{"id":628,"date":"2026-05-26T13:11:50","date_gmt":"2026-05-26T13:11:50","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=628"},"modified":"2026-05-26T13:11:50","modified_gmt":"2026-05-26T13:11:50","slug":"victorian-psycho-explores-how-far-audience-is-willing-to-root-for-revenge-against-the-patriarchy","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=628","title":{"rendered":"\u2018Victorian Psycho\u2019 Explores How Far Audience Is \u201cWilling to Root for Revenge Against the Patriarchy\u201d"},"content":{"rendered":"
\n<\/p>\n
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\n[The story contains spoilers from the Victorian Psycho<\/em> book by Virginia Feito.] <\/strong><\/p>\n

\n\t\u201cIn three months, everyone in this house will be dead.\u201d <\/p>\n

\n\tIn her novel Victorian Psycho<\/em>, author Virginia Feito is anything but subtle as she warns readers the story they\u2019re about to embark on may not be for the faint of heart. The novel, set in the Victorian era,\u00a0centers on Winifred Notty who becomes the new governess for the wealthy Pounds family, tasked with watching over the children. However, danger is lurking for the family as Winifred is a psychopath with an intent for revenge. Writing as a way to give a \u201cfun wink\u201d to her \u201cfavorite literary psychopath\u201d in American Psycho<\/em>, Feito blends dark humor with gothic horror in her \u201cover the top\u201d tale centered on \u201crevenge against the patriarchy.\u201d <\/p>\n

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\n\t\u201cThe humor part of it was selfishly for me to get through the guts and violence of it,\u201d Feito says of writing the gruesome elements of the story. \u201cA lot of it was because I really felt it was important for her as a character to draw the reader in, but also to manipulate the reader. Psychopaths are very charming and glib, and superficially. So my idea was that she would use humor to manipulate and charm us into being on her side, then turn on us, and we would feel conflicted about it.\u201d <\/p>\n

\n\tIn addition to writing the 2025 novel, Feito also wrote the screenplay for the film adaptation directed by Zachary Wigon and starring Maika Monroe as Winifred. Ruth Wilson, Jason Isaacs and Thomasin McKenzie also star. After finishing the novel\u2019s first draft, Feito says she emailed Wigon for his take because she trusts him as a storyteller. After reading, Wigon was insistent they bring the story to life: \u201cI thought he was going to help me out with a lot of stuff, and boy, did he! He really liked it and was like, \u2018I think we could do this as a movie.\u2019\u201d <\/p>\n

\n\tThe film, distributed by\u00a0Bleecker Street and releasing to theaters on September 25, premiered at Cannes on May 21. In his review, THR<\/em> critic David Rooney said there are the \u201cfaintest echoes of\u00a0Wuthering Heights<\/em>\u00a0and\u00a0Jane Eyre<\/em>\u00a0in the Yorkshire Moors setting\u201d of the film with Monroe\u2019s Winifred \u201cdialed up to maximum madness from the minute we meet her.\u201d <\/p>\n

\n\t\u201cShe just completely enveloped her and became this Winifred who I\u2019m personally in love with,\u201d Feito says of the Reminders of Him <\/em>star taking on the role of the psychopathic governess. <\/p>\n

\n\tIn an interview with THR<\/em>, Feito chats about writing the psychopathic governess with dark humor, adapting the novel for screen and exploring the psychological depth of complex characters. <\/p>\n

\n\t***<\/p>\n

\nEven if you know nothing about the story, the novel\u2019s title grabs you and seems to wink at American Psycho.<\/em> Was it intentional to give readers some kind of warning or did the title come after already having written the story?<\/strong><\/p>\n

\n\tNo, I think it came earlier on, and I didn\u2019t really overthink it. I think I should have, because I feel like I walked myself into a trap accidentally, and now I\u2019m having to kind of explain how I wasn\u2019t setting out to write a companion necessarily to American Psycho<\/em>. I didn\u2019t think of any connection beyond the fact that it\u2019s narrated by a psychopath. It was basically a fun wink to my favorite literary psychopath, and how that book just really affected me in the best way. That\u2019s one of my favorite novels.<\/p>\n

\nCan you talk about how this story came to be? What inspired you to create Winifred and all that was in store with her?<\/strong><\/p>\n

