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“Lot No. 249” Review – “A Ghost Story for Christmas” Returns with Fun Mummy Horror

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Mark Gatiss’ revival of A Ghost Story for Christmas, a British strand of one-off specials infrequently aired around the holidays since 1971, continues with what is possibly its best entry yet: Lot No. 249. The League of Gentlemen alum has maintained a substantial interest in horror, much like comrades Steve Pemberton and Reece Shearsmith, but unlike the Inside No. 9 duo, Gatiss digs up neglected works from classic British literature — before now, namely M. R. James — and reintroduces them to contemporary audiences.

In Lot No. 249, Kit Harrington plays the prying university student who acts on suspicions about his odd neighbor (Freddie Fox). The Egyptologist in question is not only guilty of certain “perversions” he is also using a reanimated mummy — the story’s otherwise nameless namesake — to carry out his wicked plans. This includes murdering his various rivals on campus. The protagonist later intervenes, only to then make a startling, if not belated realization about his enemy.

Lot No. 249 isn’t as obscure as previous offerings from the Gatiss era of A Ghost Story for Christmas; devoted readers of Sir Arthur Conan Doyle’s oeuvre know it well. Fans of Tales from the Darkside: The Movie would also recognize this late 19th-century short story, seeing as it was the basis of that famous anthology’s first segment. Unlike that version, though, Gatiss’ take is fairly faithful to the original story.

Lot No. 249

Image: Kit Harrington, Freddie Fox and Colin Ryan respectively as Abercrombie Smith, Edward Bellingham and Monkhouse Lee in Lot No. 249.

To see a mummy on screen these days is a rare treat. After all, these imaginary reworkings of Ancient Egyptian mummies have been used less and less in horror films and television over the years. Compared to their fellow Universal icons, these undead creatures lack the versatility of vampires and werewolves. And to some, they seem silly by comparison and are best left in the past. Admittedly, Lot No. 249 doesn’t forego the most stereotypical depiction of mummies — the mummy here is very much a sinister monster hellbent on killing — but Doyle’s story has layers that give its swathed antagonist more value. And by extension, Gatiss taps into the story’s themes of imperialism and sexuality with insight, skill and, most importantly, a sense of humor.

Gatiss has confessed how difficult it is to get these beloved specials funded. Even knowing the financial limitations going on behind the scenes, Lot No. 249 does a splendid job of world-building, setting the mood, and fleshing out colorful characters in such a short amount of time (barely half an hour, in fact). The leads even start to feel like old and weird friends by the end of this macabre tale. Harrington imbues his character with an unforeseen volume of life and wit, whereas Fox is downright delicious as the mummy’s malicious master. While the superb performances are indeed a large reason as to why this Ghost Story works so well, the monster shouldn’t be overlooked. The mummy is menacing despite its Gothic handling. A desiccated and bandaged hand entering from off screen and reaching for someone’s throat is more effective than initially expected.

Gatiss took creative license with Lot No. 249, particularly in the conclusion (and an unnamed side character who is implied to be Sherlock Holmes). Doyle’s short story doesn’t quite deliver the narrative punch required for a visual adaptation. So this special favorably expands on the original outcome all the while satisfying Gatiss’ wish for dark fun. Before then, A Ghost Story for Christmas had a tendency to be serious. Maybe too much so. This break from routine, however, is a pleasant surprise and a great way to buck tradition.

4 out of 5 skulls

Lot no. 249

Image: Freddie Fox as Edward Bellingham in Lot No. 249.

Paul Lê is a Texas-based, Tomato approved critic at Bloody Disgusting, Dread Central, and Tales from the Paulside.

Books

Stephen King’s ‘You Like It Darker’ Finds Beauty and Hope in Nihilistic Horror [Review]

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Stephen King may be known for epic novels like It and The Stand, but many Constant Readers first met the Master of Horror through his short fiction. Beginning with the iconic 1978 collection Night Shift, the best-selling author has been dazzling us for decades with short stories overflowing with sickening gore, fantastical creatures, meticulous violence, and transcendent joy. King follows suit in You Like It Darker, a jaw-dropping collection of twelve terrifying tales, five of them previously unpublished. Inspired by Leonard Cohen’s “You Want It Darker,” the outstanding tome dives head-first into the brutal randomness of pain and destruction – a “lullaby for suffering” only King can deliver. 

