Where Do We Go From Here? Glee’s Season 5 Tribute Episode to Cory Monteith and Ideas for Saying Goodbye to Finn Hudson

by Amber Turner


It’s official: per Ryan Murphy, creator of Glee, the writers will kill off the character of Finn Hudson from the Fox musical dramedy in the wake of actor Cory Monteith’s death. The tribute episode to Cory will be the third episode of Glee’s fifth season and as Ryan stated in the article linked above, they are in the process of writing it at this time.

Though a lot of Finn fans in various sectors of the internet were hoping the writers would give the character a happily-ever-after offscreen, I think the decision to kill him in show was ultimately a good one. I understand the reasoning behind why fans would have preferred the former option: Cory didn’t get to have a happy ending in real life so why not give it to his fictional character? I mean, isn’t that the great thing about fiction, that we can make things happen that don’t necessarily happen in reality? Here’s why I think the writers’ decision makes more sense in the long run:

It keeps Finn in character. Having Finn suddenly leave Lima, OH without saying goodbye to his friends and family, and never speaking to the characters in New York again, would be completely OOC for Finn as he’s been portrayed for the last four seasons of the show. Think about it: Rachel’s opening night on Broadway and Finn doesn’t show to give her a pep talk before the curtain goes up? Kurt gets married and Finn doesn’t make an appearance at his own brother’s wedding? It wouldn’t make sense. Not to mention the cognitive dissonance the audience would feel every time someone mentioned Finn calling or emailing or tweeting when we know the actor who played him is dead and gone. And having Lea Michele, Cory’s onscreen lady love as well as his real life girlfriend, constantly name dropping the character as if he were coming back, when Lea knows he isn’t, would be too cruel for words.

Killing the character will be sad, but the catharsis is needed for both his friends and colleagues and the fans of the show, all of whom never got a chance to say goodbye to Cory and never got definitive closure from his character’s storyline on the show. This gives everyone the chance to mourn the loss and to close the book on this incredibly sad chapter of his life. Finn Hudson, and Cory Monteith, was too integral to the show’s early success to just write him off as if he were some lowly secondary character who didn’t matter. He did. And giving him a memorial shows how much the people behind the scenes realize that fact and it acknowledges all of Cory’s hard work in a poignant way.

All that said, I am very concerned about how this tribute episode is going to play out. I stopped watching Glee after season three because the writing took a turn for the worse in season two and never recovered. Instead of being the dark comedy it set out to be in the first season, the writers decided that doing weekly after school specials with music was the best direction for the show to take going forward. I am so scared that Ryan Murphy and Co. are going to turn Finn’s death into yet another one of their heavy-handed PSA’s, ruining what could be a beautiful farewell to a guy who by all accounts was a lovely person in real life and deserves an equally fitting send off.

Finn was not Cory. This is what I hope these writers remember when they sit down to write this episode. I know the inclination to want to warn kids about the dangers of drugs will be at the forefront of their minds, especially considering that Cory’s own substance abuse struggles began when he was twelve or thirteen, but mirroring Cory’s life in Finn’s is not the way to go. If the young fans of the show didn’t get that drugs are to be avoided at all costs after hearing the news about Cory’s death, beating them over the head with a message episode certainly won’t get through to them. The teen years are all about pushing boundaries and experimenting with shit you have no business doing just to see how much (or how little) you can get away with. I’m not saying that we adults should never try to steer kids in the right direction, but I am saying that I don’t think now is the time to try and do it. Honoring Cory’s achievements, not highlighting his shortcomings, is what a tribute episode should be about.

So how do they do this? How do the writers tackle such a delicate situation while remaining true to the character and the spirit of the show? Here are some ideas I have on how the show can move forward with Finn’s ending:

