Mr. Robot – Season 3, Episode 2: “eps3.1_undo.gz”

USA’s Mr. Robot
Season 3, Episode 2: “eps3.1_undo.gz”
Directed & Written by Sam Esmail

* For a recap & review of the previous episode, “eps3.0_power-saver-mode.h” – click here
* For a recap & review of the next episode, “” – click here
Screen Shot 2017-10-19 at 1.40.26 PMIt’s a brand new day. Elliot (Rami Malek) wants to undo his part in the “downfall of human civilisation.” Today, he’s headed up to the inner sanctum of Evil Corp. He’s found a “way to hit undo.” Angela (Portia Doubleday) was able to land him a job. He’s working from the inside out. He wonders if he’s able to keep Evil Corp in check, so long as they’re a “necessary evil” he can control. He’s growing up, medicating, partaking in the realm of “2D emotions” everyone else was living in around him.
It’s not selling out. It’s maturation, as well as figuring out a way to undo what he did in the Five/Nine hack. Likewise, he wants to avoid Tyrell’s (Martin Wallström) plan of destruction. He sets out to try convincing the upper-ups to go digital with their records, converting from paper records. When one dude won’t listen, he digs into his shady secrets, gets him arrested, then goes up the corporate food chain.
So for now it’s live that life, the supposedly normal life, while he keeps on going. The next bureaucrat goes down, as he pushes his agenda higher while manipulating the shipping of the records. Luckily everybody around Elliot is pretty much an idiot socially, where his social anxiety comes in handy.
Finally, he gets up the ladder to one of the women. She’s the one to listen, setting the wheels in motion to get Elliot’s plan moving. He’ll soon talk to the VP of Technology at E.Corp. After this, he’ll be further on the way to undoing the hack, and when E.Corp reboots, they’ll also be free of embezzlers, sexual harassers, and so forth. “Making it better,” not destroying it and never looking back.
Screen Shot 2017-10-19 at 1.42.07 PMScreen Shot 2017-10-19 at 1.50.36 PMBut it’s not all roses. His loneliness, his mental illness won’t just go away. He spends the night weeping, alone, stuck in a void. The drugs can’t fix everything, and he’s struggling. He still sees Krista Gordon (Gloria Reuben) for therapy. Yet he forgets his own birthday. He’s fractured, wondering if the disappearance of Mr. Robot (Christian Slater) is what’s done this to him, even if things are relatively better. He tells Krista about a time with Darlene (Carly Chaikin) when they were younger, their love of Home Alone; also the day dad pushed him out a window, breaking his arm. Krista is shocked, she’s never heard of this before.
Frank Cody (Erik Jensen) has Joanna Wellick (Stephanie Corneliussen) on his show, after Scott Knowles has been arrested on charges of his wife’s murder. Joanna talks about her husband, that she knew he was innocent, as well as the fact she’s rescinded her petition for divorce from Tyrell.
In the meantime, a new fsociety has gone online. They’ve got a new plan, it says. Darlene is in custody, the video says they’re “malicious,” so who’s doing it? Dominique (Grace Gummer) and Agent Santiago (Omar Metwally) believe she knows more, they also mention her brother’s connection to Tyrell. Darlene doesn’t believe it. This requires her hearing a call between Wellick and Elliot to know the truth.
Later, Mrs. Wellick and Mr. Sutherland (Jeremy Holm) are followed by her boy toy, mad that he was lied to, that he was conned into helping her get her husband free of the charges. However, Mr. Sutherland tries convincing him not to get too upset. So the boy toy shoots the guy, before putting a bullet in Joanna’s head. Holy fucking shit.
Screen Shot 2017-10-19 at 2.05.33 PMOut on the pier, Darlene meets with Elliot. She wants to stay close, he pushes her farther. He believes she’s his “trigger.” Although he loves her, he knows the brings on his illness worse when they’re together. She claims to be leaving, going upstate. They reminisce about Kevin McCallister the snowman, the one they made that day dad pushed him from the window. And then he realises he needs her around, no matter about any emotional triggers.
Phillip Price (Michael Cristofer) gives a speech at the G20 in Turkey, talking of a “currency war” on the Chinese end when they won’t sign an accord to accept eCoin as the global currency rather than Bitcoin. In the audience sits Mr. Zhang aka Whiterose (BD Wong). He’s not happy, nor will he bow down. He wants his UN vote, or else. When Phillip gets angrier, Zhang brings up Angela, which does not sit well.
Whiterose: “Dont mistake my generosity for generosity
We see Elliot trying to get Krista to talk with Mr. Robot. She coaxes him out, then he’s there in the room, her patient changing into his father before her eyes. He’s not entirely forthcoming. He’s angry at her, too. Believing she wants to destroy him. Krista would rather understand, to help Elliot. She does begin seeing the depth of his mental illness.
But there’s worse things happening. Darlene seems to be cooperating with the FBI, after meeting her brother earlier. Things are changing. Elsewhere, Whiterose decides Stage 2 will go ahead, no matter what the UN vote outcome. He has a deep hatred of Price’s hubris.
Oh, and Elliot – he’s sent the FBI an encrypted link via e-mail, and he’s sneaked into his sister’s apartment while they’re watching. Hmm.
Screen Shot 2017-10-19 at 2.21.00 PMThis episode shocked me with Joanna’s death, and even more than that it was a crazy ride the whole way through, so much poised to happen/already happening. Things are ramping up for a very serious, exciting Season 3.
“” comes next week.


HELLRAISER: Come to Daddy

Hellraiser. 1987. Directed & Written by Clive Barker.
Starring Andrew Robinson, Clare Higgins, Ashley Laurence, Sean Chapman, Oliver Smith, Robert Hines, Frank Baker, Kenneth Nelson, & Gay Baynes.
Rivdel Films/Cinemarque Entertainment BV/Film Futures
Rated R. 94 minutes.

