Angel and Dan get stuck in a room together— in more ways than one.
Mark uses his attorney skills to interrogate everyone at the cabin, believing one of them must be the killer.
Season 1, Episode 6: “The One Who Sows His Own Flesh”
Directed by Craig David Wallace
Written by Aaron Martin
* For a review of the previous episode, “Ill-Gotten Gains” – click here
* For a review of the next episode, “In the Pride of His Face” – click here
After the twisting turning episode previous with the revelation of Captain Ian Vaughn (Dean McDermott) having Ariel Peterson (Hannah Endicott-Douglas) in locked room in his basement, this next episode opens five years previous.
He picks her up from the side of the road. She gets in thankfully. Obviously the biggest mistake she could’ve made. Vaughn used his power and position of authority in Waterbury, the trust of that, to get her inside the car. And things start to get really scary after that. I mean really scary. Vaughn morphs into this completely different person right there in the car with her. I knew there was something off about him, but never expected this at all.
In the present day, he lays in bed with her. She’s obviously got not life, stuck in that room. The whole thing is beyond disturbing. But she may be working out a way to escape, somehow, some way.While Vaughn’s got his own thing going on, Sarah Bennett (Katie McGrath) borderline accuses her husband Dylan (Brandon Jay McLaren). We can’t really count him out yet, though. Can we? Well Sarah is busy talking with Cam Henry (Steve Byers). They’re sussing out all the mysteries of the Peterson case, or as much as they can, anyways.
For now, we’re privy to more of Vaughn and Ariel. Their entire situation is insanity, of his making. She wants out, as well as out for her little boy. He’ll have no part of it. Soon enough she pulls her blade on Vaughn and stages a hopeful escape. Putting him down with a can to the back of his head she and her boy run. Only the doors are locked, naturally. A setup such as that means Vaughn has got all his bases covered, especially considering he’s a police Captain. His wife witnesses the escape, and does nothing. One shocking, heavy moment.
Sarah goes to see Tom Winston (Patrick Garrow), mostly to tell him he’s not her father. Although, he is adamant – “You‘re my daughter.” Meanwhile, Dylan’s out meeting with Lisa Ann Follows (Enuka Okuma). She wants to reel him in. He’s got his own bigger ideas.An interesting part of this show now heading into its last few episodes is the unraveling persona of Captain Vaughn. He sends Cam home off duty, which will only likely prompt more of Sarah’s little investigation. But Vaughn goes to see the prostitute Marjorie who Cam and Sarah were talking to earlier. Seems Margie’s eager to keep secrets for the ole Captain. For his part, Iain gives his lady friend a present. A nice ride on some electric veins. A real hot shot. Continually now, we witness more of the becoming of Vaughn. His hand is now being forced further and further. Despite his terrifying nature, he’s not even The Executioner, is he? So does that mean The Executioner will be coming for him some day soon?
In jail, Winston finds himself fighting a tall, brick shithouse of a man. He does all right. Until possibly getting his head stomped on.
One creepy scene sees Vaughn pull up to Sarah on the street, much the same as he did with Ariel five years before. Such an eerie moment; he even makes her get in the backseat. He’s got his back against the wall a little, too. There’s an edge to their conversation. Would he even dare to try abducting Sarah? Is he that mentally unstable at this point? She definitely pushes her luck in that respect, having a free flowing conversation with Iain. And then, like those years ago when he picked up Ariel, things get creepy.
“You‘re an idiot for getting in this car“
They have a little discussion, on the Seven Deadly Sins, Sarah’s intentions moving back to Waterbury. Vaughn claims she’s guilty of Pride. Their whole ride together is so tense. The writing is great, even the acting – I love McGrath in this series, not necessarily a huge fan of McDermott, in anything, but here they’re excellent together.
When he takes her out to some dump, she ends up slipping into the woods. Now Vaughn’s whole act is really undone. He’s let a victim get away. This can’t mean anything good for his little family at home.
At the Vaughn household, Cam arrives, Sarah in tow. Things are definitely starting to break down now. An entire facade is washing away. When Iain’s wife leads them to his “man cave” they discover Ariel and her boy. Heather (Erin Karpluk) reunites with her daughter, and that’s one shining bit of brightness in it all.