  • Have Finn’s death in no way mirror Cory’s. Instead, if they really want to have a dialogue about substance abuse after this episode airs, have Finn’s character killed by a chemically impaired driver either indirectly (he’s hit at a red light by someone who was drunk and/or high and ran through a red light) or directly (he got into a car with someone who was “buzzed driving” and they ran off the road and neither survived). This way, the writers can show how dangerous drugs and alcohol can be without making Finn’s character wildly OOC. I would throw a shoe at my TV if we got a storyline where Finn OD’d as the character was never shown as having a substance abuse problem and in fact, was one of the only characters who didn’t get drunk during “Blame It On the Alcohol” back in season two. I beg the writers to please remember his characterization at this time.
  • Have Finn die a hero. This show loved to make the character of Finn come off as the defender of the underdogs, the reluctant leader of the core group of McKinley kids. Maybe to honor that characterization they have him save someone else’s life while losing his own in the process? For example, the writers can have him be at a late night convenience store when it gets held up. Finn, being a former football player decides to tackle the robber, who had a gun pointed at the store clerk, and gets shot and killed.
  • Make this a music free episode. Since this show is a musical, eliminating the singing would be jarring, which is exactly how the death of Finn Hudson will feel for everyone who knew him. It would make the episode feel empty; kind of cold and surreal. But let’s not make this episode completely maudlin.
  • Steal a page from The West Wing. When John Spencer, who played chief-of-staff Leo McGarry, died while they were in the middle of filming the final season of that series, the show did a very moving two-part memorial episode that showed his funeral and ended with the White House staff sitting around and reminiscing about all the great times they had with him. It was emotional, but also uplifting, with all of the humorous stories they told about Leo – they didn’t wallow in the sadness of John’s real life passing; instead, they wound up celebrating all of the good times they had with him and his character.

Glee could do the same with Cory/Finn.  Have the characters meet up in the choir room and spend most of the episode recalling their favorite Finn moments. Smash cut after each recollection to footage of Cory as Finn acting out the moments the cast recalls. For example, Kurt could remember how Finn dressed up in his Lady GaGa inspired red spandex outfit to save Kurt from the school bullies – smash cut to a clip of that scene. Smash cut back to the choir room where Mercedes could quip about how it was the platforms that really made that outfit. Then she could remember the Pucky Puck and Finny D performance of “Good Vibrations” – smash cut to footage of Finn, Puck, and Mercedes rapping and singing the Marky Mark classic (one of the funniest performances on this show). And they could do that with all of the major characters from the first three seasons. Because I absolutely think the show needs to bring back the entire original cast for this episode. They were all Cory’s real life friends and it might be therapeutic for them to get together and laugh about all the goofy moments his character had on the show. (I definitely need to see the scene from the pilot again when Carole Hudson, played by Romy Rosemont, is teaching Finn to drive and he runs over the mailman – her freakout, and his panicked reaction to her freakout, was comedy gold.)

  • The newbies need to take a backseat for this one – they can be included in the background, but the heavy lifting acting-wise should definitely come from the vets.
  • If the episode does end up having music in it, keep it sparse and again, keep the heavy lifting of the vocals to the original cast.  If I see Marley singing a solo that episode, I may just toss my TV out the window. For real. Yes, Finn was a mentor to the new kids for a year, but again, he spent three years with original recipe New Directions: Lea (if she’s up for it), Chris, Mark, Dianna, Amber, Kevin, Jenna, Naya, Heather (if they can somehow obscure her baby bump), Harry, Chord, and Darren should be the featured acts – these people were not just Finn’s friends, but Cory’s friends too. These are the people who were with him on the tour buses when they did the mall tours before the show premiered four years ago, they were the ones who spent hours upon hours with him during dance rehearsals for both the show and their summer tours. To have them only get cameos in this episode would feel almost insulting to the character and to the actor who played him.

As for music suggestions, I think opening the show with something like “Old Irish Blessing” would be beautiful. It would get the show back to the actual choir aspects of the series having both the original cast and the newbies singing as one. We used to sing this every year at graduation time when I was in high school and every year, without fail, I would be in tears.

If they want to re-do a song they’ve done in the past the way they redid Katy Perry’s “I Kissed a Girl” and Journey’s “Don’t Stop Believing”, they could have Rachel (again, if Lea’s up to it), Mercedes, and Artie reprise their cover of Charlie Chaplin’s “Smile,” with Puck filling in on the parts that Finn originally sang. The lyrics are especially poignant for this situation:

Smile though your heart is aching

Smile even though it’s breaking

When there are clouds in the sky, you’ll get by

If you smile through your pain and sorrow

Smile, well maybe tomorrow

You’ll see the sun coming shining through, for you

Another song that would be fitting and equally beautiful if they can’t or don’t want to reprise “Smile” would be Jeff Buckley’s version of Leonard Cohen’s “Hallelujah”. I always wanted Amber Riley as Mercedes and Kevin McHale as Artie to do this cover together and I think it could be lovely with Mercedes’ choir backing them in a funeral scene where Puck, Kurt, Mr. Schue, Mike Chang, Blaine, Sam, and maybe Burt Hummel act as pallbearers, carrying Finn’s coffin out of the church.