The collection kicks off with “Two Talented Bastids,” a poignant story about an elderly author and his less talented son. Laird Carmody is a small-town Mainer who prizes his quiet life among the locals – a thinly veiled reference to King himself. The sprawling tale eventually uncovers a chance encounter that may hold the key to creative power. King’s most meta narrative to date, the story features references to the author’s real life including frequent visitors to his famous front gates, recollections of press-tour engagements, and allusions to longer “door stopper” novels. We’re also treated to line edits and sample paragraphs that offer additional peeks into the accomplished creator’s personal process. It’s a winding road both eerie and aspirational that sees the world-famous author grapple with his own unparalleled success while confronting us with the horror of unfulfilled dreams.

Most notable in this impressive collection, “Rattlesnakes” revisits one of King’s most brutal books. A sequel to the 1981 novel Cujo, this gut-wrenching tale catches up with Vic Trenton as he mourns for his late wife Donna – the flawed, but courageous mother who once battled a rabid dog to save the life of her child. On Rattlesnake Key, Vic meets another grieving mother still recovering from the horrific death of her own twin sons. Each day she lays out matching children’s clothes then wheels their long-dead spirits around in a squeaky pram while insisting that while she knows they’re not really there … sometimes they are. Pairing perfectly with the grisly story of a rabid dog, “Rattlesnakes” features moments of stark terror and shocking gore. Both heartbreaking and horrific, this sun bleached novella delivers a bloody bite reminiscent of King’s early career along with a harrowing warning against holding on to the past. 

In addition to Cujo, King references iconic pieces of his extensive catalog. Easter Eggs abound as we revisit Derry, Castle Rock, and Dark Score Lake, sprinkled among familiar monikers and other deep cut references. King’s faux tabloid Inside View makes an appearance along with another haunting locale. Duma Key features prominently in two stories, making a literary return trip feel within tantalizing reach. The cover’s sinister alligator references “Laurie,” a touching story that careens headfirst into terror. Most of the collection’s horror occurs in bright daylight, reminding us that while we may survive the dark, we’re never truly safe. It’s King’s version of a beach read – bleak horror unfolding in the relentless sunshine. 

Falling fourth in the collection, King’s other novella is slightly less successful. “Danny Coughlin’s Bad Dream” chronicles an extended nightmare as the titular janitor dreams about, then discovers, a dead body. Playing with the horrors of the criminal justice system, King follows a wrongfully accused man tormented by an obsessive detective convinced of his guilt. Similar to his 2018 novel The Outsider, the lengthy story unfolds like a confounding episode of Law & Order, eschewing supernatural scares for “ripped from the headlines” horror. King hints at racial and gender-based discrimination, but stops short of fully examining the larger implications of this disturbing premise. 

While none of the collection’s twelve tales fall flat, some feel more developed than others. “Finn” and “Red Screen” both present ominous ideas, but offer little more than snapshots of larger terror. “On Slide Inn Road” and “Willie the Weirdo” follow unpleasant older men bonding with a younger generation – King’s version of generational trauma. Harkening back to the unflinching horror of the author’s earlier career, both are admittedly fascinating in their sheer nastiness and cruelty, however, they lack the emotional punch of the collection’s longer tales. “The Fifth Step” will likely prove terrifying to those in Alcoholics Anonymous while “The Turbulence Expert” will play on existing fears of airline travel. However, both stories feel slight and may not evoke the same powerful response in readers without similar life experiences. 

The collection’s penultimate tale may also be its most classically scary. “The Dreamers” follows a magician turned mad scientist who documents research of a world beyond our own. Pure Lovecraftian horror, grisly nightmares reach into the waking world as test subjects dream of an eerie red house with a green door. It’s shocking horror and nihilism at its best, reminiscent of King’s 2014 novel Revival. “The Dreamers” confronts us with unsettling answers to what it all means and a frightening reminder that ignorance may provide safety as well as bliss. 

You Like It Darker concludes with one of the most beautiful and upsetting stories of King’s career. “The Answer Man” follows a likable everyman through his adult life marked by three encounters with a mysterious salesman offering answers to any question. But what is the true cost of ultimate knowledge? Does peering into the future give us power or pain? A perfect capper to this poignant collection, King fittingly references a question first presented in his darkest novel, Pet Sematary. What is the meaning of life and what can we expect at the end of our days? King attempts to provide what answers he can while grappling with larger truths forever out of reach.

A bloody tapestry of nihilism and hope, You Like It Darker makes peace with the randomness of suffering and the horror of human fragility. 

You Like It Darker will be released on May 21, 2024.

4.5 skulls out of 5

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