Winston wakes up in the hospital ward, and Sarah’s by his side. They’re entering a new phase of their relationship: “No more lies.” She flat out asks why he killed her parents, a bold step.
But what about Iain?
He’s off readying a boat, headed elsewhere. Instead of purging himself with fire.
That’s because someone else is poised to do that for him. Unable to escape the watchful eye of The Executioner, the now fugitive Captain Vaughn is trapped inside a coffin, stuck in the crematorium for his sins of Lust. He burns alive in the oven, screaming for help, as a morgue attendant sits outside eating his lunch. Yikes.
More Executioner next week. This was an intense episode, maybe one of my favourites yet. Looking forward to the penultimate Season 1 episode “In the Pride of His Face” next week. This series has gotten a lot better after several episodes, really hit its stride. I hope the finish will be packed with amazing and wild revelations.
Season 1, Episode 5: “Ill-Gotten Gains”
Directed by Craig David Wallace
Written by Aaron Martin
* For a review of the previous episode, “As Water is Corrupted Unless It Moves” – click here
* For a review of the next episode, “The One Who Sows His Own Flesh” – click here
After June Henry (Jessica Sipos) was taken by The Executioner in the finale of last episode, left in a large open field, her naked body covered in honey, this episode of Chiller’s Slasher continues with two women in that very field discovering June’s body.
This is one of the grisliest murders yet. Amazing practical makeup effects that draw a heavy visceral reaction.
When Sarah Bennett (Katie McGrath) and husband Dylan (Brandon Jay McLaren) arrive at the Henry home to give support. Creepily, Father Alan Henry (Rob Stewart) appears jovial, almost happy. Then Captain Iain Vaughn (Dean McDermott) arrives to give Cam Henry (Steve Byers) the bad news – they’ve found June’s body.
At the morgue, Cam breaks down a little, yelling at his father. Clearly his grief is overwhelming, whose wouldn’t be at a time like that?
Meanwhile, Dylan’s on television with his boss Alison Sutherland (Mayko Nguyen) being interviewed by Lisa Ann Follows (Enuka Okuma). It seems as if Dylan is a bit too into it, while his boss isn’t enjoying things at all.
Simultaneously, Father Henry’s back giving supposed religious council to Tom Winston (Patrick Garrow). Their relationship is very, very curious with every passing episode. Then there’s Sarah and Robin (Christopher Jacot) speculating on the possibility of Alan Henry being involved with The Executioner murders. They know Cam’s place, where Alan stays, has been tossed by police, but they wonder about his other house – the church. So they go poking around, naturally, in true slasher horror sub-genre fashion. What come across are a hammer, nails, a “murder kit“, and likely one meant to be used for crucifixion.
Over at the newspaper office, Alison isn’t pleased with Dylan, as she finds his showboating a little much. But, even if it’s sleazy, he is just doing his job, being what’s he supposed to for the role. And Alison, she’s busy hacking into June Henry’s text messages.
Sarah does her best to comfort old pal Cam. Only, she doesn’t comfort much. She has questions about the relationship between Alan and Tom, revealing her thoughts about the latter orchestrating The Executioner murders from prison. She tells Cam about finding the apparent murder kit at the church. The two good friends fall apart, calling each other suspects, going back and forth with accusations – even Cam throwing Dylan’s name in the ring – and really burning their friendship to the ground. Either way, Sarah’s adamant Alan’s hiding something, to which Cam replies: “Dylan is too. I‘d bet my life on it.
Father Alan arrives at the gallery. He tells a little parable of a woman going to confession, ill-spoken words, feathers, and all sorts of things. Essentially, it parallels with what Sarah’s been talking of, suggesting things to Cam about his father. A chilling, ominous bit of dialogue between Sarah and Alan reveals he may know more, about the past and the present, than he’s revealed so far.
Big break in the newspaper. Texts from June to Trent, vice versa. Alison claims they were “e–mailed” to them, but we know the truth. Follows is sniffing around for more stories, more publicity, more, more, more. Then the divide goes further between Alison and Dylan, as Lisa wants more focus on one of them. And the topic is sex, so naturally Follows wants him on; she’s obviously into him. Sarah isn’t pleased at all with Dylan and his paper either. Yet there he goes, on television again. Alison turns the tables and tries speaking directly to The Executioner live, which of course pisses of Dylan and Lisa, for different reasons.