Hellraiser1Clive Barker is one of the most unique horror writers in literature, his perspectives and the way he understands the horror of people just as well as he does that of demonic spirits and other monsters are what make his brand of scary so visceral, even if it’s just his words on the page. He holds power as a writer, in his ability to cut to the core of humanity, no matter how deep into the supernatural he winds up going in any given story.
Starting as his novella The Hellbound Heart, the story became his own screenplay for Hellraiser; his directorial debut. And he took the genre world by storm, thrilling and disturbing in equal measure, and these aspects of the film aren’t mutually exclusive. Part of the film’s excellence comes out of its taboo-ness, its depiction of everything from abusive love to the sometimes dangerous links between sex and death, pain and pleasure.
Ultimately, it’s the utter existential horror within a film dealing in the supernatural that sells Hellraiser as so horrifically effective. No matter how you feel about it, regardless you’ll remember the first time you saw it. Barker immediately drops us into this hellish landscape of his creation, never once letting go up to the final frame.
Hellraiser2This is like something ripped from a Freudian nightmare. Frank (Sean Chapman) is a man interested solely in hedonism, living his life in pursuit of the flesh. To a hideous degree. So much so, he becomes the personification not only of the sex drive in man, but also the death drive; speeding headlong into death, self-destruction, all via lust. This journey into the heart of pleasure leads him only to the terror of death, a violent and painful corporeal reckoning. This calls to mind la petite mort – the little death – which links the concept of the orgasm to death, a loss of consciousness, a brief, little death, as it were. Frank experiences much more; a real death, a big death.
Within all this is the idea of knowledge, as a potentially dangerous force. The BDSM aesthetic of the Cenobites shows off the dichotomy of sex and death. But it’s their purpose as characters in Hellraiser that speak to knowledge in this manner. Here, knowledge is of carnal origin, a transformative power, in that it is a painful process. To know everything, one must experience everything: the good and the bad, sweet with sour, and of course, pain alongside pleasure.

“Come to daddy”

A huge theme, obvious with the sopping wetness of Barker’s gory imagery, is that of the desecration of bodies. The story juxtaposes lust for the body v. the bloody destruction of the body. This is mirrored in the larger theme at play, concerning abusive, dominant love; BDSM is a perfectly healthy thing for people to enjoy, so long as they’re safe, consensual, et cetera. However, BDSM can often be perverted into a one-sided, abusive relationship, where the signs of BDSM are present yet the intentions and respect for one partner is completely gone.
Frank and Julia (Clare Higgins) represent the ultimate destructive love, built on lust. The power of their lusty love reaches from beyond the grave, the intense physical connection they share driving her to gruesome acts. In a macabre irony, sex and pleasure is what kills Frank, in turn what allows him his return to the corporeal world: Julia uses lust, the gaze and sex drive of men, to exert her own death drive, which also leads to the reincarnation of her dead lover.
Frank’s need for blood is symbolic of the draining effect an abusive, brutal relationship can have on a woman. Although Julia doesn’t give her own, she must give Frank blood he needs to become whole again, as it is in abusive relationships; the abuser uses the abused to make themselves feel whole, or good. Frank, then, is a metaphor of the abusive lover, surviving on the blood and pain and suffering of others, at the real cost of his subjugated lover.

“Jesus wept”

Barker goes hard at Christianity, poking around at the idea of BDSM relating to seeming celebration around the crucifixion of Christ that religion seems to perpetuate, particularly the Roman Catholic Church. What he does best in this film is subverting Christian iconography, turning the Cenobites into not just a group of supernatural creatures from a psychosexual realm, but a pseudo-religious convent built on sexual terror. First, we see the Christmas light shrine of a Jesus statuette in Frank’s room. Then there’s Larry catching his hand on a nail, bleeding profusely, mimicking and mocking the wounds of Christ nailed on the cross. And finally, the above quote from Frank inside his brother Larry’s skin, which is the shortest verse in the Bible; this is linked to the tale of Lazarus, whom Jesus raised from the grave after his weeping.
In addition to viciously satirising Christianity, Baker’s film merges body horror with the supernatural. The house becomes a carnival of terror, the tone of the film is dark and dangerous feeling like anything could be around the next corner, foreboding dread surrounds the characters. It’s the nasty gore, the bodies being ripped and torn and generally brutalised, and the menacingly oppressive atmosphere, that compliments all the heavy themes within the story. No space in Hellraiser is ever safe, there’s no rest for either the audience or the characters.
You can’t go wrong with this film. It’s one of the greatest of all time, and definitely out of the ’80s. This is perfect for a dark, stormy night, when the wing is howling at the door and in through the cracks, and you’re already feeling paranoid. Pop this one in, let the cathartic fear commence.

Channel Zero – Season 2, Episode 5: “The Damage”

Syfy’s Channel Zero
Season 2, Episode 5: “The Damage”
Directed by Steven Piet
Written by Harley Peyton & Lisa Long

* For a recap & review of the previous episode, “The Exit” – click here
* For a recap & review of the next episode, “The Hollow Girl” – click here
Screen Shot 2017-10-19 at 11.23.14 AMMargot (Amy Forsyth) and Jules (Aisha Dee) drive away from the No-End House, seemingly free from its haunting horrors. They’re out again. However, they’ve got no idea that John (John Carroll Lynch) escaped with them. On top of it all, the house was feeding on their memories, they barely have any left.
Speaking of John, he’s out lurking around someone’s backyard, waving to the little girls. A concerned dad comes out to confront him, so John goes on his way. A cannibal, feeding off the memories of others, out in the real world.
When they head back to Margot’s place, the girls are both freaked out. Their memories all slipping away. Margot calls her mom (Corrine), they get to talking: mom reveals dad’s death by allergy, his actual suicide, helped them in a dire financial team, allowing them to keep the house. A terrifying sacrifice to save his family.
Im sure he did it for us
Screen Shot 2017-10-19 at 11.28.04 AMKnowing the truth doesn’t set Margot free, she’s weighed down by it. She doesn’t want to keep carrying the burden of knowing. Jules talks about the previous summer, after John’s death. She hated seeing Margot “getting attacked by a beast” mentally, in brutal pain; she admits to running away from it, her friend. Meanwhile, just outside, dad is lurking, and he’s very, very hungry. Ravenous, in fact.
Out of nowhere, Seth (Jeff Ward) arrives, warning Jules: “Hes in the house.” Dear ole dad slips in while Margot sleeps. He’s feeding again, draining those memories while she rests. Memories of her old dog. And soon enough, a black puddle on the floor opens up, birthing an eerie looking thing. One which John starts tearing apart to eat. Seth cracks him over the head. They’re all worried about him being out in the real world.
Dad wants a family again. Margot doesn’t want to be fed upon anymore. They’re not sure what to do with this… creation. They’re not free from the No-End House if it follows them out into the world. She asks him to go into the basement until they can figure it all out.
But papa ain’t happy. And he’ll just get hungrier.
Screen Shot 2017-10-19 at 11.36.37 AMSeth tells Margot the only sure way to get John back into the No-End House is if she leads him. Fuck that. Neither she or Jules is willing to go back there. It could mean getting trapped inside, all over again. If the house disappears for another year, dad is left in the real world, and who knows what’ll happen then. So, they might have to “kill him.” A cruel twist of fate: losing your dad to suicide, then having to kill him, too. We also hear more of Seth, discussing his life back at the house; those people caged in the suburb were his family, he couldn’t hurt them and he locked them away for protection.
Poor Jules isn’t well, either. That fleshy orb knows where she’s gone, she made a connection with it. She’s starting to slip between reality and the world of No-End House. Can she actually ever escape? Or is the house a part of her, and the rest of them, now?
Upstairs, Seth and Margot allow John to eat more of the memory dog. He digs in, feeding. A disgusting scene. They sit and wait to see how it goes. She wants to see what her memories “feel like,” so dad lets her hold the dog’s head. He talks about their past, camping, happier memories. This is when John begins succumbing to the medication Seth put in his food. He must die again, as his daughter watches the death. In a way, it’s like a grim healing process. Because she only saw the aftermath before his suicide, now she sees the other side. They’ve got to get John back to the house before it’s gone, as well. Doesn’t help things when mom gets home in the middle of it all, and John is still alive. He gets up and starts throwing everyone around, chasing after his daughter.
Screen Shot 2017-10-19 at 11.48.56 AMJohn starts feeding off Margot’s memories again, as Seth grabs him off her. But this only leads dad to nearly jamming his finger through the guy’s head. Finally, Margot pleads with him, agreeing to go back to No-End House with him. And poor ole mom, she has no idea what’s been going on, waking up from being knocked out by her formerly living husband.
Now, Margot, Seth, and John head back to No-End House.
Across town, Jules is still trying to figure out her own life, the memories all faded and the real world blending with that of the house. She’s nearly driven mad, and she starts running down the street. But when she gets to where No-End House recently appeared to the others, it isn’t there anymore.
Screen Shot 2017-10-19 at 12.04.59 PMScreen Shot 2017-10-19 at 12.07.06 PMA favourite of mine, this episode really digs into all the disturbing memory stuff. Can’t wait for the finale. Not sure how it’ll end. But that’s what makes Channel Zero so damn good! “The Hollow Girl” is next.

