sad and lost as I did. They were just better at throwing up a front of confidence. They faked it till they made it. I, for a variety of reasons—depression, anxiety, and probably just plain stubbornness—couldn’t do that. So I proudly wore my difference in fishnets and Converse while a tiny part of me wished that I could be pretty and popular. Like Jack Skellington, I fit well in ghastly, gruesome settings, but sometimes I grew weary of being a misfit, an outsider, a monster.

As I mentioned, I’m sure I wasn’t the only teenager to feel this way. High school is indeed a strange period in life. You have a child’s impulsiveness but you’re morphing into an adult’s body. You’re being given adult responsibilities—driving, getting your first job, considering college or trade school or the military—but you still live with your parents and are expected to obey their rules. You’re starting to form your own opinions about important topics like politics and religion but you still giggle when somebody accidentally farts or burps in class. You’re told that these are the best years of your life, but you spend a lot of time feeling stressed out about classes and directionless when you think of your future. If I may over-simplify: in a sense, high school is full of a bunch of people who haven’t quite figured out yet who they are. So some of them learn to pretend that they’ve figured it all out, while others learn to revel in their awkwardness. The pretenders are like Christmas. They seem cheerful and virtuous and get their validation from pleasing the people around them and fitting in. The revelers are like Halloween. They try on a bunch of different personas, usually personas that invert cultural norms and values. They get their validation from shocking people, from defining themselves as outsiders.

And this brings me back to the appeal of The Nightmare before Christmas and its protagonist, Jack Skellington. Jack, like so many teenagers, including my friends and me, is a monster, an outsider, a misfit. He’s a celebrity on Halloween and in Halloween Town, but to the rest of the world, and certainly in a cheery place like Christmas Town, he’s a creepy skeleton, a symbol of death and darkness. Also like my friends and I, and many other teenagers, Jack enjoys his difference. It makes him special. And while it might scare normal people, his difference is what makes his friends adore him. But difference can still be lonely and tiring, and like Jack, sometimes a lot of us outsiders just want to be normal and happy, like everyone else. So Jack does, for a little while, become like everyone else. In a place where Halloween is normal, Christmas becomes like Halloween—a chance for Jack to try out other, hidden parts of his identity. Instead of being macabre, he gets to be jolly. But instead of transforming Jack from a beast to a prince, as so many fairy tales do, The Nightmare before Christmas affirms Jack’s difference. It makes him realize that he is a monster and that being a monster is, for him, a good thing. Watching Jack’s transformation into Santa Claus and then back into the Pumpkin King allowed me, and I suspect still allows a lot of teenagers, to feel affirmed in our own weirdness. We might want to be like the always happy elves or always happy popular people, but we, like Jack, knew that that wasn’t who we really were.

Of course, we’re all different from everyone else in some way, but high school is a time when many people feel pressured to put on a front of happiness and conformity. And a lot of people, like my teenage self, feel uncomfortable with that front. While we’re often told that we’re just going through a phase or we’ll grow out of our discomfort, some of us build out identities on our rebellion, our difference. We don’t want to give it up. We don’t want to be told that we’ll blossom into princes or princesses, even though we might be frogs now. The Nightmare before Christmas is a fairy tale that says otherwise. It tells us that even if we try to be what everyone else wants and expects, that’s not who we are and we probably won’t succeed in our façade. Like Jack, we’re outsiders and monsters. But also like Jack, we can enjoy our difference. We can use it to find a sense of purpose and meaningfulness. We might be monsters, but that’s okay.

* * *

In many ways, I’ve come a long way from that girl draped in black and sitting on a curb in Florida. Eventually in college I learned how to put on an act of confidence, and I’ve played that part long enough now that most of the time I can convince myself it’s not just a role. I’ve figured out how to balance my black humor and sarcasm, which make me happy, with a smiling disposition and cheerful demeanor, which make other people happy and usually make me happy too. I’ve mostly moved past my anxiety and depression and stubbornness, though they still haunt me from time to time. Though most of my wardrobe still consists of black clothes, I’ve also branched out into blue and red and green and even orange and purple. I’ve cut back on the eyeliner considerably, and I only bring out the fishnets and boots on special occasions (like Halloween!). A lot of people would tell me that I’ve grown up.

In other ways, however, I’m still not so different from that high school girl I used to be. As a newly minted graduate in a poor economy, I often look at my up-and-coming friends and feel plagued with self-doubt. In their photos on Facebook, they’re all smiling, and their status updates chronicle their successes in jobs and relationships. Of course, I rejoice at their victories in finding jobs and starting careers when the economic climate is so set against them. In one sense, their success gives me hope. But another part of me, unemployed and single, feels as though I’m stuck in a rut in my hometown. My twenties, I’m finding, are still an awful lot like my teenage years, especially in regards to being faced with new adult responsibilities while still feeling childish. I’m finding that a direction and a purpose in life do not come along with a diploma and a degree.

So, much like my teenage self, I still squeal with delight when I see the softball-like face of Jack Skellington grinning at me from the window of The Disney Store or Hot Topic. He reminds me that feeling like an outsider doesn’t have to be lonely or isolating. I can enjoy my monstrosity and play with my identity. Every day can be Halloween, in which I try on different personas, different aspects of myself, until I find one that I like and that fits. In fact, being different can lead me to a renewed sense of purpose of help me find my own meaning in life. I may not know what that is yet, but like Jack, after comparing myself to the conventionally attractive and happy people, I might just decide that it’s better to be a monster after all.