“C is for Cop” is an episode of the supernatural drama, Evil, created by Michelle King and Robert King. The central cast includes Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Christine Lahti, and Andrea Martin. It originally aired under CBS before moving to Paramount+. As of this review, it’s available through Netflix and Paramount+ and its add-ons.

The assessors assess police misconduct during an unarmed shooting but uncover much more. Kristen (Katja Herbers) struggles with the trauma of her actions and prepares to face consequences. David (Mike Colter) unravels a secret sigil relating to the police force. Ben (Aasif Mandvi) faces his demons.

What I Like about Evil: “C is for Cop”

This episode received a nomination for “Outstanding Writing in a Drama Series” by the NAACP Image Awards. As of this review, it remains the only episode to receive a nomination for its writing.

Previous episodes built the groundwork for what “C is for Cop” pays off so well, including Kristen’s friendship with a police officer. The episode dissects this relationship with particular scrutiny as the plot unfolds. It’s an interesting plot that creates an uncomfortable conversation around systemic racism.

Despite the pointed plot addressing systemic issues of police violence, “C is for Cop” doesn’t linger on its dark comedy, giving it a harder edge than episodes like “Z is for Zombies.” Beyond the titular plot, Kristen comes to terms with some of her actions, diving further into her dark journey. This change in tone makes sense holistically, which adds greater depth to the episode’s execution.

Ben and Kristen hit dark moments in their journeys. The viewers learn more about why Ben took this line of work, trying to escape the sins of his past. In synergy with this journey, Kristen reaches her highest point of guilt. It’s a level of detail and foresight that deserves respect.

“C is for Cop” deals largely with systemic horror. While it addresses this concept from a place of knowledge, it’s less horrifying and more uncomfortably real.

Finally, I love how this episode builds up the next in subtle comments that only now make themselves apparent to me. It adds great value to rewatching the episode and series.

Tired Tropes and Triggers

As the title and above award might indicate, the episode deals with police violence and systemic racism. “C is for Cop” didn’t earn a nomination for pulling punches, but because it looks at the systemic issue from multiple parts that include TV representations, police culture, and microaggressions. Some elements are subtle, but many are direct.

What I Dislike about Evil: “C is for Cop”

To build tension on Kristen’s guilt, “C is for Cop” expects viewers to believe that one of her daughters would remember a specific unremarkable night. As Kristen largely kept the girls from the dangers of previous episodes, it hardly seems that night earns merit.

The investigation suggests another sigil in play. There’s something about this suggestion that makes the real horror less frightening and small. It even suggests an easy solution because it delivers a comfortable idea that slaying the sigil will remedy the issue. While it isn’t expressed directly in such a way, it’s an interpretation one must consider.

Another issue with this decision is that it acts like a typical procedural plot, holding little impact for future episodes despite the damning implications at the end.

Final Thoughts

“C is for Cop” delivers a lot in its runtime, adding a new layer of systemic evil to the show. While stepping away from its dark comedy tone, it synergizes this decision with several low moments for the characters. As an episode of season 2, pulls away from the levity of “Z is for Zombies” and prepares the viewer for the next dark episode of Evil.
(4 / 5)

“Z is for Zombies” is an episode of the supernatural drama, Evil, created by Michelle King and Robert King. The central cast includes Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Christine Lahti, and Andrea Martin. It originally aired under CBS before moving to Paramount+. As of this review, it’s available through Netflix and Paramount+ and its add-ons.

The assessors investigate Father Mulvehill (Brian Stokes Mitchell) after he confesses to suffering from spiritual exhaustion. David (Mike Colter) asks Sister Andrea (Andrea Martin) for advice on these spiritual matters. Lila (Skyler Gray) and her friend Alex (Gloria Manning) investigate the strange delivery workers in their neighborhood.

What I Like about Evil: “Z is for Zombies”

This episode not so subtly comments on inhumane working conditions, hitting pretty hard in its message. “Z is for Zombies” shows a fair bit of knowledge on the subject, making the commentary land better.

Episodes have focused on Kristen’s children in the past. In this episode, Lila leads the titular plot. It adds a dynamic nature to the characters, raising one daughter with little previous focus into a leading character.

This episode deviates from previous episodes because it focuses on an individual plot that doesn’t relate to the procedural. I lean on this being a positive development because of the unique plot, but it does push back more relevant developments.

However, they still progress in meaningful ways. Specifically, Leland’s ongoing exorcism takes a few dramatic turns. One moment will likely remain a uniquely satisfying scene for those who have grown to hate the character. This episode also solidifies the hostile feud between Leland and Sister Andrea.

“Z is for Zombies” delivers an existential horror and commentary more relevant to modern-day exploitation. While Evil doesn’t shy away from such conversations, this episode provides a more pointed critique while maintaining its dark comedic tone. Evil better addresses most of its critiques and themes when indulging in the dark comedy of its world.

Tired Tropes and Triggers

As mentioned above, there’s a nearly direct commentary on worker exploitation. Without directly bringing up wage slavery, “Z is for Zombies” does make connections between slavery and worker exploitation by suggesting similar solutions. This decision might act as a step too far for some viewers.