Alias Grace – Part 4

CBC’s Alias Grace
Part 4
Directed by Mary Harron
Written by Sarah Polley

* For a recap & review of Part 3, click here.
* For a recap & review of Part 5, click here.
Screen Shot 2017-10-19 at 12.02.13 AMGrace (Sarah Gadon) and the other women in prison witness the whipping of a woman while they eat breakfast. Normal day at Kingston Penitentiary. Soon, she’s taken up to the house, to talk with Dr. Simon Jordan (Edward Holcroft). He’s busy still having daydreams about her, falling for his patient.
He also wants to talk about James McDermott (Kerr Logan), reading the man’s confession where it paints a picture of a jealous Grace, the green eyed monster focused on Nancy Montgomery (Anna Paquin), apparently. “Shes not better born than we are,” Grace told him. So he claimed. She doesn’t particularly deny the story, though in not many words she passes it off.
She tells him more about her and Nancy’s relationship around the house. They were a little close, but the hierarchy around Thomas Kinnear’s (Paul Gross) place was evident. One day when James isn’t around, she has to kill a chicken on her own. This prompts Nancy to treat her like trash, all but throwing her out of the house, demanding she kill their food. Grace is able to get Jamie Walsh (Stephen Joffe) to help her, a young man who also works for Mr. Kinnear, and it gets Nancy interested in her personal life, of course.
Screen Shot 2017-10-19 at 12.09.42 AMPeople at the local church seem to have their ideas about Mr. Kinnear, one woman (Margaret Atwood) calls it “an outrage” having him there. They don’t stay, either, after Nancy wants to leave rather than be stared at the whole time. Grace talks about church, how people act as if being there is the only God is with them; elsewhere they do what they want, dropping the act. But God “cannot be caged in as men can.”
Nancy decides it’s time McDermott finishes employment at the house. He’s got no job come end of the month. Not easy any time, certainly not easy back then. Especially for a misogynistic arsehole like James. He winds up revealing to Grace that Kinnear and Nancy sleep together, as if it weren’t already obvious; such is the sweet innocence of Grace, at the time.
Eventually Grace calls Nancy out and gets a slap across the face from her. Gradually, we see our lady being warped. By the way Nancy treats her, by how McDermott pours his poison in her ear. He actually mentions knocking them in the head, throwing them down the cellar. Very specific, no?
We’re seeing all different sides of possible truths. Grace claims one thing; McDermott another. We see both, literally. Yet staunchly, she denies any wrongdoing, despite what her Irish friend said in his confession before his hanging. She also talks to Dr. Jordan about loneliness. How bad things were in the asylum, at prison. How cruel were the punishments of being locked in a coffin-like box, stood up, left there endlessly. Not to mention the “liberties” taken by various men, winding up in a “delicate condition” when she was leaving the asylum. Ugly, violent male behaviour.
The road to death is a lonely highway, and longer than it appears. Even when it leads straight down from the scaffold by way of a rope. And its a dark road, with never any moon shining on it to light your way.”
Screen Shot 2017-10-19 at 12.20.21 AMScreen Shot 2017-10-19 at 12.26.57 AMOn her birthday, Grace was given the afternoon free by Nancy. She went for a walk by herself, enjoying a beautiful day, picking flowers; time to herself, for herself. A rare occurrence in the life of any woman in the 1800s. Jamie shows up, asking to be her sweetheart. She lets him down fairly easy. And from afar watches Mr. Kinnear, he asks her what they were doing in the orchard together, as if suspicious, or jealous. Then, as expected, Nancy is right back to being herself, weird and passive aggressive. Plus McDermott acting jealous to boot like an angry idiot.
One good thing – Jeremiah (Zachary Levi) arrives at the house. They sit for a drink, he tells her he’s going giving up peddling to be a hypnotist. The new fad, all that spiritualism infecting the people of the 19th century. He goes on to warn about Kinnear, his “appetite” for servant girls, the talk of the town that everybody’s heard of plenty. He’s scared for her, wanting Grace to go away with him elsewhere. She doesn’t like the idea, if they don’t get married, which he doesn’t seem to believe in. Soon enough McDermott comes in, running her friend off. That lad is bad news, for sure.
When a man gets a habit, it is hard for him to break it, like a dog gone bad.”
Grace notices a doctor come by one day. Then she’s seeing Nancy throw up, ordering her to clean the vomit. Safe to say, she’s probably up the duff with the master of the house’s child. Aside from that, Kinnear seems to have started admiring the young servant, leering at her silently. What would he do once he figured out his mistress was pregnant?
That night, Grace hears Nancy talking about her, planning to possibly let her go along with McDermott. The mistress really doesn’t like that the master finds his servant attractive.
Grace dreams that night of men surrounding her, George Parkinson (Will Bowes), Kinnear, McDermott, all grabbing her, touching her. Afterwards, she sees sheets in the trees outside the house, like angels, or ghosts. When she woke, the sheets she’d hung had blown into a tree.
Screen Shot 2017-10-19 at 12.47.40 AMScreen Shot 2017-10-19 at 12.51.16 AMAnd we’re always left wondering, is Grace telling the truth? Is she telling any of us the truth? One of the reasons I love the miniseries is how they capture the truth v. lies theme that Atwood’s book tackled so well. Grace is a dichotomy, you can never tell for sure what she’s thinking, if she’s lying or being truthful.
Can’t wait for Part 5.