Then, in the dark of the evening, Alison walks to her car and hears her name whispered quietly from somewhere nearby, a letter under one of her wipers: an invitation to meet with The Executioner. Uh oh.
Captain Vaughn and Sarah come up against one another. He’s pretty insulting towards her, even while she’s only trying to dig out the truth. But she’ll get things figured out, one way or another. Craft one, that Sarah.
At the foundry, Alison prepares a very official-like setup for her one-on-one with The Executioner. Is she expecting too much? Well, things get underway. The Executioner gives up information that only he would be able to know, in order to satisfy Alison’s curiousity whether it’s actually him (or her). They proceed to have a little chat, about all things Seven Deadly Sins. The killer asks if she has anything “weighing” on her, straining the ole conscience. And she walks away unscathed. For now.
At the office again, the competition between Dylan and Alison now rages, with Ms. Follows hoping to “build a special” around the footage Alison got of her clandestine interview. Lisa’s suddenly much more interested in the bosslady. Because she only cares about ratings, and who can get ’em.
“We all sin. Every day of our lives, we sin.”
Hoping to circumvent Cpt. Vaughn, off goes Sarah to the Mayor’s office – Ronald Edwards (Booth Savage). She blackmails him to get the tapes found in her parents house after the original murders, even calling him “grandpa” re: the affair he’d had with her grandmother. Amazing little scene, and shows how tenacious Sarah is when it comes to digging for the truth.
We get more about Alison now as a character. Turns out, she precipitated the suicide of Benny Peterson (Michael Vincent Dagostino), husband to Heather (Erin Karpluk), by doing some e-mail hacking, throwing suspicion on Benny for possibly having something to do with their daughter’s disappearance. Wow. Even more, Dylan lurks around the bar where Alison meets Lisa, and there’s even MORE trouble afoot than before. So many layers.
Robin and Sarah continue sleuthing. They follow Father Alan. He meets with a woman, clearly a dominatrix, and she crucifies him to a wooden cross, as he shouts: “Father forgive me!” Holy shit. Alan’s developed a sadomasochistic interest.
In other news, Alison is headed off in a limo. One driven by The Executioner, as it turns out. Back to the foundry once more. No interview this time. Seems she has something weighing on her conscience after all, like we saw in her meeting with Lisa. Bye, bye, Alison.Finally getting her hands on the tapes of her parents, Sarah sits through some their homemade porno, forcing herself, trying to discover something, anything.
Then she sees Tom in a video with her mother.
In a restaurant, a couple hipsters sit chatting. One of them bites into an onion ring; an onion ring that turns out to be an ear. The police later discover her deep fried head in one of the boiling vats. Dylan’s already snooping around, which doesn’t please Cpt. Vaughn. It’s clear there is more to Dylan than we know. I want more of his backstory to come out, and it will soon. I’d like more on Vaughn, too. He isn’t the typical police character, he isn’t dumb.
But quickly, in the finale we get more of Vaughn. He has a locked room in his house. Inside, he keeps Ariel Peterson (Hannah Endicott-Douglas). And a boy, too. His son, apparently. What a whopper of a finale! Very Josef Fritzl-ish. Wow. Can’t wait for more. Vaughn is obviously not at all who he structures himself to be in the outside world. There are far more secrets to Slasher yet to be discovered.The next episode is titled “The One Who Sows His Own Flesh” and I’m excited. The revelation in this episode was intense, and there were a few amazing scenes that make things even murkier than before. Who is The Executioner? Who are all the citizens of Waterbury, really? Let’s find out together.
Season 1, Episode 4: “As Water is Corrupted Unless It Moves”
Directed by Craig David Wallace
Written by Aaron Martin
* For a review of the previous episode, “Life as Fire Eateth and Burneth Wood” – click here
* For a review of the next episode, “Ill-Gotten Gains” – click here
After the revelations of the last episode, Slasher moves forward with all our new knowledge of the past: what Brenda did as a young woman, how that has begun to affect her granddaughter Sarah Bennett (Katie McGrath).
Dylan (Brandon Jay McLaren) tries to comfort his wife in the aftermath. But there’s nothing much to do other than grieve. Then Cam Henry (Steve Byers) shows up with information about Trent McBride (Jefferson Brown).
