Recently, I wrote a piece for the Los Angles Times Magazine about what may be seen as the rise of the dark, complicated female protagonist in crime fiction (and film). Interviewing Gillian Flynn, whose novels Dark Places and Sharp Objects are prime examples, we began talking about made-for-TV movies from our youth. Wondering about the impact of these movies on writers around our age, Gillian noted in particular watching way too many “women-in-jeopardy stories: the woman who was stalked or attacked or abused.”
The influence of these movies is something Sara and I have discussed many times–especially powerful for us were the tales of teen hitchhikers and runaways and teen hitchhiker-runaways-turned-hookers (Sara, jump in here if I’m misremembering!). I also became pretty fixated on E!True Hollywood Story equivalent in the early 90s–especially the ones about porn stars (the best: the truly sad tale of Savannah). In much the ways that Flowers in the Attic seems to have planted some dark seeds within our generation of women, these movies were somehow deeply resonant, perhaps in the way that True Confessions magazine may have been to a prior one.
By and large, these tales–at least the ones that seemed to have loomed large for many of us–speak to the price paid for transgression (disrespect for parents, selfishness, an inability to control their own impulses, or most of all poor taste in men) or, in the more old-fashioned strand, the inevitable price all women must pay, as their birthright (e.g., all women are at constant risk for being duped or hustled by bigamists, wifebeaters, pimps in disguise, married cads, embezzlers, con men–or all of the above).
But, gender issues, aside, one of the elements of these movies that stirred me so deeply was the powerful sense that violence and chaos can, or even will, unfurl in your own home. I was especially fixated on Fatal Vision, the superb 1984 miniseries about Jeffery MacDonald, the Green Beret captain and doctor accused of murdering his pregnant wife and two children, The Betty Broderick Story, which Gillian also cited, with Meredith Baxter Birney as the socialite accused of murdering her ex-husband and his new wife, Small Sacrifices, starring Farrah Fawcett as Diane Downs, accused of killing her children, and Adam, about the Adam Walsh kidnapping and murder, which seemed to traumatize a whole generation of children and parents and I Know My First Name Is Steven, another true-crime kidnapping tale, this one from the viewpoint of the kidnapped boy as he grows up with his captor.
There are countless more, but they all presented the suburban, middle-class home as not as the bland domestic space of yore, but as a powder keg. That violence could arise anywhere, at any time. It could find you there. It could even originate there. It could rise up within your own parents. Even you.