Slasher – Season 2, Episode 8: “The Past is Never Dead”

Netflix’s Slasher
Season 2, Episode 8: “The Past is Never Dead”
Directed by Felipe Rodriguez
Written by Aaron Martin

* For a recap & review of the penultimate Season 2 episode, “Dawn of the Dead” – click here
Screen Shot 2017-10-18 at 10.40.55 PMFive years ago. Dawn (Paula Brancati), Peter (Lovell Adams-Gray) and the rest of the friends are carefully enacting their calculated plan to get revenge on Talvinder (Melinda Shankar). The poor soon-to-be dead girl is none the wiser, either. The rest of them with their cold, evil faces lying just beneath the exterior. They take her out to that spot in the woods with the lit torches. They’ve got her “on trial.”
She’s made to stand in the middle of a circle. They all call her out, starting with Andi (Rebecca Liddiard). Conveniently, Andi doesn’t blame Peter, which Tal uses against her. Susan (Kaitlyn Leeb) calls her “nothing.” Eventually Dawn has her say, feeling utterly betrayed; she’s the one who really has the most genuine reason. Peter doesn’t bash her, instead apologising to his girlfriend for what he’s done.
Cut to a little later, when Noah (Jim Watson) almost rapes her on the truck. Then she’s rushing off into the woods, the others worried for her. But Tal won’t turn back. She winds up tripping and smashing her head. They find her in a ditch. She seems dead, so they all react with horror. They drag her off, she’s still alive. Andi smashes her head, she still won’t die.
And Dawn takes the rock, smashing her once more. Noah takes his turn, as well. Laying the killing blow, it seems.
Screen Shot 2017-10-18 at 10.45.18 PMWren (Sebastian Pigott) is heading back to the cabin, after killing Mark, and Judith (Leslie Hope) is pleading with him not to do anything else terrible. He’s bent on revenge. They let him take the fall for Talvinder’s disappearance. All she asks is that Keira is left alive. Other than that she tells him: “Theyre all yours.”
Back at the cabins, Judith reels off a lie about Mark, that he was going to kill her. And she says she shot him. Taking the blame. Lulling Dawn in. Except the young woman doesn’t believe it, she knows it’s lies. Everybody’s too paranoid now, anyway. So many things happening right below the surface.
Five years ago. The friends are reeling in the aftermath of what they’ve done, people are asking where Tal has gone. They’re trying to figure out the next course of action. Their lives changed for the worse, and they had to either deal or go to prison for the rest of their lives.
Present day, the gang at the retreat hear a snowmobile. A woman named Janice arrives looking for her boyfriend, Gene. A bit late, y’know. He’s in pieces out in the shed. She thinks We Live As One are a “cult,” but Peter tries explaining, asking for help. Janice has room for one on her machine; Judith tries desperately to send Keira, only Keira won’t have it, wanting it to be Dawn, so she might get medical attention.
But Wren, he’s intent on killing more. He wants Judith to help and she won’t, he starts getting worse. He’s a sad, lonely, murderous man. He says she’ll “die alone” and she grabs him, throwing him at the mirror. Except nobody’s there. Just her. Ohhhh, man. That’s creepy. Soon, Peter and Keira find her, bloodied, unconscious. They put her to bed, then decide they’ve got to find Mark’s corpse, confirm he’s dead. Peter heads out while she stays to look after Judith.
Screen Shot 2017-10-18 at 11.03.04 PMJudith has worse problems. She continually hears Wren in her head, commanding her: “Kill them!” She speaks to herself as herself, and also as him. We jump back five years. Wren a.k.a Owen leaves his cabin at Camp Motega, and in slips Dawn to drop a piece of Tal’s jewellery into his things. A frame job. That’s nasty.
Present day, Peter comes across Mark’s dead body. Nearby he sees the footprints, he tries re-imagining the crime. He knows something’s not right. Elsewhere, Dawn and Janice try getting out of the forest, but they stop a moment across the way from the parka killer, who fires on both women, bleeding Janice out. Dawn makes it away, though she’s soon shot in the river. Who’s behind the mask? Judith.
At the cabin, Peter finds Keira unconscious, propane filling the house. Then he sees a bunch of letters in Judith’s room. They’re from Wren, in jail. To his mother, Judith. WHOOOOOOOOA. That’s a seriously twisted relationship, on more than just one level, too.
Peter does the only thing he can, carrying Keira through the woods. Only to run into Judith. She says one lives, the other dies. A tough choice. We’re finally seeing the full extent of things now after a flashback, why the noose was in that shrine Peter found – Judith has hallucinated Owen, the entire time. He hanged himself in jail.
Screen Shot 2017-10-18 at 11.07.35 PMScreen Shot 2017-10-18 at 11.13.10 PMScreen Shot 2017-10-18 at 11.15.34 PMWhat will Peter choose? Life? Death? He puts the noose around his neck and steps from the ledge over the shrine, hanging himself as Judith watches, flashing to images of her son slowly dying. But another surprise, as well – up the river, Dawn is still alive, on shore, and two hunters find her there bleeding profusely.
When Keira wakes up she sees Peter hanging. She also finds a letter Peter wrote to Talvinder’s parents, confessing to the crime, trying to give them closure. Admitting that Owen was innocent, they laid the crime on him.
Its time my friends and I paid for what we did
Skip ahead a bit. Keira is safe, back home. She meets with Dawn, who’s preparing to turn herself in to the police, to atone for her terrible sins. From a distance, Judith watches them, still followed by the haunting ghost of her son. Neither of them have forgotten Dawn, they’ll wait until she’s free. Then, well… you know.
Screen Shot 2017-10-18 at 11.29.51 PMFantastic season! God damn. I wish I didn’t fly through it, but such is the age of Netflix. Plus, it was even better than Season 1, which I was big time digging right from the get go. Honestly this season had even better writing. Not to mention the twists were even bigger, wilder. And the gore went up a big notch, from an already grim first season.
Truly hope Netflix will do another season. At least one more. C’mon! Please?!

