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This chapter reviews the media's fascination with one of the most infamous women in Canadian history. Karla Homolka was found guilty of manslaughter in the deaths of two Ontario teenage girls in the early 1990s. Her husband, Paul Bernardo, was convicted on a number of charges associated with these deaths, including sexual assault and first degree murder. The chapter traces the initial print reports of the arrest, trial and sentencing of Karla Homolka; the application of the ‘Ken and Barbie’ moniker as a description of Karla Homolka and Paul Bernardo; and the characterization of Karla Homolka's sentencing as the proverbial ‘deal with the devil’. The media continued to pursue Karla Homolka long after she had completed her twelve-year prison sentence and was released into the community. The media's evolution in coverage of this case is described, and it is argued that Karla Homolka's treatment by the media was, and continues to be, an example of the kind of biased coverage that illustrates the gendered manner in which violence is conceptualized in our society, and calls into question the structural and systematic condemnation that is directed towards those women who commit violent crimes. This chapter emphasizes that the lens through which the media covers violent crimes for which women are accused and/or convicted is often clouded with vitriol and malevolence.

Monsters, from ghouls and zombies to shoggoths and Cthulhu, have always fascinated humans and have a prominent presence in cultural production. This is made clear by how much people enjoy Halloween events and dressing up as their favourite monster or the most recent trend of horror themed escape rooms, that include haunted houses, a zombie apocalypse or Lovecraftian monsters. Monstrous creatures represent the fears and desires of society and often embody the allure of danger, transgression and power. Monsters have long been used to construct certain images of the different/unconventional and thus represent anything diverse as the Other. Monsters, however, can be employed to invert or even overturn this relationship by empowering the Other and thus provide us with a more critical view on society in regard to our values, fears and attitudes. The stories and folklore about monsters and the monstrous that incite fear and remind us to always check under our beds before we sleep have also found their way into our everyday lives. Within the mainstream media, criminality is indicative of moral corruption, and is attributed with notions of monstrosity. These monsters do not have claws, instead, they are unpredictable, different and deviate from social and cultural norms. Like the mythical creatures in folklore, monstrosity in its human form reminds us to fear the future, the unknown, Others and society. The monstrous is centrally defined by its unfixedness, its resistance to conformity or to convenient schematic identification. It is somatically and intellectually uneasy, a restless disturbing embodied thought that unsettles, and whose greatest value to us is its very indeterminacy. This chapter illustrates the shifting shapes of the monstrous, their makers, and offers insight about what we can learn from studying these cautionary noetic chimeras. Drawing on the diversity of our academic backgrounds, ideological perspectives and the research from our individual chapters, we address the contemporary narrative of the figure of the monster. Rather than an essay style examination, our chapter explores this narrative through a question and answer format. The flexibility of this format allows readers an intimate glimpse into the ways in which the monstrous can be conceptualised and understood in various frameworks.