Another key plot point is a gambling addict’s relapsing. This plot gets muddied by spiritual or personal discipline. However, that’s the internalized justification of the character relapsing. The episode conveys the importance of external help.

What I Dislike about Evil: “Z is for Zombies”

Though I brought it up as a positive point, the episode does deviate from the season’s RSM Fertility plotline. The overarching plot seems to prioritize Leland’s exorcism, which also takes a back seat but does move along in the story. Father Mulvehill’s personal struggles lose some thematic tension with how easily priests seem to come and go from Evil. He’s not even the first exorcist we’ve seen in the show.

As the central plot of “Z is for Zombies” follows children, there are a few plot contrivances to simplify certain elements. I will go out on a limb and say some of this might suggest supernatural/magical intervention. It feels like the plot contrivance a show targeting younger audiences might create, which matches the younger characters starring in it. However, Evil isn’t a kid’s show or accustomed to these moments of plot simplification, so it does stand out.

Final Thoughts

“Z is for Zombies” brings existential horror to Evil in a more effective commentary than episodes before. While it makes less progress toward the seasonal plots, it still provides an interesting story that expands the concept of evil for the show. It’s only the simplification that takes these ideas and reduces the execution.
(2.5 / 5)

Death Becomes Her (1992) is a surrealist dark comedy directed by Robert Zemeckis. This PG-13 movie stars the iconic legends Meryl Streep, Bruce Willes, and Goldie Hawn. As of this review, this classic left Amazon Prime but will remain rentable through Prime, YouTube, Google Play Movie, Apple TV, and more.

Helen (Goldie Hawn) and Madeline (Meryl Streep) have been frenemies for years, but when Helen introduces her husband (Bruce Willis as Ernest) to Madeline, that rivalry enters new heights. As Helen plans her revenge, Madeline receives an offer that might cure the pesky inconvenience of aging.

What I Like about Death Becomes Her

Death Becomes Her won Best Special Effects from the Academy Awards (1993), the Academy of Science Fiction, Fantasy & Horror Films, BAFTA, and Awards Circuit Community Award. Isabella Rossellini won Best Supporting Actress from the Academy of Science Fiction, Fantasy & Horror Films.

Everyone delivers an outstanding performance worthy of note, creating a synergy and chemistry that provides a challenge in describing. A specific example is the toxic friendship between Madeline and Helen, a true pleasure to watch on screen. Their destructive friendship remains the key draw of Death Becomes Her. 

When all the performances are exceptional, it’s hard to pinpoint one to focus on. Instead, viewers likely gravitate towards certain traits or archetypes that a character evokes. Madeline is the diva who hates her life. Helen provides a more reserved and passive-aggressive character, plotting her way to a bloody vengeance. Isabella Rossellini earns her award and recognition from a truly captivating performance as Lisle Von Rhuman, requiring charm and mystique in equal measures. 

The humor and delivery still have me cackling over Death Becomes Her. While not everything ages to perfection, there’s a timelessness to the film that will likely stand for years to come. It’s easy to claim this when the film proves a classic already.

I will comment on this point again, but the special effects hold up surprisingly well. Yes, certain scenes show age, but they mostly look believable to modern scrutiny. Perhaps the surrealist and dark comedic nature of Death Becomes Her helps with this longevity. From my understanding, Death Becomes Her pioneered many tricks and all-around film magic it displays on screen. 

As of writing this review, Death Becomes Her remains largely spared from the cash-grab remakes all too common for successful or cult classic films. While it seems inevitable that Death Becomes Her will receive this punishment eventually, Hollywood’s restraint likely suggests respect for the film’s longevity. However, Sabrina Carpenter’s “Taste” does boast a clear influence from the film.

Tired Tropes and Triggers

Madeline and Ernest have a horrifyingly dysfunctional marriage that results in a murder. I won’t dive into more detail to avoid spoilers. I will mention that death holds a dark comedic tone, but that doesn’t change the toxic relationship.

An actress wears a fat suit. She later becomes the target of fat shaming and ridicule. The suit doesn’t last long, following only a few scenes to show the character’s spiral into depression.

What I Dislike about Death Becomes Her

The second half of the film pivots Ernest as the main character, having him learn the lesson and grow. While I don’t mind this in theory, and it seems a hard point to work around, it does remove focus from Madeline and Helen.

A character claims that Ernest began life at fifty with little known about his life before this time. That’s a hilarious claim since he was a famous plastic surgeon who became an exceptional mortician and married an actress with some name recognition.

As mentioned, the special effects show age. While I still commit to the claim that it holds up surprisingly well, Death Becomes Her does have moments when viewers note the 1992 release date. Viewers shouldn’t expect the kind of CGI and film magic of the modern day. However, creativity and ingenuity give a timeless charm to Death Becomes Her.

Final Thoughts

Death Becomes Her remains a classic largely untouched by the passage of time. While it shows some age here and there, the film takes its own potion of eternal youth. If you’re eager for a dark comedy that doesn’t shy away from the surreal, Death Becomes Her remains an exceptional choice.
(5 / 5)