\n\tUsually, I\u2019ll be looking for not really plots as much as voice, in the sense of how to write the book. The way I knew how I could write it came to me in one line, which is still in the book, which is she sensed something about how her breasts are jiggling in her corset at the very beginning, and it\u2019s really stupid and simplistic, but I then saw what the voice is, and it\u2019s going to be with that passive-aggressive, somewhat anachronistic tone. She\u2019s this very sassy, sarcastic character, and it\u2019s first person and it\u2019s going to be [a] Period [piece.] Then I assigned her a job as a governess, and a mental health condition of a psychopath. I remember I was rereading McGlue<\/em> by Ottessa Moshfegh and that was a huge inspiration, in terms of that unique voice, urgent kind of narrative, also a period piece. It felt so modern and raw. There was something in there that I really wanted to do, and I\u2019ve always loved the Victorian era. I thought, if I was gonna make a fun kind of sassy wink at an era, what era would it be?<\/p>\n

\nWe start the book with the line \u201cIn three months, everyone in this house will be dead,\u201d which I found interesting, given that the ending is basically told to us right at the beginning. Did you always know you wanted to start the story with that reveal to the reader? Can you talk about that decision?<\/strong><\/p>\n

\n\tYeah, that also came out of the voice of this character, and also because of the Victorian literature. I think early on I was rereading a lot of Dickens, especially A<\/em> Christmas Carol<\/em>. The book is set during Christmas, and it\u2019s like a countdown to Christmas, essentially. There\u2019s this whole thing [of] past, present, and future ghosts. Winifred is telling us about her past and present, and she has these hallucinations where she believes she can see the future, so I had that thread running through the story as well. My favorite novel ever is The Secret History <\/em>by Donna Tartt, and that is a whydunnit and the prologue tells you who killed Bunny, who the victim is, how he died, who killed him,l. You have literally the entire novel to figure out why. As a very curious person, that really appeals to me. I don\u2019t need the what or the who, but the why<\/em> is the most fascinating to me.<\/p>\n

\nHistorically, societal constraints existed during the Victorian era. How did it shape the psychology of your protagonist?<\/strong><\/p>\n

\n\tOh, very much. I was doing all this research before I even got to writing it. I was just reading all day, and I was getting into this weird, aggressive mood, feeling how bad women have had it, and how awful children were abused legally in this era. I was like, \u201cWhy are you so angry? This doesn\u2019t feel relevant anymore.\u201d But it really felt very, very relevant to me while I was doing this research day in, day out. It was the beginning of COVID as well, so I was locked in my apartment. It was a really weird kind of vibe, and I guess my defense mechanism and my weapon is humor. I started to think it was all kind of funny in a very awful, violent, abusive way, and so that fed into the tone of Winifred\u2019s personality, where it was all just so violent that it started to be ridiculous [and] really over the top. The Victorian era is also so aesthetically beautiful and pleasing, with all those big skirts, fabrics, candles, and cozy Christmas vibes. But then they\u2019re killing all the babies.<\/p>\n

\nWinifried offers dark humor, but as the story showcases her unsettling behavior, thoughts, and actions, I think it can be hard to know how you feel about this character. Did you want readers to feel conflicted about whether to sympathize with her?<\/strong><\/p>\n

\n\tI really did hope that they would have this conflict, and you\u2019re one of the first people who told me you\u2019ve had a conflict with it. Most people will be like, \u201cYou go girl! Kill everybody!\u201d because you\u2019ve had a hard time and women were abused. But then I\u2019m like, \u201cBut what about the innocent women she murders? And the babies and children?\u201d I understand that revenge against the patriarchy is very satisfying, and that whole aspect of revenge horror is great, but I was also questioning if maybe it\u2019s not justified. Or that\u2019s what I was hoping. Any layered complex reading of it makes me very happy. I certainly try to write it in a way that would make you wonder how far you would be willing to root for revenge against the patriarchy. What\u2019s the limit?<\/p>\n

\nIt\u2019s worth noting that she also uses humor to manipulate us as readers. She talks to the reader, but it makes it even more intriguing and complicated that we\u2019re following this story with an unreliable narrator. Can you talk about getting into her psyche and how you wanted to play with readers through her voice?<\/strong><\/p>\n

\n\tYeah, you\u2019re so right. The humor part of it was selfishly for me to get through the guts and violence of it. A lot of it was because I really felt it was important for her as a character to draw the reader in, but also to manipulate the reader. Psychopaths are very charming and glib, and superficially. So my idea was that she would use humor to manipulate and charm us into being on her side, then turn on us, and we would feel conflicted about it. I\u2019m so glad you picked up on that.<\/p>\n