Slasher – Season 2, Episode 7: “Dawn of the Dead”

Netflix’s Slasher
Season 2, Episode 7: “Dawn of the Dead”
Directed by Felipe Rodriguez
Written by Amanda Fahey

* For a recap & review of the previous episode, “Drone” – click here
* For a recap & review of the Season 2 finale, “The Past is Never Dead” – click here
Screen Shot 2017-10-18 at 9.35.34 PMFive years ago. Talvinder (Melinda Shankar) and Dawn (Paula Brancati) are close. Talking together about the future, what it’ll be like fully entering adulthood, how they should move in together.
A macabre match cut takes us from Dawn twirling her fingers through Tal’s living hair to the dead hair on the corpse’s head. Then she winds up toppling the remains over onto her.
Meanwhile, Peter (Lovell Adams-Gray) and Keira (Madison Cheeatow) have found the snowmobile, covered in blood and gore. Plus, no gas, no Renée (Joanne Vannicola) – well, at least not much. There are bits left. And did the killer leave Mark (Paulino Nunes) alive? Yes, he’s alive, but definitely busted up bad from getting hit by the snowmobile. Not only that, the killer’s got their gun.
Screen Shot 2017-10-18 at 9.37.08 PMSuspicions are high, Keira wonders if it was Dawn who could be the killer, even if Peter isn’t convinced. Jump back to five years prior. Dawn and the other counsellors teach kids to do all kinds of stuff, like archery. She was particularly close to one dude, Ryan. This is also when we see Owen talking to Tal, pressing her to go out with him, being creepy.
Oh, and Owen? He’s Wren.
Guys dont like it when girls upstage them
Nothing gets any better at the retreat. Peter thinks Mark is the killer. Mark finds one of the pictures from the files on Renée, and it’s Peter. So, you know he’ll be thinking Peter’s the killer. And it’s a vicious cycle. The isolation up north has got them all starting to go a little crazy, on top of the fact a serial killer is murdering them all, slow, steady.
Five years ago again. Tal and Dawn talk about the latter sleeping with a married man; her stepfather, in fact. She “wrecked” her own home, doing it to get back at her mother. At Camp Motega, she didn’t want to add to her “body count” – interesting choice of words – and so she intended on taking it slow with Ryan. This is where we see her bonding, deeply, with Tal.
At the cabin, Mark puts a pill in Peter’s beer, as they all sit around trying to forget their grim reality, at least for a moment. They try a game of Never Have I Ever. Seems like Peter has to drink a lot, he’s done some shit, y’know.
He has a flashback to five years before, he and Tal lying together out in the woods. She tells him about moving in with Dawn when they go back home, what they ought to do about their relationship. He made some promises, ones he appears to want to go back on. He wanted to have the cake and eat it, too. Breaking her heart a bit. Later, she listens to Dawn talking lovingly of Ryan, and she laments the love she just lost.
And the drugs are kicking in on Peter. He stumbles outside, so Mark locks the door. Dawn was a part of it, of course. Fucking treacherous. Keira’s the only one who seems to not believe in what the others are sure of already. Things are getting really ugly.
Screen Shot 2017-10-18 at 9.56.35 PMGo back five years. Dawn wants Tal to talk her up to Ryan. The trusted friend goes to him, trying to work her magic. He asks if Dawn ever mentions him. She gives him a generic answer, not talking Dawn up whatsoever. Tal’s doing what she does, acting deviously behind the backs of the people who seem to like her; she lies about Dawn’s stepfather, making it out to look like she was molested. God damn, girl! Nothing to get killed over, not even close, but lord, she was a piece of work.
In the woods, Peter is stumbling, drugged on ketamine, out in the cold. At the cabins, Wren and Judith (Leslie Hope) hook up in one room. In the living room, Dawn tries getting closer to Mark, in a genuine way, talking to him about her past. She also admits that all that’s happened is because of her, her friends. She wants to own up to the guilt.
Five years ago, once more. Tal lies to Dawn that she’s not Ryan’s “type” because he likes really skinny, small girls. This clearly devastates her friend. That night, Dawn gets drunk and starts getting a bit wild in front of everyone, talking to Ryan. But he mentions the stepfather stuff, and then she realises her friend is not actually her friend.
Out in the woods, Peter comes across a shrine, bloody, candles lit. Above it is a mannequin, hanging by the neck. Back at the retreat, Judith finds the gun in Wren’s jacket; the one the killer supposedly took from Renée. She nearly uses it on him, deciding not to at the last moment. Uh oh.
Screen Shot 2017-10-18 at 10.10.34 PMPeter goes back to the cabin, more information now, but when Dawn lets him inside Mark runs at him, knocking him out. After that Keira is pissed. She believes maybe Mark is the killer now. Yet there’s a piece of Andi’s hair in Peter’s pocket. So strange, so creepy.
Go back again, five years ago. Dawn and the other girls plot against Tal. They go from silly little pranks, to more serious things. They want to “scare the life out of her.” They decide to put her on trial, leaving her in the woods to walk home alone. The game was set.
Present day, Judith’s having trouble, worried Wren is the killer. She considers blowing her own brains out, until he finds her out there. He confesses his love for her. She says she loves him, too. However, when Mark comes running towards them, Wren shoots him in the head. Dead. Holy shit.
Not much to say now. One last episode. “The Past is Never Dead” comes next, and we’ll finally understand every last little secret, every betrayal, all of it.

Slasher – Season 2, Episode 6: “Drone”

Netflix’s Slasher
Season 2, Episode 6: “Drone”
Directed by Felipe Rodriguez
Written by Floyd Kane