We cut quick to Trent in the woods. And now he’s in the cross-hairs, as he tries to do a bit of hunting. Someone, likely The Executioner, fires off rounds and has Trent running through the woods. Until he topples into a covered trap. Then the Executioner has a bigger surprise – in go a load of snakes and it becomes a nasty pit where Trent finds death.
Henry and the police are searching for poor Mr. McBride. Eventually, they come across the pit and discover his grisly death. With each subsequent murder, The Executioner’s methods get nastier. We’re clued in on more of the Seven Deadly Sins. This supposed murder takes the form of the punishment for Sloth. Yet Trent appears, by all accounts, quite active and certainly not lazy. The plot thickens.
So without having to resolve their previous problems due to Brenda’s murder, Dylan now gets Sarah to do an interview for him. She goes on record about everything. Great bit of editing in this sequence, as we watch the deaths of Justin and Brenda over again while Sarah narrates. Even further, Tom Winston (Patrick Garrow) reads her interview in the paper where she gives the label “coward” to anyone who has ever taken the life of another. This prompts Winston to go a bit off the handle. What sort of repercussions will rear their head due to this? She’ll no longer have his bit of confidence, no more of his unofficial detective work.
Tom calls from jail to talk. He still has advice, no matter how angry or rejected. She asks if he might talk with Dylan for the paper some time. He requests a lock of her hair in return for doing so.
“I know you think he can‘t hurt you, but the last thing you wanna do is make that a challenge for him.”
The discussion of possible suspects goes on, in typical slasher fashion. Robin Turner (Christopher Jacot) casts doubt on everyone, from Captain Iain Vaughn (Dean McDermott) to Cam, even Dylan. But the possibilities keep on running. Robin also suggests Tom could be the “brains” of a copycat murderer on the outside. The whole thing goes further to suggest that it’s possible Alan Henry (Rob Stewart), Tom’s religious council, could be a part of it all. Certainly he was spared on the night of the original murders, as well as the fact he’s “religious council” for Mr. Winston. Hmm.
Vaughn is checking into the background of Trent McBride. June Henry (Jessica Sipos) is questioned, apparently she has/had a connection with the deceased at one point or another. They were paramedics together. It’s obvious his death hits her hard, both in the way she acts while being questioned, and how she seems after, while alone.
We see her later the bar, hammered drunk. She runs into Sarah and Robin, who try to keep her from driving home. June ends up in the water, skinny dipping, so Sarah tries calling Cam. Meanwhile, Dylan is at dinner with her boss Alison Sutherland (Mayko Nguyen) as they meet with former criminal justice lawyer and current journalist Lisa-Ann Follows (Enuka Okuma). For Follows, it’s all fame and glamour, not so much a throbbing need to help some people in a small town. Sarah’s got her own troubles, though, as drunk June rails against her “slut of a mom” and makes it clear there are still lingering prejudices about Sarah and her family. Might be some trouble with Dylan, too. He seems starstruck, and willing to go a little too deep for his job in conjunction with his personal life.
The next day June apologises to Sarah, as well as reveals she and Trent did have an intimate relationship. Moreover, June tells us a story about Trent encountering a now missing girl – Ariel Peterson. They go to the police with all this, honourable. It causes a lot of mess, though.
At the same time, Dylan goes to see Winston looking for “valuable insight” – a.k.a pieces of fame. Then Dylan gives over the hair he stole out of Sarah’s brush. Nasty. Turns out that Tom received a ton of mail from Dylan before. “How much does Sarah know about you?” asks Winston. The slasher plots are ever intricate, as many characters become prime suspect territory.
Father Henry meets with Tom once again. “Sometimes I forget you‘re a Christian,” says Alan. They talk of God, as Tom reads from the good book. More and more their conversations are captured in a sinister light. Then Tom hands over the hair he received; ah, so there is some kind of plan for it. He’s asking Alan to do something. What that is, we’ll see soon enough.Out in the street, Heather Peterson (Erin Karpluk) rants and raves for everyone to see. Truly going mental. It certainly doesn’t help her case that she babbles about the Bible. Surprisingly enough, June Henry embraces Heather, as she weeps in the road.
Sarah further discovers more truths later. She finds out June was in fact with Trent the night they saw Ariel. Which firmly puts her in the way of The Executioner’s new murders. This does nothing to help Cam and his state of mind. Are they too late? Has June already been taken for the sin of Sloth?
