Lee Cushing's Blog, page 4

Character Interviews - Catherine McBride

On Joining The Trust

It happened a long time ago, my best friend Forrest had pissed off a Greek mobster Stefano Balasi who turned out to be a demonic disciple of the Pisachas cult. (Demon Vengeance). He was responsible for corrupting the first woman I had loved and turning her into a monster which I had to kill.
Finding True Love

That would be my Daphne. My soulmate and wife. She is the best thing in my life, She is my rock.

On Becoming Werewolves

After my Daphne was raped by an Adlet, the only way to save her was for both of us to become werewolves. (Pack Hunters)

On Anton Vladek

Anton can be ruthless but only because he cares too much about protecting the innocent. That's why he was named Vlad The Impaler for his commitment to fighting evil.

On Coming Out As Gay

I first came out in my early teens when I was only 13/14 and was disowned by my Dad who was pissed by my attraction to girls. After a number of short relationships with a multitude of girls, none of which lasted longer than a couple of weeks, until I moved to London.

Being published

My latest book, Velvet Love, is currently being published as we speak.. It's about an 1930's movie star who enters into a lesbian relationship with a school teacher.

I'm disgusted

A few days I learnt that the actress chosen to play the lead in the latest adaptation of Romeo and Juliet has bee n inundated with hateful comments because of the simple reason that she is black,

This is the 21st century and things like racism and hate deserve to be dead and buried in the past.

One can only applaud the cast (including Spiderman's Tom Holland) for making a stand such ugly hate that has no place in modern entertainment,

A LA Lesbian Werewolf In London

In the bustling, ever-evolving city of London, where tales as old as time intertwine with the modern pulse of life, a unique love story unfolds—one that defies not just societal norms but the very laws of nature. “A Lesbian Werewolf In London,” penned by the talented Lee Cushing, invites readers into a world where love battles against the odds, wrapped in a narrative that’s as heartwarming as it is thrilling.
A Bond Beyond the Ordinary
At the heart of this captivating tale are Michelle Fox and Amy Hunt, two souls connected by an unbreakable bond. Michelle, a human, and Amy, a werewolf, share a love that transcends the boundaries set by their very beings. Their commitment to each other is tested when Michelle fails to return home one night, leaving Amy in a whirlpool of fear and desperation.
The twist of fate comes in the form of a near-fatal motorcycle accident that leaves Michelle clinging to life. Faced with the harrowing choice of donating one of her lungs or losing Michelle forever, Amy stands at the crossroads of love and sacrifice. The choice she makes embodies the essence of love’s true power— the willingness to give a part of oneself to save another.
A Clash of Worlds
However, their love story is far from a simple tale of romance overcoming adversity. Author Lee Cushing masterfully weaves in the complexities of a world where werewolves and humans coexist in a fragile balance, often tipped by hatred and conflict. The hunters, sworn enemies of the werewolves, emerge as a formidable threat to Amy and Michelle’s future together, adding layers of tension and suspense to an already gripping narrative.
The author’s choice of setting—the gritty yet vibrant landscape of London—serves as the perfect backdrop to this saga, where the urban sprawl meets the wild remnants of ancient lore. It’s in this setting that the story explores themes of survival, identity, and the relentless pursuit of love in the face of daunting challenges.
A Tribute to Legends
Lee Cushing, a name that conjures images of two iconic figures —Christopher Lee and Peter Cushing—pays homage to these legends through a narrative that’s as much about love and sacrifice as it is about the thrill of the chase and the clash of titans. Readers familiar with the body of work of Christopher Lee and Peter Cushing will find nods to the actors’ legacy in the depth and dynamics of the characters and the story’s atmospheric tension.
“A Lesbian Werewolf In London” is more than a novel; it’s an experience. Through the lives of Michelle and Amy, Lee Cushing invites readers to question the nature of love and loyalty, and to consider how far one might go to save the person they cherish the most. The novel is a testament to the strength found in vulnerability, the beauty of a love that defies all odds, and the enduring power of sacrifice.
A Tale for the Ages
In crafting a story that merges the fantastical with the profoundly human, Lee Cushing has carved a niche that will resonate with readers long after the final page is turned. “A Lesbian Werewolf In London” stands as a beacon of hope and a reminder of the indomitable spirit of love that exists within us all, waiting for the moment to shine through the darkness.
This novel is a must-read for those who seek a story that combines elements of romance, suspense, and a touch of the supernatural. It challenges preconceived notions about love and loyalty, leaving an indelible mark on the hearts and minds of its readers. In a world that often feels divided by differences, Cushing’s narrative serves as a bridge, uniting us through the universal language of love.
So, embark on this journey with Michelle and Amy, and discover the power of a love that knows no bounds, a story that weaves together the threads of human and supernatural worlds into a tapestry of triumph, tragedy, and the eternal quest for happiness.