* For a recap & review of the previous episode, “Out of the Frying Pan” – click here
* For a recap & review of the next episode, “Dawn of the Dead” – click here
Screen Shot 2017-10-18 at 8.11.09 PMWe see Mark (Paulino Nunes) having sex in the kitchen with Stephanie, taking pictures. It’s in a restaurant, not far from the staff just outside. Sneaky, sneaky. In through the door comes a scruffy looking dude (Dean McDermott). He’s pissed at Mark, whose client killed his son in a drunk driving incident; he obviously got the guy off for the death. The lawyer claims he was just doing a job, but this is not the end. Moments later, the man blows Stephanie’s brains out in front of everybody. He points the gun at Mark, shooting him twice, before turning the gun on himself.
Jesus. What a bloody opener. And now we see where our guy got his scars.
Screen Shot 2017-10-18 at 8.12.37 PMBack to the retreat, where Peter (Lovell Adams-Grey) and Keira (Madison Cheeatow) have found the corpse of Talvinder (Melinda Shankar) with a burned up Noah (Jim Watson) underneath. Turns out, the poor guy’s still alive. They get him inside, trying to help with his burn wounds. A brutal situation. Mark’s having troubles due to his flashbacks to that day he was shot. Worse, Noah needs a hospital, he can barely breath without a tube getting shoved down his throat.
Outside a plane flies over; they don’t get its attention, though they start making an SOS signal out of branches and logs in hopes it’ll circle back, and that they’ll be ready. Mark also wants to build a couple fires to make smoke signals, so Peter and Dawn (Paula Brancati) head further into the woods. Inside, Wren (Sebastian Pigott) reveals a bit of an inner dark side, he doesn’t care that there’s a man burned up, dying in front of them, whereas Judith (Leslie Hope) hates to see Noah in pain; she doesn’t care what the young man did before. “Karma disagrees with you,” says Wren.
Out in the woods, Dawn steps right into a bear trap. They can’t open it. Peter offers to head back. Although now this leaves her all alone. She has a gun, but that’ll only do so good. She nearly shoots Mark when he turns up, then Peter gets back, too. They manage to get her out. But her leg’s gonna be fucked up for a little while. She and Mark get closer now, bonding during a terrifying experience, isolated out there.
Keira straight out asks Peter if they killed that girl five years ago. From his burned up state, Noah tells Peter: “Blame me.” He admits to his part in what happened, telling Keira it was largely his fault. But, is it true? Isn’t there more? Oh, yes. You know there’s always more.
Screen Shot 2017-10-18 at 8.26.37 PMDownstairs Mark comes to confront everybody. He believes that one of them is the killer, someone in that cabin. He talks about being an attorney before, paid to be a nasty shark. He wants to root out the killer by questioning everybody. However, they’re not happy with that. Wren calls him a “fascist.” Nobody’s gonna do that, certainly not Renée (Joane Vannicola). Yet he’s pretty keen on it. He offers for him to represent We Live As One and Dawn to represent the group of friends during this little mock trial.
Mark stats with Keira. He figures out eventually she had a patient die on her watch once when she was an ER nurse. She’d been working a long shift, she messed up, and that was that. Next is Wren. He’s pretty combative and has nothing to say. Judith isn’t totally forthcoming, Mark asks her about her strong prescription drugs and she passes it off. He pushes her a bit hard, getting personal, to the point Dawn isn’t on board. Judith yells at him, accusing him of “gaslighting” her; and she’s right. Then comes Renée. She would’ve had no reason to kill Antoine, however, Mark won’t let her forget that she killed Benny, torturing him to death.
Mark questions Dawn about why they came up there. She’s honest, explaining they were coming up to find the remains, to move them before the resort was built. She doesn’t show any remorse. Claims it was “an accident” and goes on about how Talvinder wasn’t “innocent.” Whatever relationship they’d started building together has fallen apart, as Mark rages at her. When he goes to interrogate Peter, they’ve all had enough of him stirring the place into madness. Everybody’s slowly starting to crumble, turning against one another.
This leads to the lawyer pulling out that gun; an interesting parallel to the opening scene. Simultaneously, Noah chokes to death, succumbing to his brutal wounds.
Screen Shot 2017-10-18 at 8.45.10 PMRenée puts aside the anger, asking Mark to go with her someplace. She tells him, vaguely, somebody said something they “shouldnt have knownabout the past.” They head out to a spot where there’s a small cabin. She heads in while he stays out, guarding with the gun. This is when we flash back two years ago, Mark first coming to We Live As One. He meets Antoine (Christopher Jacot), Renée, Judith, as they welcome him with open arms. They’re all bright eyed, bushy tailed, ready to live an alternative lifestyle in the midst of nature.
Quite different from how it is now. Especially with a chainsaw revving in the distance.
Renée finds a box of things from 2012 marked Camp Motega. She looks through it and comes across the files of the group of friends, from Andi (Rebecca Liddiard) to Talvinder to Dawn and the rest. And then we see Wren. I knew there was something not right about him, a secret.
Outside the killer, covered in blood, arrives on snowmobile. He runs Mark down hard. Then he puts a couple bullets into Renée as she runs away. She doesn’t make it very far. The killer takes the file from her, then we hear the sounds of him running her over, the wet sounds of the blood, her last scream.
Screen Shot 2017-10-18 at 8.55.39 PMScreen Shot 2017-10-18 at 8.57.06 PMTHIS SERIES IS SAVAGE! Season 2 has upped the game, and that’s saying something, too. Season 1 had some doozies. But this… is wild. I dig it.
“Dawn of the Dead” is next. Oh, what will happen next?

WE GO ON: Traumatic Fears & the Urban Gothic

We Go On. 2017. Directed & Written by Jesse Holland and Andy Mitton.
Starring Clark Freeman, Annette O’Toole, John Glover, Giovanna Zacarias, Laura Heisler, & Jay Dunn.
Filmed Imagination
Not Rated. 89 minutes.

IMG_0366There are so many ghost stories out there, from literature to film, that it’s hard to come up with something original. Same can be said about all stories, everything’s just a retelling, a reinvention of an ages old archetype or structure. Yet there are always writers and directors out there coming up with new ways to show us a glimpse of supernatural horror, ways that inspire us, maybe revolt us depending on the circumstances; in this case, it takes us into the concept of life after death and how we deal with the death of others, our own impending death someday, somehow, somewhere we don’t know.
Jesse Holland and Andy Mitton deliver We Go On for those who love ghost stories and want a different perspective. They tell the story of Miles (Clark Freeman), a man shattered by the death of his father in a car accident, forever plagued by the fear of death, worrying it’s a big, black void from which there’s no coming back, making life feel nearly claustrophobic. When he places an ad with a reward of $30,000 for any concrete proof that “we go on,” Miles gets far more than he bargained for after a man Nelson (Jay Dunn) contacts him, saying he can show him a ghost.
The film takes up the Gothic mantle, set in an environment full of urban decay, and it retains that classic feeling of the ghost story while trudging through very modern territory. We Go On takes Miles and the audience on a journey through the existential crisis of fearing death, examining trauma, death, as well as how we manage to overcome them both. That is, IF we’re able.

“Your world will end. We don’t get to know when.”

The fear of uncertainty is a powerful thing. This often extends to our ideas of the afterlife. For those of us who aren’t religious, there can come with this a sense of not knowing what will happen when we die. Not that the religious KNOW, but they BELIEVE, and this makes all the difference. Myself, I don’t fear death, it’s more like a release after – hopefully – a long life. However, I totally understand why some fear it. Most times this comes out of an absence within the absence of belief; if you can’t reconcile yourself with death as, for all intents and purposes here, an atheist, then there’s a gap in the concept of life and death, a glaring, empty space where fear can grow.
This is where Miles exists, in this space, and other spaces like it. He fears death, seemingly because of its uncertainty. At the same time, he wants to believe. This leads him on his quest. He’s traumatised on top of it, exacerbating his fears. So it’s interesting to watch how affected he is by this quest, too. He wants to find something, to negate his big fear. But the dark irony comes via the fact that, once he DOES find what he’s looking for it’s altogether terrifying, more so than any death where we just disappear into a void of nothingness.