Then, close to the end of the episode, they can have Matt Morrison sing a song that was close to Cory’s heart that he desperately wanted to sing on the show: Foreigner’s “I Want to Know What Love Is.” I’d love it if they did the version Terry McDermott did on The Voice a couple seasons ago. They could have Matt as Mr. Schue perform the verses with Puck and Artie coming in on the chorus.

But here’s where things get tricky for this episode: how much involvement will Lea Michele, and subsequently Rachel Berry, have in the tribute? I will not begin to act as if I know what Lea’s feeling or how she’s coping with all of this. From what Ryan Murphy said in his interview, it sounds as if she’s ready to get back to work because she wants to be around people who knew and loved Cory and that she’s handling a lot of the planning of things like memorials and scholarships in his name behind the scenes. I give her all the credit in the world because I know I couldn’t handle any of this, especially while being in the spotlight, with the amount of grace and dignity she’s shown. It’s a lot to ask of a person.

So I don’t know if she’d want to be heavily featured in a Finn tribute episode, but the writers need to be very careful about how they go about writing Rachel into the episode if Lea does want to be in it. This is a delicate line they’re straddling here. I know for my own personal comfort (yeah, like that really means much to the cast and crew, I know) I would not want to see scenes of Rachel Berry crying over Finn’s death. It crosses the line from fiction into voyeurism given the real life romance between Lea and Cory. I don’t need to see Lea Michele grieving – that’s private. We can infer that Rachel would have broken down upon hearing the news of Finn’s death – we don’t need to see it. And the last thing the writers want, I’m sure, is for people to accuse them of exploiting Cory’s death for Emmy reel material because you know that’s what detractors of this show will say.

My hope is if Rachel is included in this episode, that they devote very little screentime to the character. If they go the funeral route for Finn, then show her briefly in the pews with Finn’s mom and step-dad, but no lingering camera shots on Rachel’s tear-streaked face; no wrenching, half-sobbed solos at the church or anywhere else. Glee really does not need to do anything that would overshadow the message of this episode, which is to pay respects to a talented actor who was in the prime of his life when it was cut short tragically and unexpectedly.

A classy way to end the episode, I think, would be to have Rachel go back to Finn’s house with his parents and have Carole tell Rachel that she’s welcome to take anything of Finn’s from his room if she’d like. Rachel could go into the bedroom and we can get wide shots of all the things in the space that remind us of Finn and the person he was: his football jersey on the back of his closet door, his drumsticks sitting on the dresser, the cowboy sheets on his bed, etc. She can go and sit on the bed, running her hands over the comforter and the show can smash cut to the scene in “Grilled Cheesus” when Finn and Rachel were making out in that room and she tells him he can touch her boobs and nothing else (a hilarious scene in context, I assure you), then smash cut back to Rachel picking up the jersey or the drumsticks (whichever), standing at the door of the room and giving it one final glance before switching off the lights and closing the door.  Fade to black. This gives Lea as Rachel a chance to close the book on the Finchel ‘ship without crossing the line too much into the personal. The show can intersperse some other Finchel flashbacks while she’s in the room so that Lea doesn’t even have to spend much time filming this scene and the previously aired material can fill in the emotional blanks.

Whatever the writers ultimately decide to do, my thoughts are with them. This is not going to be easy. I imagine that they are all grieving the loss of Cory Monteith just as much as his co-stars are and that they want to do the best damn episode they can to honor their friend. It’s a shitty situation that none of them could have foreseen and they’ll try to make the best of it. I want to reiterate that these are only my thoughts and opinions on how they should handle the Finn situation – no one else has to agree and the writers certainly aren’t wrong if they go and do something entirely different. Like I said, this situation sucks all around and any option they go with is inevitably going to feel “wrong” somehow or not adequate enough because it’s wrong that they even have to do this episode in the first place.

I haven’t watched Glee in over a year, but I will be back for this episode, one last time, to say farewell to Cory and then I’m out again. I never liked the character of Finn and thought he became a total tool from season two onwards, but I liked Cory in all the behind the scenes interviews I saw of him. He always came off so sweet and just so happy to be there. It was nice to see an actor so unaffected and so un-jaded. I’ll miss him. Here’s hoping the writers knock this one out of the park and that everyone affected by this loss can find some peace.