Interview

Tell us about yourself and how many books you have written.
To date over 50

What is the name of your latest book and what inspired it?
A Lesbian Werewolf In London- It was inspired h the movie An American werewolf In London with a lesbian twist.

Do you have any unusual writing habits?
I can become obsessive when trying to focus on coming up with fresh ideas.

What authors, or books have influenced you?
Anything involving Buffy, Doctor Who or Star Trek.

What are you working on now?
Night Riders – About a murdered bike gang who comes back from Hell.

What is your best method or website when it comes to promoting your books?
Still looking.

Do you have any advice for new authors?
Do not give up.

What is the best advice you have ever heard?
From the actor John Levene – Keep at it.

What are you reading now?
Buffy – Pretty aids All In A Row

What’s next for you as a writer?
I have a number of works in mind, don’t know which will be next.

What is your favorite book of all time?
Haven’t got a single favourite but Salam’s Lot is close.

Author Websites and Profiles
Lee Cushing Amazon Profile
Lee Cushing Author Profile Other Bookseller

Lee Cushing’s Social Media Links
Goodreads Profile

Gaza Love Review

You know I LOVE a good sapphic story and this one does not disappoint. I was very happy to receive a copy of this book, Gaza Love, and very intrigued by the title. Instantly, I dove in to give this novella a read so that I could tell you all about it. We are taken immediately to Gaza and quickly introduced to Katie and Nia in the middle of a war.
This is the fifteenth book in the “Girls Kissing Girls” series from author Lee Cushing. This is the first book I’ve read in the series but now I am very interested in going back to read the rest. This is a story that you will likely find tragic as well as transformative.
In the book, we are introduced to Kate, a committed humanitarian worker whose life’s purpose is to lessen suffering in Gaza’s war-torn areas.
Then we have Nia, a character that personifies the harsh realities of war. Nia, a mercenary by trade, lives her life under the constraints of survival and the need to make difficult choices. She is unparalleled in her ability to navigate the complexity of battle zones, yet beyond her stern demeanor is a complicated and fascinating inner life. Nia is quite clearly Katie’s opposite, from early on in the story.
Still, they are drawn to one another. They cross paths and an irresistible attraction that defies the chaos around them is sparked. In this story, we see Cushing explore the subtleties of love and the resilience it offers in the face of suffering. The connection between the two women is so strong and real, it’s hard not to want to root for them.
Even in the darkness of war and strife, they have found something beautiful in life – and in each other. Cushing’s ability to vividly depict the realities of life in a conflict zone is what makes “Gaza Love” so captivating. The contrast between Nia’s mercenary activities and Kate’s humanitarian endeavors serves as a moving reminder of the complex nature of conflict, where morality is frequently ambiguous.
As we read, we see that in the middle of the devastation and hopelessness, Kate and Nia’s love shows itself to be a resilient and unifying force. Their connection will make you reevaluate your assumptions about war and love. It tells the tale of two women who come from quite different backgrounds but who find comfort and understanding in one another.
With a kind yet unwavering hand, Lee Cushing tackles human emotion in his brave and sympathetic writing. More than just a love tale, “Gaza Love” is a meditation on the nature of humanity, the value of empathy, and the unwavering resolve of people who, in the face of overwhelming adversity, work to improve the world. it’s a quick read, but worth every minute.