Everyone goes looking for her. When Vaughn June down, she’s stabbed, hung from a wall. Or at least a mannequin is, anyways. June is actually at church, on her knees. Praying. The perfect place to be found. By The Executioner, that is.
June soon finds herself in an impressively devious situation. She’s placed out in a field, naked, full of honey, and nearby are rats, other little creatures. An I.V. runs into her, likely keeping her stationary. Will she get chewed to pieces? I’d bet on it.
Next episode is titled “Ill-Gotten Gains”, so the fallout from this one ought to be massive. More Seven Deadly Sins await. I’m loving this Chiller series. It’s gotten better and is picking up steam at the halfway point. Stay tuned with me, fellow fans and horror lovers!
Season 1, Episode 2: “Digging Your Grave With Your Teeth”
Directed by Craig David Wallace
Written by Aaron Martin
* For a review of the Pilot episode – click here
* For a review of the following episode, “Like as fire eateth up and burneth wood” – click here
After a decent yet promising Pilot, Chiller’s first series Slasher moves into the next chapter.
This episode starts in prime slasher territory: the forest. A young couple makes out alone, as the young woman feels worried about being out there while a killer runs loose. Her man makes a bad joke, but then they reconcile quickly after an “I love you” from him. Only they’re interrupted by the ginger-haired guy who had a run in with the new Executioner during the Pilot. He’s under a pile of leaves, buried, his face busted in brutally. Nice classic sub-genre moment here. Reminiscent of everything from the end of Friday the 13th to many other horrors which use the gag for jump scares.
Reeling from the death of Verna McBride next door, Sarah Bennett (Katie McGrath) tries to get past what happened, along with the support of her husband Dylan (Brandon Jay McLaren). Then, up shows grandma – Brenda Merrit (Wendy Crewson). She’s there to stay with Sarah and Dylan, to help, to comfort, until all this nasty business is behind them. Ought to be interesting with her inclusion, as she’s spent “half her life” in Waterbury, so she knows the secrets, the people, and so on.
In town, Trent McBride (Jefferson Brown) talks with real estate agent Robin Turner (Christopher Jacot). Seems like Trent may turn out to be a dubious slasher-figure, though, obviously not the killer of Verna. Just one of those characters on the edge, around the fringe, whose role we’ll not be able to decipher right away. He gives Sarah a nice grim stare while driving away.
Sarah’s looking into the price of the house where Verna died. Likely it won’t sell, for a long, long time. Is this part of the killer’s plan? Robin advises Sarah to sit on her house awhile. So does this play into the new Executioner’s macabre game? Either way, Sarah begins to get settled, opening Waterbury Arts – a Sarah Bennett Gallery. This gives her something to focus on, a purpose, a place in the town now. And while she sets things in place, up shows the woman who Sgt. Cam Henry (Steve Byers) had to deal with in the first episode, Heather Peterson (Erin Karpluk). There’s some history with her and the shop, and Heather rails against Sarah and “the homos“, as if they’re parasites infecting everything in Waterbury. Love how the writing sets up a ton of eerie little backstories, which will certainly play into more of the plot concerning the Executioner, and Sarah’s overall return to her hometown. After Heather leaves, Sarah finds a cryptic biblical message in an envelope, along with a severed thumb; belonging to Verna, of course.
Chief Iain Vaughn (Dean McDermott) tries his best to start an investigation, despite having a problem with Sarah calling the killer Executioner, “like he‘s some god damn super villain.” Mostly, he makes clear Verna had plenty of enemies, people who straight up hated her, so likely it’s one of them. Yeah, right. When Sarah gets angry about no progress and the seemingly nonchalant attitude of Waterbury residents, Vaugh tells her: “Life is not a mystery novel.” But you know she’s going to keep on digging.
There are marital issues between Robin and husband Justin (Mark Ghanimé), which makes me worry for one or both of them. Often times when infidelity rears its head during a slasher outing, this means trouble. Robin’s at the office, jerking off online with another guy, as Justin sits home drinking, waiting for his beau to arrive. But poor Robin is about to have a terrible, terrifying night. The Executioner is hiding in the shadows of the alley next to Robin’s shop. And as the killer hunts him down, luckily a man from a restaurant kitchen opens one of the nearby doors and saves him. For now. A seriously close call.