“I’m haunted”

We Go On
is the perfect example of a modern urban Gothic horror. Miles actually specifically points out his phobia of any “decay or rot.” He’s absolutely horrified by cars, he hates being in them, and it only gets worse if he’s not the one driving; even then, he barely drives himself anywhere, if at all. What’s interesting is that, within this traumatic phobia of death, there’s a fear of the modern, of the decay/rot which comes with time, with modernity. He fears the car, one of the largest, most significant symbols of modern invention over the past few centuries.
When our protagonist finally sees ghosts, they occupy a much different space than usual, in an odd place, past the airport. A decayed set of urban ruins, left behind by the rich when the airport was built; another instance of modernity setting in, disrupting. In general, Los Angeles is depicted as grey, dull and dreary, a dreaded landscape where the sun does shine, but slightly obscured, hidden behind clouds on the city skyline, the pollution of the planes jetting onto the air. In this sense, the urban landscape with its Gothic sprawl of supernatural elements mirrors the headspace in which Miles find himself.
Traditional haunted houses are subverted, replaced by drug squats, schools, the airport, and other atypical locales, the main stand-in for a horror monster – aside from the ghosts – being Miles’ fear of the car as an object of death. The car/the vehicle also breaks the barrier between living and dead, an intriguing symbol. The radio comes alive with ghostly voices as Miles drives. A bus intercom does the same later. At home, his TV appears on only to him and no one else. Technology versus the old world of ghosts, modernity juxtaposed against the past.
IMG_0376There’s a fantastic end, both morbid in one sense, beautiful in another. Miles and his journey come to a conclusion. Some may not be happy with it, others, like myself, may love it. Visually, the nightmare that opens the film comes full circle, also closing the plot off thematically. It’s not what you’d expect, and that’s refreshing in and of itself.
We Go On is on top of Father Gore’s list of best horrors in the past few years, likely in the top 25 since 2010. There are plenty of awesome horror films lately, despite what certain critics and fans will try and tell others. And in the indie world, horror is absolutely killing the competition, in any genre. This film most certainly belongs up there with the best of them lately.
Put this on your Halloween marathon list! Spook yourself alone, or get a couple friends, turn down those lights, let the ghosts get under your skin. Let’s hope Mitton and Holland do more genre work in the future, because they’re obviously a talented team with fresh perspective.

American Horror Story – Season 7, Episode 7: “Valerie Solanas Died For Your Sins: Scumbag”

FX’s American Horror Story
Season 7, Episode 7: “Valerie Solanas Died for Your Sins: Scumbag”
Directed by Rachel Goldberg
Written by Crystal Liu

* For a recap & review of the previous episode, “Mid-Western Assassin” – click here
* For a recap & review of the next episode, “Winter of Our Discontent” – click here
Screen Shot 2017-10-18 at 12.55.25 AMJune 3rd, 1968. In an alleyway, in a car, Valerie Solanas (Lena Dunham) is having sex with a man for money. “Fuck you, ya little dicked piece of dog shit,” she says after he only has $5 instead of the required $10. Then she’s looking for bullets, to kill Andy Warhol (Evan Peters).
Twenty-four hours prior, we see Andy at the Factory directing one of his films. In bursts Valerie, looking for a script she gave him called Up Your Ass. He says it’s lost. She believes it’s out of misogyny. Particularly because he literally says that women can’t be “serious artists.” Yikes. The patriarchy, alive and well at the Factory.
June 3rd again. Valerie’s got herself a gun. She hides it in a bag and heads up the elevator, but Andy’s not around.
Then they run into one another on the elevator. When they get back upstairs, she pulls the gun on him, firing a couple times and missing. She berates him for his control over her before shouting and shooting: “Down with the patriarchy. Suck my dick, Warhol.” Right in the chest.
Screen Shot 2017-10-18 at 12.58.20 AMBack to present day, after the mass shooting in which Kai (Evan Peters) was shot by Meadow, who killed herself. Ally (Sarah Paulson) is in custody, too. Harrison (Billy Eichner) tells the media his wife was motivated to get back at Trump supporters, specifically Mr. Anderson. And this leads him to election on the city council. Happy days!
Beverly (Adina Porter) finds someone waiting for her outside the TV station, a hooded woman (Frances Conroy) who calls her out, ranting about the “natural order of things” and the recent assassination. She says she knows about killing men. Interesting. She also tells Beverly how to reach her when she can face the truth.
Things are pretty locked down around Kai now. He’s got a load of blue work shirt wearing dudes kicking around, slapping each other in the face, psyching themselves up, looking after the cult’s fearsome leader. I wonder if power will warp him from what he planned on doing. Seems like “equal power” isn’t on his mind anymore, and a wedge starts dividing him and Bev. So later, she goes to see the mysterious woman from before.
At the Butchery, Ivy (Alison Pill) and Winter (Billie Lourd) sit together talking things through. Soon, Bev shows up with the woman; her name is BB Babbett. She was in love with Valerie Solanas, the woman who attempted to kill Warhol. BB saw it as the start of revolution. She tells the women about the SCUM Manifesto. Valerie made clear to so many how men – “halfapes” – were the real problem of society, the cause of violence, of capitalism, of all that is ill in the world. And boy, was she ever right! Still, violence was the only language men would ever understand.
Talk doesnt work with men
BB helped further the ultimate mission after Valerie shot Warhol, initiating their war. Later, the women of their group found a couple lovers, and shot them to death in the barrens. Better still? These women were the Zodiac, unknowingly. Zodiac was the Society for Cutting Up Men. Then we see more of the Zodiac killings perpetrated through the perspective of the women. An amazing, eerie, brutal sequence. And today, like Warhol, Kai is pushing the women aside and reinstating the boys club; the club that never ever actually went away.
Screen Shot 2017-10-18 at 1.20.25 AMAfter the asylum, Valerie made it back to the SCUM group. She became wilder, even more radical. Her time inside changed her for the worse. She believes one of her gay members wrote the Zodiac ciphers, so she stabs him in the arm. He admits to it, and then the women take their turns helping to finish him off. You know the first stab from Valerie goes right to the dick. They lay him out in the Zodiac sign, cut to pieces, “dick and balls” stuffed in his mouth.
Valerie tries taking credit for the Zodiac murders. But the cops thought she was insane. Thus, she went insane. Women slowly started leaving, as she got scarier and scarier. Eventually, only BB remained knowing Valerie had gone off the deep end. Valerie truly laments the control of men over women, especially her – whenever people hear her name, to this day, they think of Andy instead. “I am your legacy,” he tells her in a hallucination.
BB warns the women at the Butchery, they’ll be chewed up by the world if they let men keep on ruling. They are expendable to Kai, to other men. Bev’s ready to go hard or go home, hoping the others are with her. Winter goes home to find Kai in their parents’ room, holding his dead mother’s hand. He’s ruminating about the responsibility he took on, if he’ll be worthy. He wants to count on his sister, telling her about his new social media plan, a type of manifesto. She starts seeing the hierarchy of gender in the way he talks, though. Just under the surface.
Screen Shot 2017-10-18 at 1.26.16 AMScreen Shot 2017-10-18 at 1.32.14 AMThe women get Harrison alone down at the Butchery, then they knock him out cold. When he wakes up they’re ready to start cutting him in pieces out back. They question him about Meadow’s death. Followed by slicing through his throat with a saw. Next day, Beverly’s reporting on the pieces of Mr. Wilton dropped in a body of water, covered in a layer of pond scum. So fitting. I wonder how this will split the group apart, and how Kai will now react going forward.
Because he and BB are friends, sitting together, watching everything unfold.
WHOA. I never saw that last one coming! Christ almighty. Can’t wait for more. This was an excellent episode tackling misogyny, coming at it from all angles – how men keep women down, how other women perpetuate it, how gay men can also be misogynistic. Nobody’s safe. Great writing.
“Winter of Our Discontent” is next week. Very excited to see what goes down.