Genesis - May 3421 BC

Left for dead after an attack on his settlement in which his people, including his wife, were taken away by bandits, a retired warrior, Chenzira seeks help from a local ruler, Amen-Ra. Overhearing the conversation between Chenzira and her father, Hathor heads down through a secret passage to caverns hidden beneath the palace where she is informed that the preparations for the ritual have been finished. Taking her place at an altar with one of the men from Chenzira's village tied to it, Hathor waits for her acolytes to assemble and sacrifices the man on the altar to summon the demon Bacchus. Stripping naked in front of him, she sucks on his cock before letting him fuck her and turn her into a vampire. Using acolytes working in the palace, Hathor is able to have a casket that she can sleep in during the day placed in her bedchamber without anyone knowing other than those loyal to her. Rising as sunset, Hathor fucks her handmaiden, Theoris, and turns her into a vampire. Managing to enter Amen-Ra's bedchamber after she has risen as a vampire, Theoris murders him and his two wives before fleeing from the palace. Informed about the murder of her father, Hathor declares herself ruler and orders the arrest of the man she claims killed her father, Chenzira. Suspicious about really happened, Hathor's sister, Jamila, convinces her bodyguard and secret lover, Tarik, to help her infiltrate the dungeon where Chenzira is being held to hear what he has to say. Becoming convinced of his innocence, Jamila and Tarik arrange for Chenzira to escape. Learning about Chenzira's escape, Hathor is able to identify Tarik as being involved and orders her palace acolytes to bring her to her bedchamber. Making him fall under her influence, she rides his cock before turning him into a vampire. Revealing that he was following Jamila's instructions, Tarik is sent back to her bedchamber where he fucks her and turns her into a vampire. Heading to the inn where she had arranged to meet with Chenzira after his escape, Jamila attempts to lure him into an ambush of Hathor's soldiers but he succeeds in escaping.

The President's Daughter (Trust Casefiles, #6

War Of The Worlds 1988 tv series

In the late 80s, CBS brought a new version of HG Wells’ classic alien invasion tale to the small screen. Set over three decades after the 1953 film version, this take on War of the Worlds starts with the revelation that the aliens weren’t killed by the microscopic bacteria, but merely placed into a forced hibernation. In a pleasing nod to Return of the Living Dead, the aliens are held in tiny drums until a terrorist cell attempts to take over a military satellite to broadcast their demands and inadvertently end up releasing some of the extra-terrestrials.

The aliens have a adopted new tactic: rather than straightforward annihilation of the human race, they are now able to take over human bodies – à la Invasion of the Body Snatchers – but find that they decompose quickly from radiation. When an attempt to liberate three remaining ships held in storage fails, three aliens (called the Advocacy) are left to contact their own world and begin a fresh invasion. A small band of scientists and military personnel, led by Dr Harrison Blackwood (Martin), whose parents were killed in the 1953 invasion, are the first line of resistance and defence.

Considering that this was a television series, there’s an impressive level of gore, with eye-gouging, melting bodies and enough violence to put The A-Team to shame. That these levels were achieved in spite of a meagre budget and the special effects abilities of the time makes it even more impressive. The acting is, mostly, purely diabolical and at times hilariously bad but this is perfect 80s cheese and the whole package becomes endearing. There are numerous winks to genre fans, with the production pilfering from other successful franchises – an alien trapped in a human body called Quinn whose character sounds decidedly like Willie from V and the Advocacy looking a lot like the zombies in Night of the Comet and Night of the Creeps, just being a couple of examples.

The only major downside to the package is that the episodes are only available in their original 1.33:1 aspect ratio, rather than the widescreen productions that we are used to today – but then be thankful that they weren’t panned and scanned. Extras are pretty much non-existent, with only episode synopses available. This is not an opportunity to relive classic horror genre television, but more a chance to embrace a time of excess where syndicated programmes like this were rare and given little time to grow. If you missed it when it was first broadcast, or even if you did manage to view any of the episodes, there’s enough of interest here to whet your appetites. Just don’t go expecting anything on the same level as The Walking Dead. Sit back, grab a six-pack and enjoy.

Sapphire & Steel - Assignment 1 - Part 1

All irregularities will be handled by the forces controlling each dimension. Transuranic heavy elements may not be used where there is life. Medium atomic weights are available: Gold, Lead, Copper, Jet, Diamond, Radium, Sapphire, Silver and Steel. Sapphire and Steel have been assigned.

Sapphire & Steel was originally created as a children’s series, something which is most evident in the opening story, as two children, Rob (Steven O’Shea) and Helen (Tamasin Bridge), are the people in need of help from the mysterious “time detectives”.

Production limitations (an incredibly low budget) helped to shape the tone of all S&S‘s serials. Small casts (with usually only a handful of main speaking roles), a handful of sets (only one of the six serials featured any location filming) and very limited special effects tended to be the order of the day.

The unsettling feel of this opening story is quickly established. The location is a large, comfortable and old-fashioned house. Whilst Rob is downstairs doing his homework, his mother and father are upstairs, reading nursery rhymes to their young daughter Helen.

The snatches of nursery rhymes used as incidental music is an indicator that the rhymes are designed to have a sinister, rather than comforting, air. The feeling of unease can also be seen on Rob’s face downstairs – he doesn’t know why he feels his way, he just does.