\n\tI love in Victorian literature when they talk to the reader. [For example] \u201cDear reader, I married him.\u201d I thought if she does that, then she\u2019s going to be using the humor in that way, and she\u2019s also going to be winking at the reader, or telling the reader, \u201cDon\u2019t be so gullible.\u201d Why not just talk to the reader and go further? One of the things they say about psychopaths is they don\u2019t feel fear, at least they don\u2019t feel fear the same way that we feel fear. I thought, what a delight, honestly, to live your life with no fear. I\u2019m a person who\u2019s afraid of everything. It was so delightful to try to get into a character who doesn\u2019t give a shit, and feel fear. She\u2019s been trained to hide it because she knows there\u2019ll be consequences that are a drag for her.<\/p>\n

\nThis novel is getting the adaptation treatment. At what point did the adaptation conversation begin?<\/strong><\/p>\n

\n\tI knew Zach, the [film adaptation\u2019s] director, from before. We had been talking about writing something together, working on stuff together, and as soon as I finished the first draft of Victorian Psycho<\/em>, I emailed it to him genuinely for his take on it, and because I really trust him as a storyteller. I thought he was going to help me out with a lot of stuff, and boy, did he! He really liked it and was like, \u201cI think we could do this as a movie,\u201d and I was like, \u201cReally?\u201d There\u2019s so much I didn\u2019t know. It was hard to adapt to the screen, I think, because it\u2019s so stream-of-consciousness. So that was really early. It was even before it was edited into the final version.<\/p>\n

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\nAt what point did you decide that you wanted to be the one to write the screenplay for it?<\/strong><\/p>\n

\n\tWe\u2019d already been talking about working together with me writing and him directing. We\u2019d been trying to develop some ideas, and I had already been attached to write the adaptation of my debut novel, Mrs. March<\/em>. So, I guess it\u2019s like, well, someone out there thinks I could do it. Zach certainly was very clear that we work together, and that I write the script, and under his guidance, otherwise I would have crapped my pants and run for the hills!<\/p>\n

\nYou just mentioned how the novel offers that stream of consciousness, which could be difficult to translate on screen. Can you talk about showcasing Winifried\u2019s voice for the film?<\/strong>\n<\/p>\n

\n\tYeah, we discussed many options. We even questioned, like, should she [Winifred] break the fourth wall? We considered all of those options, but ultimately just having the spirit of that kind of weird, creepy humor in her dialogue in the script was fine for me. Because then the actress, Maika Monroe, made it her own Winifred. She just completely enveloped her and became this Winifred who I\u2019m personally in love with. I\u2019m going to get a restraining order from Maika probably because I\u2019m so in awe of her and what she did (Laughs).<\/em> I\u2019m sure many people will say it\u2019s not exactly the same Winifred as in the novel, but that makes me so excited. It\u2019s like the voice of Winifred translated into another language. I\u2019m sure some things have to be lost or replaced, but other things are so new, fresh and amazing.<\/p>\n

\nWere there any changes in the adaptation that you felt offered a meaningful evolution of the original story?<\/strong><\/p>\n

\n\tSo many. Zach is really great at filtering what needs to be said and what doesn\u2019t, which is great, because I\u2019m incredibly indecisive. A lot of it, I thought, was smartly translated to film, and not just with Winifred herself, but plot-wise. I think that all tied up really well. I can\u2019t give you a clear answer because there are so many things that I don\u2019t want to spoil. But no, it\u2019s totally better. I feel like the movie has an elegance to it, also visually, because Zach and the amazing director of photography, Nico Aguilar, had such excellent taste. It translated visually in such a sophisticated way. The atmosphere that was important in the book is important in the movie, and it feels very, very much taken care of in that way.<\/p>\n

\nHaving written the original story, you already have your own perspective and intentions, but I imagine hearing others\u2019 thoughts can offer unique insights. How did collaboration with the director, cast or film\u2019s team reshape your understanding of the story? Were you given any interesting takeaways you hadn\u2019t realized before?<\/strong><\/p>\n

\n\tYeah, that happens for sure. I organically just see them as different stories. I\u2019ve grown with it [the novel] and learned about it on my own, so I feel like I know it better than anyone. But for the film, it\u2019s just completely different. It\u2019s teamwork from the get-go. Everyone was so talented in this movie. I just loved every single input because I admire them so much. All their opinions were, like, 99.9 percent or 100 percent of the time really fucking interesting. And a lot of things that I was like, \u201cShit, I should have thought of that for the novel.\u201d Some that I managed to maybe edit in. I think I\u2019ve just been very spoiled.<\/p>\n

