Daily True Crime Brief · October 8th

Marathon Man, celebrating its 50th anniversary, remains a gripping thriller that intertwines the past and present in a harrowing way. The film follows Thomas "Babe" Levy, a struggling doctoral candidate and marathon runner, who becomes embroiled in a dangerous game involving his brother, a covert operative, and a former Nazi dentist, Christian Szell. The movie's tension escalates as Szell, played chillingly by Laurence Olivier, returns to the U.S. to reclaim stolen diamonds, leading to a series of violent confrontations.

Directed by John Schlesinger and adapted by screenwriter William Goldman from his own novel, the film features a stellar cast, including Dustin Hoffman and Roy Scheider. Olivier’s performance was particularly noteworthy, earning him an Oscar nomination and a Golden Globe, despite his health struggles during filming. The film’s narrative is complex, with Babe caught in a web of intrigue that leaves both him and the audience questioning the motives of those around him.

The cinematography enhances the film's paranoia, with shadows and fleeting glimpses of danger lurking at every turn. The score adds to the unsettling atmosphere, making viewers feel the tension build throughout. While some plot holes exist, the film's pace and gripping action scenes keep the audience engaged.

Behind the scenes, tensions arose, particularly between Hoffman and Olivier, with stories of method acting clashes adding to the film's lore. Yet, despite any disagreements, there was mutual respect between the two actors, with Olivier even sharing his Shakespearean texts with Hoffman after filming. Ultimately, Marathon Man is not just about the story; it's a masterclass in suspense, character dynamics, and the haunting shadows of history that linger even in the present.

Being a writer can be tough, especially when it comes to creating believable characters. It’s easier to connect with heroes because we often see the story through their eyes, but villains? They can feel distant and flat, which is a problem since they’re often the driving force of the story. To make villains feel real, writers need to dig deeper and infuse a bit of themselves into these characters, even if they’re doing terrible things.

The key is to give your villains a piece of your own experiences or struggles. This doesn’t mean making them exactly like you, but rather sharing some of your insecurities or flaws with them. By doing this, you create a connection that helps you write them more authentically. When your villains feel real to you, they’ll resonate with readers too, even if their actions are far from admirable.

The article also suggests thinking about your villains differently. Instead of seeing them as just people, consider them like houses in a village. Think about their history, what they’re made of, and the experiences that shaped them. This perspective can help you develop a richer backstory for your villains, making them more relatable and complex.

At the end of the day, crafting a compelling villain is about understanding their motivations and making them feel like they belong in the story. So, be kind to yourself and your villains. They’re going to be a big part of your narrative, and knowing how to connect with them is crucial for your writing journey. And hey, maybe treat yourself to a sticker for your efforts!

Ryan Burruss is diving into the creative process with his new novel, American Crow, where he’s exploring the beauty of mixing genres, much like the magic of making mixtapes. He reminisces about his childhood, where he crafted his first mixtape from his dad's eclectic music collection, blending everything from Kenny Rogers to Disney songs. This idea of creating something new from various influences is central to his writing, drawing parallels to Mary Shelley’s Frankenstein, where disparate elements come together to form something unique.

In American Crow, Burruss uses the concept of bookbinding as a metaphor for genre mash-ups. A character in the novel creates “Frankenstein” books by rebinding old texts, which reflects Burruss’s desire to keep genres fresh and evolving. He’s inspired by the community and romance found in magical realism, while also embracing the gritty tones of mid-century American pulp fiction. His approach is all about breaking down genre walls and encouraging readers and writers to explore beyond their comfort zones.

He also touches on the dangers of narrowing perspectives, likening it to the Ptolemaic Dynasty's inbreeding, which ultimately led to its downfall. Burruss warns against getting too comfortable with familiar genres and urges both readers and writers to seek out new influences. He believes that by mixing different styles and ideas, we can create fresh narratives that breathe new life into literature.

Ultimately, Burruss invites us to imagine the possibilities that arise from genre collisions, encouraging a playful exploration of storytelling. He challenges us to step outside our usual preferences and embrace the unexpected, reminding us that the richness of literature comes from its diversity and the willingness to experiment. So, what if we let our imaginations run wild? What new stories could emerge?

In the summer of 1937, a fisherman named Bill Manville claimed he spotted a giant sea monster off the coast of Nantucket, which he eagerly reported to local newspapers. Initially met with skepticism, his story gained traction when another fisherman, Gilbert Manter, corroborated the sighting, describing the creature as a massive, snake-whale hybrid. The excitement peaked when Manter found enormous webbed footprints on the beach, which were sent to the New York Zoological Society for analysis. However, the prints were dismissed as impossible for any known mammal.

As it turned out, the footprints were part of an elaborate hoax orchestrated by Tony Sarg, a puppeteer known for his work on the Macy’s Thanksgiving Day Parade, along with his daughter and the two fishermen. Their plan was to attract visitors to Nantucket by claiming a sea monster was vacationing nearby. Despite their efforts, some locals were not pleased with the idea of cheap publicity and exposed the ruse to the national press.

Undeterred, Sarg and his team went ahead and displayed the monster on the beach, claiming it had washed ashore. This creature, dubbed Morton the Nantucket Sea Monster, later made a colorful debut in the Thanksgiving Day Parade, sporting red scales instead of green. Morton had previously appeared in the parade as a dragon, and despite fears about his size, he successfully navigated under the elevated train tracks without incident.

Morton's time in the spotlight was brief. After his last appearance in 1937, he contributed his rubber to the war effort during World War II when the parade was suspended. Though Sarg passed away in 1942, Morton’s legacy continued, making a cameo in the 2016 Ghostbusters film and inspiring a new version that delighted visitors during the Nantucket Historical Association's “Summer of Sarg” in 2024. The spirit of this whimsical sea monster lives on, reminding us of the joy and creativity that can emerge from a good story.

Alright, let’s untangle the Dexter universe so you know exactly what’s on Paramount+ and where each piece fits. First up is the original show that started it all back in 2006. Michael Hall plays the Miami‑based blood‑spatter analyst with a dark side, and the series runs eight seasons, ending in 2013. It’s a roller‑coaster: four solid seasons, a shaky middle, a famously terrible final, then a surprisingly decent wrap‑up.

Eight years after that finale, “New Blood” drops a single season in 2021. Dexter’s hiding out under an alias in upstate New York, and his teenage son Harrison finally starts piecing together that his dad isn’t dead. The tension is icy, and it gives us a fresh look at the character while still feeling like the same story.

Then we get the prequel‑plus‑flashback hybrid, “Original Sin,” released across 2024‑2025. It shows a younger Dexter fresh out of college, landing a job at the Miami homicide lab and meeting the crew we later know. Patrick Gibson shares the role with Hall, and the casting nails the look of the original characters. It’s a neat, if slightly revisionist, glimpse into his early days, even if the central mystery isn’t the strongest.

Finally, the current beast, “Resurrection,” is rolling out its second season now. Dexter’s back in New York City, hunting a killer who seems tangled up with a whole network of serial murderers, all while trying to sort out his relationship with Harrison. It’s the latest chapter in the saga, and it builds directly on the events of “New Blood” and the flashback threads from “Original Sin.”

So, if you’re ready to binge, start with the 2006‑2013 original, jump to “New Blood,” then “Original Sin,” and finish with the ongoing “Resurrection.” All of it lives on Paramount+, ready for a marathon whenever you feel like diving back into Dexter’s twisted world.