Lessons Through Life and Loss

I was going to write a blog post Sunday wrapping up and recapping Week 2 of Camp NaNoWriMo , but I made the mistake of going online first and saw the news that actor/singer Cory Monteith, who starred as Finn Hudson on Fox’s hit show Glee, was found dead Saturday. He was 31. I had been a hardcore gleek from Season 1 until I quit the show after its third season ended and though I never really liked the character of Finn, I liked Cory as a person. In every interview he did, he came off extremely down to earth and generous.

It was strange, but I was suddenly overcome with an overwhelming sadness for a guy I’d never met. I watched him every week for 45 minutes; he was only five years older than me. It’s surreal to think about him being gone.

But the harsh reality is this: we all have an expiration date. When our time is up, we die. Fame and fortune don’t change that. No one escapes the inevitable, no matter how talented they may be.

Because of that inevitability, it’s extremely important that every one of us makes the most out of every chance, every opportunity and gift we are given. One day you’re here and the next you’re not and everything that you meant to do and didn’t, well, it will be too late to do anything about it.

It put things in perspective for me. I’d been whining and feeling sorry for myself that my book wasn’t selling the way I hoped it would. I worked my ass off on that book, put all of my free time and passion into it, spent money that I didn’t have to buy the perfect cover for it so the outside would be as wonderful as the story I’d put inside it, and none of it mattered. In the end, it felt like a big failure. But you know what? I wrote a damn book. And that’s pretty freaking amazing if I do say so myself. Most people only dream about doing what I just did and yet never do – usually out of self-doubt or lack of ambition. I beat those odds. I said I was going to do something and I did it. For a lifelong flake who has a bad habit of starting stuff and then not following through, this was a feat of epic proportions – even if I didn’t sell 700 books in a few weeks (my cover designer’s friend just did that and damn…I’m impressed. And slightly jealous). Hell, I’ll be lucky if I sell 7 books in a few weeks.

Still, I had a dream and I went for it. It was crazy and a long shot, but I did it. And because I’m now reminded of how fleeting life is, and how quickly everything can be taken away, all of the things that I’ve put on the backburner are now being brought to the fore again: my acting, my music, my decorating business plans, all of it – it’s now my main priority. I was put here on this Earth to make art. If I never get an E! True Hollywood Story or a star on the Walk of Fame (two more dreams, by the way), at least I can say I did everything I could with the abilities I was given and made things that I was proud of.

So while my heart goes out to Cory’s family and friends after his untimely passing, I’m no longer sad for him. In the short time that he was with us, he accomplished so many incredible things, things most people could never imagine. He struggled with addictions, yes, but through that pain he created a character that resonated with so many people around the world and inspired countless kids to dream big.

He lived. Truly. And that’s a lesson we can all take from this terrible tragedy. To go after what we want, to live every second of our lives to the fullest, and to make art that speaks to us because when we’re long gone from this world, our artistic imprint will be what remains. And that’s beautiful. RIP Cory. You’ll be missed.

Preppy Little Liars by Amber Turner 50% Off at Smashwords until July 31st!

Preppy Little Liars Smashwords Page

HardBook Cover_Amber Turner_FRONT

Short description

Meg Little is determined to find the culprit behind Margaret Bean’s horse jumping accident which left the latter in a full body cast. The problem is, no one besides Meg and her best friend Stephen thinks the accident was anything other than it seemed. Worse, Margaret herself tells Meg to let broken girls lie. But Meg can’t – her sleuthing skills will be put to the test to solve this mystery.

Extended description

Meg Little desperately wants to be editor-in-chief of the Haverton Gazette after the former editor resigns to complete a stint in rehab for a raging Adderall addiction.

When Margaret Bean, Haverton Prep’s star equestrian, is bucked from her horse two weeks before regionals, Meg believes she may have found the story that will win her the coveted editorship. Margaret’s a gold medal-winning rider – she doesn’t make mistakes.

But the rest of the school buys her fall as an accident. Even the Gazette’s lead photographer and Meg’s best friend Stephen thinks the fall was innocuous – until Meg shows him a photo of Margaret’s horse sporting a cut saddle after Margaret’s fall. Clearly the “accident” was sabotage.

