More
Freaky Good in Friday the 13th The Series Season Two
by
Kristin Battestella
The
1988-89 Second Season of Friday the 13th The Series boasts
twenty-six more episodes featuring antiquing cousins Micki
Foster (Robey) and Ryan Dallion (John D. LeMay) alongside occult
expert Jack Marshak (Chris Wiggins) as they face increasingly scary
retributions in their ongoing quest to retrieve the evil objects sold
from the Curious Goods store
by the late Lewis Vendredi (R.G. Armstrong).
The
snakes, violent patients, and rowdy mental wards escalate in “And
Now the News” as one greedy doctor uses an innocuous looking old
time radio to scare patients to death and pin the rising fatalities
on those in the way of her medical glory. Retro hospital greens and
white uniforms add to the paranoia, analysis in fear, and suspicious
research for a warped dose of self-fulfilling prophecy. Sure there's
electroshock therapy, but our collectors have become a little more
professional, making an appointment, handing out business cards, and
explaining how they buy back antiques for their shop – if not why.
Grave diggers and thunderstorms accent the robes, chanting, torches,
and rituals of “Tails I Live, Heads You Die” while one handy gold
piece raises decomposing bodies from the dead. Black masses and
alchemy history hit home the occult danger and gruesome horror movie
atmosphere for our bold team as backward prayers and coin tosses
determine one's fate. Granted, the concert with a ghoulish monster
below in “Symphony in B#” immediately screams Phantom
of the Opera knockoff.
However,
the masked, mostly hidden and morose villain matches the well-edited
suspense, and the cursed violin music creates a melancholy theater
mood as doubts about a lovely violinist luring Ryan put him and Micki
on opposite sides of the case. More behind the scenes strife,
jealousy, and temperamental stars make for a fun picture within a
picture in “Master of
Disguise.” Curious Goods rents their non-cursed décor on set, and
the dolly zooms, soft focus, and back glows play with the movie
making charm while a handsome actor with a sinister make up kit is
desperate for fresh blood. Gossip rags, lookalike costumes, toasters
in the bathtub – the Chaney 'Man of a Thousand Faces' and William
'Karloff' Pratt references wink at the steamy smoke and mirrors and
life imitating art. Only on Friday
the 13th could
one drop studio lights on an extra's head and bludgeon an actress
with her own award.
“Wax
Magic” pulls out all the Freaks meets
House of Wax eighties carnival stops with Gravitron and
music montages updating the familiar horror themes for this boys
night out including eerie effigies, Lizzie Borden weapons, and
murderous handkerchiefs. The sculptures hide warped love, magic
tricks, and some good old fashioned
murder, but it's nothing a little fire and icky good melting special
effects can't fix. Ventriloquist dummies in horror are always
suspect, and this one takes on a sassy little life of his own for
“Read My Lips” by getting too fresh with his handler's
fiancee and driving him to murder and madness just to keep their act
in the spotlight. Talk about biting the hand that feeds you! Is it
the dummy itself – there's no such doll in the Curious Goods
manifest – or killer clothing used to reanimate something
monstrous? Naturally there is some bemusing dummy violence with heads
in the freezer and puns to match – “Death is easy, it's comedy
that's hard” – but while some delight in their cursed objects,
most are destroyed by them indeed. Elaborate bee boxes, swarming
visuals, and buzzing audio lead to rural honey stands, proprietary
blends, and killer insects in “The Sweetest Sting.” Although this
perhaps isn't an unusual plot – and the real thing is frightful
enough to many – the youth elixirs come with elaborate elevator
deaths and fatal farm equipment mishaps. The abusive home of two
destitute children, unfortunately, is just as bad as the deceptive
allure of the titular Victorian charmer in “The Playhouse.”
Ominous facades and warped fun house visuals answer the desperate
necessities of the tender young players, making this curse a not so
cut and dry reluctance with true to life horrors, abductions, and
inept investigations. Will the police believe the evil truth? How's
that big, indestructible playhouse going to fit in the Curious Goods
vault anyway?