\nWas there anything that you were able to really explore in writing the film that you couldn\u2019t in the book?<\/strong><\/p>\n

\n\tMaybe certain visual devices, especially in horror. I love horror and I love horror imagery. Certain visual moments that I couldn\u2019t have really described in the book, or it would have been too confusing or weird, I felt like we could brainstorm on and put in the movie.<\/p>\n

\nWhat did you learn about the development process that surprised you, particularly as a first-time adaptation?<\/strong><\/p>\n

\n\tI am very surprised that any movie ever gets made. It\u2019s a miracle. It\u2019s insane. It\u2019s so hard to make things work. \u2014 with everyone\u2019s schedules; everyone rowing in the same direction; everything working and to find a fantasy; and to find the people to back you up, it\u2019s deranged. It\u2019s amazingly difficult. Even now, they\u2019re still going at it strong since we finished shooting months ago. It\u2019s a huge endeavor. It\u2019s insane that movies exist. I\u2019m in awe. I love movies, I thank the movie Gods. I don\u2019t know why I got to do one, but I\u2019m very lucky.<\/p>\n

\nWe\u2019ve seen anti-heroines on screen before, but Victorian Psycho<\/em> pushes that archetype into much darker territory. Having written two antiheroines, what do you think it is about stories with psychological extremes that\u00a0 fascinates and resonates with readers so much?<\/strong><\/p>\n

\n\tI do think we are drawn to complexity, especially psychological complexity in characters, as has been proven time and time again with the most beloved shows, movies and books. The most recent example I can think of is Succession<\/em>, where they\u2019re all technically, traditionally unlikable characters, but we\u2019re all front row eating popcorn like, \u201cWe\u2019re with you, Kendall!\u201d We just want to watch, we want to know because the more complex and layered, the more it might remind us of ourselves or of our own complex situations, and things that we\u2019re proud of in ourselves and that we\u2019re kind of ashamed of. The more deeply you dig in there, the more connection you can have with the audience or reader \u2014 maybe that\u2019s why a lot of them want to defend Winifred. They feel like they might also feel similarly or they want to protect her because she has been abused by this society. <\/p>\n

\n\tAlso, psychopaths and true crime, we\u2019re just really obsessed with it. Some people say it\u2019s morbid. I don\u2019t. I think it\u2019s curiosity in a good way. Curiosity to understand how that could happen to either survive it if we\u2019re attacked \u2014 especially women because women make up like 90 percent of true crime \u2013or maybe because we\u2019re trying to learn, so we can avoid making more psychopaths in society in the future. We feel so safe that we would never do anything that corrupt, that it kind of makes us feel good about ourselves. I think it\u2019s interesting, and I don\u2019t judge anyone for being totally fascinated by psychopaths.<\/p>\n

\nYour novel Mrs. March<\/em> is also getting the adaptation treatment, with you writing. Can you give an update on that?<\/strong><\/p>\n

\n\tI can give an update! There\u2019s a script that has gone through a few drafts and might be getting edited and revised, but nothing else that I can confirm.<\/p>\n

\nBecause you now have your books getting the adaptation treatment, I, of course, want to ask you, do you have a favorite book adaptation?<\/strong><\/p>\n

\n\tOh man. I mean, I honestly have a lot. Nobody ever says this, but I have seen many movies that I\u2019ve enjoyed more than books. The one that comes to mind more strongly right now is the 1994 Little Women<\/em>. I love that movie even more, way more actually, than the novel, and I grew up with it. Same with The Shining.<\/em><\/p>\n

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\nVictorian Psycho<\/em> releases on Sept. 25. <\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Victorian Psycho author Virginia Feito talks her tale of revenge with dark humor and going from novel to screen adaptation with Maika Monroe.<\/p>\n","protected":false},"author":1,"featured_media":375,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[36,643],"class_list":["post-628","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-books","tag-victorian-psycho"],"yoast_head":"\n\u2018Victorian Psycho\u2019 Explores How Far Audience Is \u201cWilling to Root for Revenge Against the Patriarchy\u201d - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=628\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018Victorian Psycho\u2019 Explores How Far Audience Is \u201cWilling to Root for Revenge Against the Patriarchy\u201d - 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