Meg’s prime suspect: Margaret’s teammate and Meg’s arch-nemesis Kitty Cooper. Kitty’s the only member of the team who was MIA after the fall and she’s acting way too shifty for Meg’s taste. Against Margaret’s wishes to let broken girls lie, Meg launches an investigation into the girls’ private lives convinced her amateur sleuthing will uncover the evidence needed to take down Kitty once and for all.

As regionals approaches and the investigation veers off in unexpected directions, Meg learns the students of Haverton are far more dangerous than their plaid skirts and blazers suggest – and all the little liars on Margaret’s team have something to hide.

If you have a Kindle and want to buy from Amazon’s Kindle ebook store, visit the book’s page here.

The book is also available in print at Amazon.com, BarnesandNoble.com, and Amber’s CreateSpace e-store.

Fear Itself (Or Why I Write Dark Fiction)


I love being afraid. It sounds strange, but it’s true. Ever since I was a little girl, I longed for the moment when someone would jump out from behind a closed door in the middle of the night and scare me.  I’d stay up late at night with a book by Koontz or King, crouched down on the floor beside a night light (I shared a room with my younger brother so the light was for him), and read macabre tales early into the next day. Halloween was my favorite holiday (and still is) and I imagined what I’d rename myself once I was made a kickass, punk vampire like the kids in The Lost Boys.

I loved werewolves, zombies, ghosts, demons, witches, clowns (yes, they count as monsters thanks to the murderous toy in Poltergeist and Pennywise in IT), and the aforementioned vamps. Serial killers intrigued me and possession stories dealing with Satan both fascinated and terrified me.

Strangely, I didn’t start writing my own horror stories until I’d reached adulthood. I spent most of my adolescence writing Emo poetry and pretentious literary fiction. I could read and watch horror all I wanted, but I couldn’t imagine crafting those kinds of stories myself. Every monster had been done before; every twist and turn already well traversed.

But that’s true of every plot in every genre of fiction. Originality doesn’t come from the story points and themes we use, but from our individual perspectives. No two people will ever see events happen the exact same way. We all have different filters through which we absorb and process information. Our surroundings – where we live, our families, our religions and cultures, etc. – help shape our worldviews and that worldview, our distinct voice, is what each writer brings to our work, separating it from another’s.

I don’t try to write the kinds of stories my childhood heroes wrote for that reason. I don’t see the world the way they do so I’d never be able to tell a tale the way they do. So I write about the things that unsettle me and make me uncomfortable. The things that horrify me on a personal level aren’t made up creatures (although I can still appreciate those kinds of stories when they’re well-written), but humanity itself.

People can be some of the scariest monsters on Earth.

My first completed novel was a supernatural suspense story about a second generation Haitian-American pre-teen girl in 1960s Louisiana who can “see” things about people: emotions, thoughts, desires, etc. The images she sees come to her in Polaroid-style snapshots in front of her mind’s eye and she sometimes doesn’t get the full scope of what these images mean until it’s too late. Such is the case when she forms an innocent childhood crush on the new teacher in town only to discover that the man in question is a child murderer.

There is a magical element to the story that involves hoodoo, a practice that most people believe is a sham, but what everyone can agree on is the disturbing fact that there are adults in the world who prey on young children. And as someone who has a burning desire to one day have children of my own, the idea that someone would hurt my child in this way terrifies me, especially if that someone was in a position of authority over said child.

It’s a universal fear many parents face. I’m a grown woman, but my mother calls or texts me at least five times a day to make sure I’m all right and no one has raped and murdered me in a dark alley somewhere. That’s her biggest fear when it comes to me because it’s such a common crime. My fourth grade teacher’s teenage daughter was raped and murdered the year before I entered her class and I remember how her grief, plus the stress of the trial, wore her down.

Being powerless to protect those we love is also a universal fear. It’s a common theme that pops up in not just my novels, but also in my short works. I recently wrote the first draft of a short story for this month’s Camp NaNoWriMo entitled “Child’s Play” where the main character, Maggie, is a widowed mother of a five-year-old boy who has an imaginary friend named Edgar who talks to him late at night. Only Edgar might not be so imaginary and Maggie’s son might not be so safe.

Abandonment and the fear of being alone is also something I like to play around with. A flash piece I wrote earlier this year that I plan to resume re-submitting to horror magazines next month deals with this very thing. In “When Daddy Comes Home,” Opal Brown will go to any lengths to keep her husband from leaving her and her young girls again. It’s safe to say, this story doesn’t end well for anyone involved.