Confederate
letters, battlefield hospitals, and a greasy doctor who's really a
contemporary collector stealing Civil War artifacts anchor “Eye of
Death” as an evil lantern's three hour visits to the past creates
some greedy antiquing competition. Rather than black and white, this
episode has a gritty wartime and old photograph patina to match the
captured moment in time and the power trip it provides. Instead of
being an episode any series can do, Friday the 13th shows
its unique investigations and eerie artifacts with the well done
history and horrors here. Likewise, “Face of Evil” returns
to the killer compact of last season's “Vanity's Mirror,”
although enough is happening with models fearing wrinkles and has
been status without the flashbacks to the previous episode. The team
races to stop the photo shoot disasters and on set accidents while
addressing our ageism obsessions, for a few lines and second best
won't do. Of course, there's nothing a wicked syringe can't solve in
“Better Off Dead.” Classical music irony accents the science
abominations, brain fluids, and creepy transfusions for the AIDS era
while a wild tumble down the staircase, shocking car accident, and
freaky experiments threaten Micki and company with twisted serial
killer medicine and Jack the Ripper tools. Along
with winking clips from The Wolf Man, “Scarlet
Cinema” provides more film within
a film scares, school lectures, youth escapism, and old fashioned
projector glows. The mockery of nerdy students and onscreen
lycanthropy debate early film superiority and underrated horror film
milestones while addressing the blatant rip offs and copycatting
homages even as the episode does the same thing. Although the emo
student can be annoying, and maybe Friday the 13th does
rely too much on the archival footage, the vintage cameras,
gray-scale touches, and retro framing techniques reveal the killer
wolfy in a bemusing be careful for what you wish for turnabout. Plus
that silver nitrate film comes in handy!
Swanky
jazz, hot dames, risque kills, and then steamy near nudity spice up
“Mesmer's Bauble” alongside the late singer Vanity, a music
montage or two, and wow look at that record store! A lucky charm
making an obsessive fan's dreams comes true isn't all that different
from today's star worship in new mediums coughtumblrcough, but being
a talented artist and selling a lot of records are not necessarily
the same thing – except to the number one fan who's not like all
those other crazies. Screaming crowds knock each other over to be one
step nearer, and our trinket inches toward Single White Female in
her skin insanity. Buenos Aires crimes, passions, and a rare snow
globe also spell trouble for “Wedding In Black.” The devil
is pissed that Curious Goods is collecting his tricks, and a
disembodied voice, hellish scenery, and inside or outside the snow
globe twists escalate the vengeance. Although this episode has an
unusual format, it might have been neat to see this evil rival trio
out to undo our team more often, and it's superb to see a
cast-centric hour dealing with the consequences of their collecting
complete with rapacious revenge and what you don't see worse. The
eighties modern interpretative dance and off the shoulder Fame get
ups in “The Maestro” won't be for everyone. However, the
ballet scenes are lovely – if fatal as this eponymous choreographer
drives his talented but imperfect subjects to risk life and limb with
music from an old symphonia. Is sacrificing for great art and success
worth it? This music box embellishes a ruthlessness already present,
and it's deadly demands cross the line between brilliant artistry and
abusive fanaticism. Satanic effigies and parallel white magic up the
ante in the “Coven of Darkness” season finale, pitting shaman
energy and protection spells against Uncle Lewis' former coven and a
witch's ladder omen. A little cut from a witch's ring or some blood
on a ritual handkerchief and our trio is arguing on who's bewitched,
whether they are safe in the store with their evil relics, or if one
of them has possible magic powers. Did they expect no retribution for
their good works against evil? Possessions, counter spells, candles,
and great horror imagery strengthen the character focus, and I wish
Friday the 13th had spent
more time with its players rather than the curses of the week.
Warring covens fighting to get their cursed curios back and
developing psychic strengths for the battle could have been ongoing
storylines. But hee, calling the object of your incantation on
the telephone right in the middle of the chanting, oh how eighties!
Yet
this Sophomore Season is tough to get rolling with a rocky “Doorway
to Hell” premiere referring to the First Season's finale, which was
itself a bottle episode clip show with a weak frame. Ghostly
reflections, broken mirrors, cobwebs, and dark realms fall prey to
stereotypical gas station crimes and nonsensical goons. Likewise, the
Caribbean clichés, unacceptable racial misunderstandings, exotical
fetishism, and snobby white boys playing at real magic in “The
Voodoo Mambo” gets lol wut
with a montage explaining voodoo like its something rare and
mysterious. The what would you do with an extra hour premise of “13
O’Clock” is very cool with a fine technical execution mixing
color, black and white, stills, and film movement for its freeze
frame pauses in time. Unfortunately, the seedy music, back alley
bludgeons, and standard daddy's princess gold digger with a side
piece planning murder compromise the freaky pocket watch with
eighties obnoxiousness. I mean, gangs having dance offs on the subway
platform? Such filler makes Friday
the 13th feel
like it should have been a half hour show with only the good horrors
necessary. Traditional in store antique sales and Uncle Lewis
connections are lost among the laughably bad acting, chicken races,
hot rods, and cursed car keys in
“Night Hunger,” and the killer zapping qualities of a 1919 World
Series ring in “The Mephisto Ring” are just goofy. A bum villain
and anonymous heavies beating up old ladies over bad betting tips
can't carry the double duty sports and crimes, and too much is
happening between the odd A/B plots in “A Friend to the End.” Is
this about the bittersweet sepia and undead child tales or the edgy
pain as art with a sculptor turning models to stone? These aren't the
worst stories – though the middle school bike tricks are silly and
the evil lesbian subtext typical – but the curses here are
stylistically too different and each deserved its own hour. There's
merit in the bickering surgeons and alternative Native American
medicines with “The Shaman’s Apprentice” and an Indian grandson
caught between his calling as a native healer and his job as a white
man's doctor. However, the outsider belittled for his ideas is a
repetitive story with redskin insults, warpath jokes, and dated
racism on top of another misfire object and ethnic spins made evil.
