Fessenden, Jordan Gass Pooré, Rigo Garay and Sean Redlitz in NYC; Clint Jordan in LA.
From The Writer of MADGE, THE WORLD SPIDER, AND ONE LAST DRINK
Like any good bar story, this one began in a bar. But not just any bar. The Hamptons on King Ave, in Columbus, Ohio was the spot. Or rather, not the spot, but a spot, situated near the campus of The Ohio State University. My buddies and I would meet there on the patio some nights during our college years. We found ourselves on that same patio a few times after graduation, with plans to catch up, introduce new girlfriends, and search for some meaning to connect us and our uncertain futures as our lives created distance from each other.
The vibes of The Hamptons, which has since been closed down, were always off. Something sad radiated from that place, and no amount of loud music from the jukebox or cheering football fans could drown it out for me. It was a sobering place, and sober I remained, as observer instead of a partaker in my mates’ revelries. The basement, where the pool tables were, was almost always empty. It felt separate from the bar upstairs, but no more comforting. There was a bar counter down there too, but with no bartender and no drinks. On the wall hung a cheaply made pop art painting of a woman who looked like she could’ve Marilyn Monroe or Madonna, but so indistinct that she truly could’ve been anyone. And in the corner of that basement was a dance floor, made for no more than two people. In the middle of the floor was a small disco ball. In all the times I visited The Hamptons, I never saw anyone on that dance floor. But I always wondered, what if there had been someone? And so, Madge was born.
Though the memory of that place and the possibility of that lone dancer remained, it would be two years before some semblance of that story began to take shape during my MFA program at Adelphi University on Long Island. In fact, it was the title, “Madge, The World Spider, and One Last Drink,” that came to me first. Why a World-Spider? Well, spiders made me uneasy, yet I was fascinated by them. Some aspect of those feelings, mixed with being a lifelong Spider-Man fan, and a love for The Cure’s “Lullaby” gave birth to the World Spider in 2014. After numerous reworkings, largely pertaining to Rodney’s characterization, I published “Madge, the World Spider, and One Last Drink” in my short story collection, We Make Monsters Here in 2021.
I sent the collection to a few friends in the horror space who I thought would dig it. Co-producer of this tale, Sean Redlitz, a screenwriter who I met through his work at Shudder, was one of the first I sent it to. He and Jenn Wexler’s positive response emboldened me to think about the potential of the stories beyond the page. At the time, I had no idea he knew Larry Fessenden. But I had connected with Larry on a piece I wrote for Fangoria called “Reckoning with the Wendigo,” in which he was my main interview subject. Larry sent me some Wendigo related books and comics he’d worked on over his career for further research. As thanks, I sent him a copy of We Make Monsters Here. I had no expectation he would read it or that anything would come of it. He’s an understandably busy guy, and I just wanted to express my gratitude.
A couple more years passed, and Sean told me Larry had discussed wanting to do another Season of Tales From Beyond the Pale, and that my collection had been discussed. Larry, I was told, was particularly drawn to “Madge, the World Spider, and One Last Drink” and wanted to know if I was interested in writing an adaptation. I jumped at the opportunity. I’d written screenplays before but never one strictly for audio. Sean was instrumental during that process, shooting off ideas that would not only open the story up a little more, but also permit me to rethink my imagery sonically. He has been a crucial sounding board during this experience.
Casting the actors for the episode was also an exciting new prospect. While I was writing the script this episode, a PR friend sent me a link to a film for review consideration. That film was Chris Skotchdopole’s Crumb Catcher. I loved the film and eventually wrote a booklet essay for the Arrow release of the film. Crumb Catcher was my introduction to Ella Rae Peck, and Rigo Garay as leading actors. Both were on my list for roles in the tale, and funny enough, I did not know that Rigo was also a producer on the then upcoming season of Tales (as well as writer and director of his own episode this season, “SUPER!”). The casting process was an easy-going, collaborative experience and the end result, as you can hear, is a true feat, bound together by Motell Foster’s three incredible, distinct, performances.What sticks with the most about this entire process is how these seemingly disparate threads, stretching out over a decade, came together. Friends I grew up with, friends I met through my work in journalism, artists I admire, each with their own threads and connections, made this possible. That’s a creator’s dream, and a pretty wicked cool web at that!
—Richard Newby, 6.11.26
Among the unsung heroes of TALES are the artists banging out striking posters
reduced to thumbnails on the internet.
Here is TALES regular Trevor Denham’s sketch and final for WORLD SPIDER