Slasher – Season 2, Episode 5: “Out of the Frying Pan”

Netflix’s Slasher
Season 2, Episode 5: “Out of the Frying Pan”
Directed by Felipe Rodriguez
Written by Lucie Pagé

* For a recap & review of the previous episode, “Night of Hunters” – click here
* For a recap & review of the next episode, “Drone” – click here
Screen Shot 2017-10-17 at 9.34.19 PMFive years ago. Talvinder (Melinda Shankar) is building tents, having trouble, so Noah (Jim Watson) helps her out selflessly. She comes on to him a bit, conning him into doing stuff for her. The picture of the hideous acts which later occurred is being painted, one stroke at a time. Not long later, Noah sees Tal heading into the woods with a beer and friends. Peter (Lovell Adams-Gray) and him both have a thing for her, obviously the former has a better idea of what was going on; he says “move on.” A whole fucking mess amongst a group of friends.
Now, Noah’s lying in a bus after being raped by Glenn aka Benny (Ty Olsson). A far cry from hoping to get laid by a fellow counsellor. Horrific. While his captor sleeps, he picks up a kettle and tries beating him with it. That doesn’t go over well, at all.
Out at the camper, Peter and the others have found the corpse in the freezer. They look around to find any clues about who it was, who owns the camper. They find the actual Glenn Morgan’s ID.
Screen Shot 2017-10-17 at 9.36.34 PMJudith (Leslie Hope) tends to Megan’s dead body when Wren (Sebastian Pigott) shows up. He believes they’ve opened “Pandoras Box” and that anything could happen now. I’m still unsure about him. Out in the living room, Dawn (Paula Brancati) is still standing accused of poisoning the woman, denying it to Renée (Joanne Vannicola) and Mark (Paulino Nunes). This is when Peter and Keira (Madison Cheeatow) come to tell them about Glenn’s true identity, which isn’t totally received so hot right away. But some of them will go looking for Benny.
Speaking of, he’s strangling Noah to death. His victim manages to toss a bit of fire around and lights the place up, trapping his captor inside the bus. Benny gets out, not before Noah escapes for the time being.
Cut back to five years ago, when the group of friends has taken Tal out to the forest, calling her out. Andi (Rebecca Liddiard), Dawn, and Susan (Kaitlyn Leeb) lead them, warning of a “punishment.” She’s sentenced to spend a night out there alone with nothing, just what she’s wearing. She pleads to Noah, getting no help. Present day again. Everyone’s looking for Noah now, the bus burning in the distance. They hear him screaming for them. Benny takes off further in the darkness. He goes back to the cabins, breaking through the window and strangling Renée until she’s unconscious. Judith runs and hides from him as he stalks her through the halls. Thankfully, Renée puts a bullet in the big guy, incapacitating him for the time being.
Screen Shot 2017-10-17 at 9.45.23 PMScreen Shot 2017-10-17 at 9.49.03 PMOle Benny’s in trouble, tied to a chair, helpless. When Mark comes out with food and water, he has questions for him. He asks about the snowmobile, the poison in the food. He claims he’s “not a killer.” He fesses up to one murder, naturally, that he’s Mr. Ironside, saying that killing Glenn wasn’t a planned thing. Meanwhile, Keira and Dawn help Noah get his clothes off and clean up. Such a terrible, tragic scene. This is when the women discover he’s been raped, as well.
Back to five years ago again, as Tal chases after the group pleading for them not to leave. They taunt her while they go. Peter protests, whereas Noah calls her a “skank” and starts a fight with him, calling him “Benedick Arnold.” Before they leave, Tal brings up something about Susan, a girl named Marcy Rae; they made out, and when Susan outed her she killed herself. Plus, Tal trots out everyone’s secrets, blackmailing them to take her back out of the woods. Noah yells at her, prompting her to call him pathetic, going hard at him. So he runs after her, angry enough to kill, maybe?
Present day. Renée, Peter, and Mark discuss what to do next. They realise that Benny may not be the serial killer. So, what’s their best option? Could lure the real killer using him. Renée’s fixing to get answers of him, believing he killed Antoine, and she starts slicing the guy up with a box cutter. And she’s barred the door so nobody can get inside. Soon, he admits to it just to try ending the torture. This is when she peels a strip off his arm, followed by cutting his throat open.
Pain changes us
Screen Shot 2017-10-17 at 10.09.38 PMOutside, Noah finds a fire going. But it’s not any of his friends there. He’s stumbled onto the parka killer, who tosses gas on him and lights him ablaze. Immediately we cut back to Noah charging after Tal that night five years ago. He tears her shirt open, then he’s about to rape her right on the truck. Peter rushes in and hauls him off. Holy shit. This sends Tal running into the woods, the others shocked at their friend’s actions. Peter punches him in the face before going after Tal. This has everyone actually worried about the girl instead of murderous.
Present day once more. Everyone wakes up, wondering if they’re safe since Benny is dead. Nobody can find Noah, though. Peter and Keira head out to look, coming to the remains of the fire: Noah on top of Tal’s skeletal remains.
Screen Shot 2017-10-17 at 10.21.04 PMSuch a great season. I am obsessed. Just gets more grim with each passing episode. Hard not to love if you’re a slasher fan. “Drone” is next.