The
crimped hair, victory rolls, and retro fads also don't do Louise
Robey justice, and former gymnast Micki puts on some giant glasses to
go undercover as a journalist when not skimming the fashion magazines
for new looks. She repairs and redecorates the store, doing the
research and leaving the boys to the big action, but Micki says
Curious Goods has no charm. She still hopes to get on with her life,
be happy, and not battle evil forever. Her visiting BFFs often pay a
terrible price, and each loss is tougher on Micki than the next. Her
nephew is also ditched at the store by her divorcing sister, and the
family interference in the curio collecting could have been dealt
with more. Micki's jealous and sometimes suspicious of Ryan's
dalliances, but her saucy times are filmed in much more romantic
detail. Unfortunately, she is attacked by a creepy mental patient,
leaving Micki throwing up and quite shaken before more terrible close
calls late in the season. I don't like that Friday the 13th went
there – the fantastics are enough without real world violence.
However, these experiences give Micki more doubts about if what they
do and the risks they take are worth it, and she even argues the
morality of letting an evil doctor die so her friend can live in a
slightly uncharacteristic but consequential request. The eighties
white shirts with big belts and skin tight pants early in the year
also switch to loose fitting darker fashions, big overcoats, and
objects in front that seem like television hiding pregnancy tricks.
It's a noticeable one-hundred and eighty degree change, yet it's nice
to see Micki become more than just being there to look sexy with
psychic opportunities and white magic potential in the season finale.
Everyone
always presumes John D. Le May's Ryan Dallion is Micki's boyfriend,
and although he apparently carries her picture in his wallet, he's
always ready to party or romance the lady of an episode. He's bored
at the symphony and afraid he'll fall asleep – until he spots a
babe at second violin, that is. Ryan gets over one girl and moves
onto the next one in a few episodes as required but can move even
quicker, sometimes putting on the ritz in the same show! Thankfully,
he does get into vinyl, putting on some records for his music
education, and he dresses up eighties fancy, too – with a then rad
ear piercing. Though prominent in the weak cool cars hour, it does
feel like Ryan is here much this season. However, he doesn't suddenly
become a Civil War expert when he's caught in the past. Some future
knowledge would have helped him for sure, yet he can't remember
anything but the burning of Atlanta. He's strangely reluctant to
believe in werewolves even after all they've seen, but he can still
be reckless – like climbing the fence of a high security
institution and getting electrocuted. He says he remains so loose and
celebratory after facing such evils because they got through it, but
Ryan is seriously effected when loved ones are presumed dead. He
blames Jack and increasingly contests what they do and why. The
characters here don't stand pat, as Friday the 13th plays with
their fates early and often. Ryan says Curious Goods puts him through
enough pain and he's had enough of these cursed antiques and the
deaths they cause.
The
late Chris Wiggins' Jack Marshak saves the day to start Year Two but
is referred to with a postcard by the third episode, and his absence
is apparent in several weaker shows mid season. Jack's reputation as
an occult expert precedes him, but the heavy mantle of their
righteous collecting often puts him and his friends in mortal danger.
Despite the risks, he puts on a brave face, often rescuing our
cousins – who are somewhat aimless without him – or sends them to
cover while he handles the beastlies alone. Jack dictates the course
of action and delineates the team, however, he can be wrong about the
object they seek and what it does. Fortunately, his old magician ties
and show biz connections are more fun, and the trio has a
lighthearted, teasing banter – sick in bed Jack is stuck with the
paperwork but he rings a bell so Micki will wait on him but his
awkward stuffiness drags down his boys night out on the town with
Ryan. It would have been neat to see more of their in store dynamics,
and why does Jack get the crappy cold room downstairs next to the
vault? Occasionally his absence isn't even addressed, but brief
mentions of him off collecting Nazi materials remains interesting. I
would have loved to see these occult aspects or secret societies and
paranormal investigation plans as Friday the 13th allegedly
intended to include, and “The Butcher” provides such German
quotes, period accents, Norse mysticism, frozen Nazi escapes, and
resurrection amulets. Torturous dreams delve into Jack's World War II
past as he's reluctant to investigate the strangulation revenge, Neo
Nazi thoughts, and extremist talk show hosts turned politicians
unfortunately eerily relevant today. It's a frightful mix of real
world horrors and fantastics explaining why Jack does what he does at
Curious Goods and there should have been more episodes like this.