The fact that we don’t see the faces of Rob and Helen’s parents is a deliberate move, it helps to make their brief appearance another discordant element. When they vanish – after reading a nursery rhyme – Robert attempts to take charge (phoning for the police) although his constant reassurances to Helen that everything will be all right seems to be as much for his benefit as hers.

Shaun O’Riordan’s direction has a few notable moments, especially a long tracking shot – which moves from Helen, alone and frightened in the kitchen, down the corridor and to the front door.

The events so far have primed us for the arrival of Sapphire (Joanna Lumley) and Steel (David McCallum) and their first appearance is a memorable one. They adopt patterns of behaviour which will become familiar – Steel is brusque and business-like, whilst Sapphire is friendly and amusing.

The mystery of their arrival, as well as the fact that Steel knows Rob’s full name, is never answered – rightly so, since part of the tone of S&S depends on the fact that the title characters are inscrutable and unknowable. But although Steel regards the presence of Rob and Helen as little more than an irritation, Sapphire attempts to explain what’s happened and why they’re here.

There is a corridor and the corridor is time. It surrounds all things and it passes through all things. Oh you can’t see it. Only sometimes, and it’s dangerous. You cannot enter into time, but sometimes … time can try to enter into the present. Break in. Burst through and take things. Take people. The corridor is very strong; it has to be. But sometimes, in some places, it becomes weakened. Like fabric, worn fabric. And when there is pressure put upon the fabric….

Sapphire is rather more playful and frivolous in this episode than she’d later become. She changes dresses and hairstyles in the wink of an eye several times, something which impresses Rob no end (who’s already a little in love with her). But Steel’s on hand to bring the conversation down, telling Rob about the dangers in the house. “There are things – creatures, if you like – from the very beginnings of time, and the very end of time. And these creatures have access to the corridor. They’re forever… moving along it. Searching… looking… trying to find a way in. They’re always searching, always looking …”
(Archive Television Musings)

Return Of The Saint - Duel In Venice

This was my introduction to the Saint with a wonderfully evil villain played by Maurice Colbourne.

When the daughter of one of his oldest friends is kidnapped in Venice, the Saint faces a desperate race against time. Linda (Cathryn Harrison) has been abducted by Jed Blackett (Maurice Colbourne). Blackett and Simon have crossed paths before – five years ago in Mozambique.

Ever since, Blackett has been waiting for the opportunity to exact his revenge and Linda finds herself the unfortunate bait in his trap. Simon has just six hours to find the girl, but luckily for him he has assistance from an attractive taxi driver called Claudia (Carole Andre) …

Ian Ogilvy’s favourite episode, it’s clear that the star of Duel in Venice is the city itself. Had it been set in London it would have been a decent runaround but nothing special. The gorgeous sights and sounds of Venice make all the difference.

It’s a pity that the story bears some similarities with the previously transmitted episode The Nightmare Man (an adversary from the Saint’s past is out for revenge) but that’s down to the vagaries of scheduling I guess. And the problem of dubbing raises its head again – everybody (especially Maurice Colbourne) sounds like they’re dubbed for large parts of the episode.

Colbourne has a nice line in hysterical giggling and portrays Blackett as a completely deranged character. It’s by no means a subtle performance, but since his screen time is quite limited (he mainly just pops up every now and again to taunt Simon) it’s not really a problem. Cathryn Harrison has little to do except react to Blackett’s villainy with wide-eyed fear – such as when he fits her with an acoustic necklace (any loud sound would cause it to instantly tighten, killing her instantly).

So the bulk of the story is a two-hander with Simon and Claudia. Carole Andre gives a lovely performance as the headstrong, argumentative Claudia and it’s her local knowledge which helps the Saint to eventually track Blackett down.

We never find out exactly how Simon and Blackett originally met. Since Blackett is a mercenary and he claims that Simon left him for dead, the inference is that they were both fighting on the same side in some war. It seems an uncharacteristic thing for the Saint to have done, but there’s another moment in the story which does hint at a darker side to Simon Templar.

Early on, Simon approaches Guido (Enzo Fiermonte) for assistance. He’s a man of great knowledge and power (presumably a local gangster) but is initially reluctant to help, until Simon (with the aid of a gun) persuades him. When the Saint threatens to put a hole in his head, it’s possible to believe that he’s bluffing – but he might not be.

It’s easy to believe that Leslie Charteris’ Saint would have been prepared to shoot, since the literary Saint was a much more amoral, violent character (when transferred to television, the Saint was greatly watered down). This (and the reference to Mozambique) helps to imply that the relaxed, affable playboy that Simon Templar appears to be may not the whole picture. (Archive Television Musings)

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