When I was a kid, the list of VHS tapes I’d worn out included Joe Dante’s Explorers, The Last Starfighter, The Last Dragon (the deliciously cheesy 80s kung fu classic set in Harlem, not the Bruce Lee film), Ridley Scott’s Legend, The Neverending Story, and maybe the first truly great comic book movie, 1989’s Tim Burton-directed Batman starring Michael Keaton, Jack Nicholson and Kim Basinger.
As a kid it was adventurous, fun and even a bit spooky. As an adult it evokes a rush of warm nostalgia and joyful recognition that the actors – Dan Aykroyd, Harold Ramis, Ernie Hudson, Bill Murray and Signourney Weaver — had a hell of a lot of fun making the film.
That’s why Buddy I was so excited to see this cat condo build that’s designed to look like Ghostbusters HQ from the 1984 classic. Buddy I would love to have one of these things. Instagrammer Shawn Waite explained in a post that he was just kidding around when he proposed the idea, and his family pushed him to go for it:
“We got a new kitten (her name is Stria) a couple of months prior, and we were adding some cat furniture to our home for her. We thought that she may enjoy having something in our home office, which is where I have my vintage toy collection, so I joked that we should build a cat condo that looks like the Ghostbusters Firehouse play set so that it would fit with the theme of the office. My wife loved the idea, and our twin daughters (age 9) were excited for Stria to have a condo.”
Waite not only managed to retain the three-story interior layout with a scratching post cleverly taking the place of the fire pole, he tweaked the logo so there’s a dog in place of a ghost, just in case any jealous pooches get ideas about lounging in Stria’s sweet condo.
I’ve always wanted to learn to build stuff, especially after seeing examples like Waite’s build or the amazing Hobbit house litter box one cat servant made for his feline, Frodo.
But hey, if I’m gonna go all out and build a spectacular lounging spot or bathroom for the Budster and mine 80s/90s childhood obsessions for ideas, wouldn’t the Thundercats HQ — known simply as the Cat’s Lair — be more appropriate?
Archive 81 arrived just in time to help us through a content dead zone.
The Witcher’s excellent second season helped tide us over last month alongside Amazon’s not-so-great adaptation of The Wheel of Time, and critically-lauded The Expanse ended its six-year run on Jan. 14. Meanwhile, if network TV is your thing, the last few weeks of January through early February are filled with nothing but reruns as networks are loath to put any original content up against the NFL playoffs and Super Bowl.
Enter Archive 81: A story that promises mystery, Lovecraftian horror and a heavy dose of 90s nostalgia.
Our protagonist is Dan Turner (Mamoudou Athie), an analog enthusiast who makes a living restoring vintage media (VHS, cassette, Betamax and anything else pre-DVD), and spends his off hours crate-digging for rare recordings.
We meet Dan as he’s looking through recently-acquired VHS tapes at a street vendor’s stall in Manhattan.
“You know last month you sold me 16 hours’ worth of a T-ball tournament, yeah?” Dan asks.
“Yeah. But also, I sold you an uncut version of Phantasmagoria off channel 7,” his street vendor friend says. “That’s unreleased and very rare.”
When Dan balks at buying a box of random tapes, his vendor friend appeals to the hobbyist in him.”Look,” he says, “I know you love the hunt.”
“The hunt” he’s referring to is the obsessive drive that prompts collectors of all types to sift through yard sales, estate auctions and abandoned storage units. It’s the thrill of opening the unknown with the knowledge that most of it will be junk, but every once in a while a nondescript box will hold a rare gem.
It’s the thrill of the hunt that leads Dan to accept an archiving gig from a secretive company despite concerning red flags.
The job is to restore an archive of video cassettes scavenged from the charred ruins of a Manhattan apartment building called the Visser that burned to the ground in 1994. No one survived the building-consuming fire, and Dan’s employers believe the tapes could shed light on how the fire started as well as the people who lost their lives.
The company offers Dan a particularly generous fee for restoring and digitizing the footage, with the caveat that for the duration of the project he has to work out of a company-owned compound in the Catskills, a few hours’ drive north of New York City.
Dan accepts and it doesn’t take long for him to become engrossed in the content of the tapes he’s restoring. The collection of cassettes was shot by a young woman named Melody Pendras who moves into the historic and creepy Visser Building, ostensibly to interview its residents for a dissertation she’s doing on the strange history of the high rise.
With each cassette Dan restores and digitizes, a new chapter of Melody’s time at the Visser is revealed, and it becomes increasingly apparent that something is very wrong with the building and the people who inhabit it.
Think Ghostbusters and 55 Central Park West, also known as “Spook Central.” In the 1984 hit, 55 Central Park West’s bizarre design choices came courtesy of an architect who was heavily into the occult, and he built the high rise to serve as some sort of supernatural antenna for spirits from another dimension. The Visser has similar origins, although the details are best left unspoiled.
As Dan becomes increasingly invested in Melody’s story he begins to feel the effects of isolation, living in the brutalist compound that houses the repair studio and a cavernous living space. He’s not allowed visitors, as the content of the tapes are supposed to be confidential, he doesn’t get cell service and he begins to suspect the landline is tapped.
With a history of mental illness, Dan isn’t sure if he’s imagining things when he realizes someone else may be in the compound, and his paranoia is stoked by the discovery of journals that indicate he wasn’t the first archivist to work in the isolated building.
To make matters worse, he begins to experience vivid dreams in which he’s speaking directly to Melody — and she’s clearly in trouble, calling for help across almost three decades.
Archive 81 is guilty of the so-called “mystery box” narrative format popularized by JJ Abrams and Damon Lindelof with Lost. The pair provided a template to string viewers along by unraveling just enough of the central mystery in each episode to keep viewers hooked, but as Lost proved, the mystery box form only succeeds in pissing the audience off if there’s not a solid pay-off at the end.
While Abrams and Lindelof dragged out Lost’s narrative and winged its conclusion to much derision, Archive 81’s Rebecca Sonnenshine clearly mapped out her story from start to finish. Momentum builds over eight roughly hour-long episodes until things escalate quickly toward the end. While I’m still not sure how I feel about the way things concluded, Sonnenshine’s story provides answers to most of the burning questions that pop up over the season’s run, and leaves just enough of a cliffhanger for a potential sequel. (And judging by the show’s several-week run atop Netflix’s charts, we probably will see at least another season.)
You could argue that mystery is baked into the genre: Archive 81 is a drama with elements of horror, but it doesn’t rely on jump scares. It avoids many of the latter genre’s most worn-out tropes while embracing others, layering the narrative with an ever-increasing sense of dread. It’s a clear attempt at high-concept horror.
There’s not much in the show to dissuade the squeamish and the writers are more concerned with exploring their characters than trying to freak viewers out. All the same, whether you enjoy the series or not probably depends heavily on how you feel about the genre. If you’re game for something a little dark, Archive 81 isn’t a bad way to spend a week’s worth of frigid January or February nights.
Buddy’s Verdict: 3 1/2 Paws Out Of Five:
Big Buddy’s Verdict: Recommended
Feline humor, news and stories about the ongoing adventures of Buddy the Cat.