Back at the prison, Sarah meets with Tom Winston (Patrick Garrow). They do more Silences of the Lambs-style back and forth, not so much quid pro-quo, but definitely calls to mind Hannibal and Clarice, at times. But Slasher is its own series, plunging into the darkness of Sarah’s past with Winston almost like a tour guide to point her in appropriate directions. He even appears worried when she plans to head out for more investigation.
Grandma Brenda tries to convince Dylan to make Sarah head home with her, to stay safe. He makes clear that Sarah does not belong to him, she makes her own decisions. What is that Brenda is so worried about? Surely she knows lots about the past, about Sarah’s mother, possibly the sexual things happening. Is Sarah possibly Peter McBride’s lovechild, or someone else’s maybe? Who knows. I have a feeling there’s plenty more to unravel yet.Sarah explores the woods surrounding Waterbury until locating the entrance to a cave, creepily similar to the supposed Bible quote she received in the mail at her galley. In she heads to explore further. Where she stumbles across a skeleton left lying inside.
This discovery quickly comes out: Peter McBride was shot and then left in the cave.
When Sarah gives the police what she’s gleaned from Winston, about the Seven Deadly Sins and such, Vaughn is not happy. Again, this won’t stop her, nor Dylan who wants the truth just as much. With Alison Sutherland (Mayko Nguyen) helping on the sides, though with a smug sense of entitlement to the story, Dylan and Sarah get her opinion on what may have happened, which involves Verna finding out, then blowing husband Peter away for good after an argument.
On the street, Brenda encounters a woman from town who brings up memories of her murdered daughter, calling Sarah by the name of Rachel. Above all else, we see how Brenda wants to get Sarah away from Waterbury: “There‘s nothing for you here,” her grandmother says. She tries to make it look like Sarah’s father forced her mom into those videos. Afterwards, Brenda goes into detail about the murder, as Sarah reveals she’s been talking to Tom Winston; an action that alienates many around her.
Back in the hospital, Justin tries to make his husband feel better. Robin’s awake again and starting to recover. Tragic to see Justin working so hard while Robin was technically cheating. Especially considering the former feels bad for not being there for his husband the night before. Such guilt, though, Robin doesn’t appear too guilty. They each have their vices, but Robin’s the one cheating. All the same, Justin loves a good dose of nose candy, and the couple was in bed with a bunch of people at the end of the Pilot.
Sitting with Tom Winston is Alan Henry (Rob Stewart), the priest of Waterbury. He has a scar that reminds him of the night when Sarah’s parents were murdered. He managed to survive. Obviously a weight on his shoulders, as well as a reason for him to find his way into the priesthood. And also plays further into the idea of the Seven Deadly Sins, The Executioner and his games.
Although, trouble is on the rise again. The hospital’s power goes off suddenly, which worries Robin. But trusty Sgt. Henry says it’s fine, and he heads out to check the halls and find out what’s been going on. Another excellently displayed use of the slasher tropes, as we false alarm when it seems the killer is after Robin: it’s only a flower delivery man. Except the flowers come with a card displaying condolences for his “loss” – uh oh.Over at the fundraiser, Justin starts to foam at the mouth, and within a minute he dies savagely on the floor, blood seeping from his eyes, his mouth. Everyone’s left shocked. The killer has struck once again. Waterbury is not safe in the least.
Sgt. Henry and Captain Vaughn head over to Heather Peterson’s place, where she goes appropriately wild. Her missing daughter, the other events unfolding associated with her, is taking a harsh toll.
Once more, Sarah goes to Winston. “He or she is smart; a magician,” Tom says about the new killer. They discuss the murders, the recent death of Justin via poison. This murder is chalked up to Gluttony, for over-consumption, but Tom says “there‘s so much more to uncover” and goes on to say “people in this town lie all the time“, so what’s next? How much more will Sarah uncover?
The finale sees a woman on a bridge with a large cinder block. A car starts to pass by, then she drops it. We hear screams, screeching of tires, crying. Stay tuned.Next episode is “Like as fire eateth up and burneth wood” and I’m far beyond excited. This follow-up to the Pilot really amped the mystery, so stay with me for another episode soon.