All of these stories have Big Bads that are regular people just like you and me. These stories aren’t necessarily “scary” in the traditional sense of the word, but they are unsettling, discomforting, and definitely disturbing. This is why I write horror – to take my readers, and myself, to the darkest depths of the world we inhabit and embrace the scariness of our pending mortality because only then can we truly be brave when we’ve faced death and continued to live.

Question Corner: How to Become a Fiction Writer

Dear Indie Spirit Press,

I’ve always wanted to write novels since I was a little girl, but I never knew where or how to start. Can you give me some advice on how to begin? How does someone become a fiction writer?

– Clueless in Kentucky

This is a question writers get all the time, along with “Where do your ideas come from?” and “How long does it take you to write?” The answers to these questions are usually really general and very vague. The fact is, we writers don’t often like to share our secret rituals with outsiders. If too many people know how we do what we do, then it kills the allure of the author and no one wants that.

But since you have ambitions to join this illustrious world of words, Clueless, it’s only right that you know exactly what it is you’re signing up for. Below are the five ways to become an author of fiction:

1.       Acquire an addiction.  All writers have one. For some, it’s food; for others, it’s booze. Those vices are for amateurs. No – the real addiction you need to get is the addiction to caffeine. Coffee will become your best friend, keeping you awake at 3 am when your eyes are drooping and your body’s begging you for a reprieve from your uncomfortable desk chair; it will comfort you when every word you put on the page sounds like utter horseshit. If you’re not consuming a half pound bag of coffee grounds per day, you’re doing it wrong. If you’re a female writer with a baby and your kid gets milk when you breastfeed instead of a caramel latte, you need to rethink your commitment to the craft. Clearly, you’re not drinking enough so you can’t be writing enough.

2.       Which leads to this point: Forsake all others (routines that is). Some writers will tell you that in order to be a real writer, not just a hobbyist, but a professional, you need to write every day. Well bullocks to that! You need to write every second to be a professional fiction writer. Say goodbye to home cooked meals – the time you’d spend in front of the stove could be better spent at your laptop, hacking away at your opus. (They make Top Ramen for a reason.) And sleep? Ha! I gave that up ten years ago. Get yourself hooked up to an IV drip for nourishment (and the occasional energy booster) and a year’s supply of Depends and you’ll be good to go on your novelling adventure.

Note: if your family hasn’t put out an Amber Alert for you in the last 24 hours, you need to get back into your closet and write!

3.       Connect to your story in a personal way. This is a big one. The only time you should be writing something because it’s on trend or because it’s what someone else wants is if you’re writing on spec. You’ve got to write things that appeal to you on an individual level – however, you can’t make things up. Oh no, if you do that, the critics will complain that you didn’t adhere strictly to real world facts, regardless of the fact that you’re writing fiction which by definition means “not real.” No – if you want to write a story about, say, an axe-wielding psycho killer, you better find an axe and go Abe Lincoln on somebody’s ass or else you’ll get reamed for not being authentic. You’re supposed to write what you know after all.

4.       Edit until your fingers bleed. So many writers think that three to four editing passes are all they need to craft a publishable story. This is a myth. Real writers edit until they can no longer see the words on the page; until the story they end up with no longer resembles the story they started with; until their fingers go numb and a strange, crimson liquid makes its way onto the keyboard. You should be in physical pain by the time the story is done – if you’re not, you’re not yet finished. This process can take up to twenty years to complete so don’t panic if you reach what you think is the end of your story and realize that you don’t feel like keeling over.

5.       Sacrifice a small goat to the goddess Nobelalaureata during the solstice.  You must also be naked while doing this and preferably standing on your head while chanting the names of all the bestselling authors you wish to emulate. Once your bonfire has gone out and the goat has been thoroughly smoked, sit back and wait for your book or story to hit Best Of lists and the riches to start pouring in.

Note: this is not a Satanic ritual. You are not sacrificing your soul to the Dark Prince. That’s so passé. Not to mention, a raw deal. Look at Robert Johnson. He (allegedly) sold his soul to Lucifer in exchange for career success and most people had no clue who he was while he was alive. Even now, people are like, “Robert Who?” Yeah – he probably should’ve had an agent look over that contract before signing.