Unfortunately,
Steve Monarque's (Under the Boardwalk) appearances as Johnny
Ventura in two episodes this season don't bode well for his regular
status to come in Season Three. It's odd to place “Wedding Bell
Blues” back to back with a similar title, as the episodes are
drastically different and the empowered pool cue, smoky billiard
halls, and big haired bridezilla spend too much time away from team.
The cliché hustling and filler, almost a spin off tone are apparent
and so is Johnny's street wise attitude. He says he's not some dumb
kid and wants to immediately know all the curse details – but he
looks eighties old and figures out the secrets by breaking doors
down, asking questions later, and missing the body in the freezer.
The brief mention of Ryan and Jack on the hunt for evil snow shoes
sounds more interesting than this laughably bad debut, for the best
thing about this episode was my husband and I debating whether a mere
pool cue stab through the torso could actually be so quickly fatal or
if a good jam through the eye into the brain would have been better.
Of all the ways for Friday the 13th to bring on a new
character, the basic cool guy is the lamest way to go, and the
robberies, shootouts, and penitentiaries gets worse in “The
Prisoner.” Inmates trading a bloody invisibility bomber jacket, oh
my! Johnny's nondescript in the joint solving a phantom murder over
double crossed loot, everybody talks like James Cagney, and I don't
care about a ridiculous crime of the week with a curse afterthought.
R.G. Armstrong's lone appearance as the late Uncle Lewis is better
trouble in the uneven premiere, and Elias Zarou's Rashid should have
become a regular, creating a second mature duo with Jack to
investigate more Old World occult. Likewise, Joe Seneca (Silverado)
deserved more as a recurring voodoo expert. Certainly the budget was
low, but more Curious Goods staff would have made recovering
artifacts faster and built in more adventures to keep Friday the
13th going with the forthcoming cast changes.
Understandably,
the Friday the 13th: The Series – The Complete TV Series DVDs
are not perfect remasters with an often dark print and uneven, low
volume. The then-rad cars, bedazzled leather jackets with sleeves
rolled up, and big sunglasses at night are still eighties steeped
alongside tight white leggings, off the shoulder shirts but giant
shoulder pads, and high-waisted acid wash jeans. But wow those poofy
huge wedding dresses and patterned ties on top of super shiny dress
shirts and striped sports jackets – woof! When not faced with
crimped side ponytails and convertibles driven by yuppies with yellow
sweaters tied over their shoulders, the forties-esque glam and Stray
Cats mini fifties revival create a neo noir mix with moody red
lighting, blue neon, flashlights, and spooky fog. Basic green screen
effects, old school shadow schemes, and the somewhat unfinished
looking visuals remain eerily effective while the gray-scale moss,
webs, and vines hit home the swampy underworld design. Sepia tints,
snap shot still frames, and old style filming techniques add to the
retro reels, classic clips, and pop music photo shoots – and folks
had to go to a camera shop to rent a giant camera! Piles of papers,
dusty old books, undeveloped film rolls, newspapers, mini cassettes,
and tape recorders did research pre-internet the hard way, but record
players, horseshoe phones, hefty televisions, and big answering
machines invoke a bemusing nostalgia. Listening to the radio for
news! Pharmacies that deliver? That car phone is just a receiver with
a cord?! Look at that old five dollar bill as evidence one is from
the future! Although some houses and locations are clearly revisited
and the Fred Kreuger pizza face gore is good but common, the slightly
cheap and fun styling embraces its low budget horror roots. That racy
lingerie on the prostitutes, however, is actually a lot of clothing
compared to today's uber skimpy!
Friday
the 13th's Second Year is slow
to start with more of the same cool cursed objects of the week
repetitiveness thanks to a lot of episodes and a few letdowns.
Despite its syndication success, the series missteps slightly by not
going far enough with character developments or the full potential of
its evil love, greedy wealth, and eternal youth opportunities.
Fortunately, Friday the 13th's
mix of horror, humor, nostalgia, and dark morality plays remains
impressively ghoulish for old school audiences and scary anthology
fans.
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