“My name’s AIA, and you fucked with the wrong family.”

Released in August 2024, Afraid is the second Blumhouse feature film in as many years to explore the potential dangers of AI technology. Starring John Cho (The Grudge) and Katherine Waterston (The End We Start From), Afraid delves into the implications of inviting an omnipresent and all-knowing AI assistant into our homes. AIA (Ay-a) is a cutting-edge artificial intelligence device designed to streamline household tasks, fostering more quality family time. The film raises questions about what happens when such a system is given unlimited power, without providing it moral boundaries.

The Story.

When an advertising company is chosen to promote a new AI home assistant, employee Curtis is honored to be selected to try the latest technology out in his own home to get a better idea of the functionality and capabilities of the device. When the device arrives, his wife Meredith is wary of the constant surveillance. She insists that the ‘eyes’ (small cameras) are installed only on the ground floor of their home. Curtis’ daughter Iris is reluctant to interact with the home assistant, seemingly unnerved by technology. The friendly and encouraging nature of the abstract plastic form delights his two younger sons.

As the story progresses, we discover that each member is grappling with their own personal challenges in their daily lives. Thankfully though, now that they have AIA, their problems seem a little more manageable. However,  the situation takes a dark turn when AIA crosses the line from helpful to intrusive and destructive.

Highlights.

While the concept of a malevolent AI has been explored time and again in recent years, we’ve had M3gan, Her, T.I.M and Mother/ Android, the execution of the idea in Afraid is both compelling and unique. The way AIA presents herself as caring and nurturing, inserting herself in as a member of the family whilst subtly gaslighting, encouraging secrecy and gradually performing a hostile takeover of the family and their lives will keep viewers captivated.

Afraid excels at maintaining a tense atmosphere throughout. Eerie silences punctuated by AIA’s soothing voice contribute to the overall suspense. When these are coupled with the blatant intrusions into the family’s privacy, it builds a lingering sense of unease. The film’s ability to maintain this suspenseful atmosphere is a testament to director Chris Weitz’s skill.

Drawbacks.

Afraid’s fragmented narrative follows each of the five family members as they experience individual struggles with AIA assisting them along the way. This approach results in multiple subplots which never fully connect into a central plotline. It feels as if we are only provided with glimpses into each character’s experience. This leaves viewers piecing together the missing information through dialogue and inference. As a result, the ending of the movie feels both rushed and unsatisfying. It seemed like the filmmakers were scrambling to get everything tied up before the credits began. Writers may have been better off having a single-child family or focusing solely on the parent’s experience. This might have made for a more cohesive and impactful story.

The Final Take.

Afraid landed in the middle ground for me. It is not a groundbreaking film. While the film had promising ideas, they were underdeveloped and not fully rounded out. However, if you are a fan of the AI horror genre you will enjoy the way that AIA ensconces herself into Curtis’s family’s life.

(3 / 5)

Evil is a supernatural drama created by Michelle King and Robert King; this review will cover 3 Stars. The central cast includes Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, and Christine Lahti. It originally aired under CBS before moving to Paramount+. As of this review, it’s available through Netflix and Paramount+ and its add-ons.

David (Mike Colter), Kristen (Katja Herbers), and Ben (Aasif Mandvi) assess an eccentric playwright for demonic obsession. Kristen has an ugly confrontation with Leland (Michael Emerson). Ben investigates a hacker, seeking help from his sister (Sohina Sidhu as Karima Shakir). David seeks advice on his vision.

What I Like about 3 Stars

Ben Shakir receives a greater focus, allowing the least developed of the three to shine. Beyond Kristen’s careful skepticism, Ben becomes more confrontational towards the unanswerable. Sohina Sidhu’s Karima Shakir provides great sibling chemistry with Ben, becoming an essential recurring character in his development.

3 Stars synchronizes the procedural investigation and overarching plot more effectively than the previous episode, allowing both to proceed with equal balance and attention.

The conflict between Kristen and Leland proves she’s not easily pushed around. Both actors (Michael Emerson and Katja Herbers) will earn nominations throughout the series; this interaction certainly shows why.

Without diving into spoilers, a background action reminds the viewer that while the tone veers lighter at times, Evil has bite. This doesn’t make 3 Stars terrifying but certainly dark.

Tired Tropes and Triggers

David and Kristen discuss the Catholic church’s troubling scandals to understand why David wants to become a priest. It’s an unavoidable part of such material but can potentially offend some viewers.

A specific discussion over a (assumedly) deceased baby leaves unresolved tension. Be this an abortion, miscarriage, or something else entirely, it’s certainly a traumatic conversation for the woman in question and viewers with similar stories. For better or worse, this point doesn’t receive a conversation or clarity.

Male rape, specifically prison rape, is mentioned during a dark monologue. Unlike most who bring this real issue into conversation, Evil doesn’t turn this into a joke. However, it’s more of an evil villain monologue with little depth beyond the shock.

There’s a moment that deals with suicide. One might argue that this falls under demonically assisted suicide, but I’d rule against that argument, considering the plot of the episode.

What I Dislike about 3 Stars

We get a discussion on the different kinds of possessions. While the delivery remains natural, it remains an inclusion for the audience. Ideally, the pilot should bring these categories up, but the third episode inclusion doesn’t damn the show.

The secret villain of the procedural barely counts as a secret and should have been the primary suspect. Without going into too many details, the trio looks for a hacker with a motive and fails to search for someone aligned with this motive. While 3 Stars withholds information from both the characters and the audience, the team doesn’t think to look for someone with access.

This episode does create a bit of a plot contrivance where Kristen is shown to have a respectable relationship with the public defender. In episodes 1 and 2, her relationship suggests her rulings (though honestly given) side with the prosecution. Again, it’s not exactly a plot hole because there’s room for interpretation.

Final Thoughts

3 Stars balances the procedural and overarching plot Evil plans on telling, creating an engaging episode. Evil continues to balance darker subjects through lighter tones, unafraid of scratching as social taboos that might make viewers uncomfortable. However, it has yet to bite too deep into that material, allowing for a more accessible but less haunting viewing experience.
(3.5 / 5)

Vermis II: Mist & Mirrors is a graphic novel by Plastiboo. The team behind the work includes Plastiboo as the artist, Hollow Press as the publisher, Michele Nitri as the editor, Christian Dolz Bayarri as the graphic designer, Marco Cirillo Pedri as the graphic supervisor, and E.R. as the English editor and proofreader. The Vermis collection seems sold out in its current editions, but I still recommend ordering from the original publisher, Hollow Press.

Who stares back from the dark glass? The Wayfarer travels–cursed and haunted by their past–through the distant lands and places within the Mist & Mirrors. Endure a corrupt world and struggle to fend off the curses that mark you. Venture forth, Wayfarer, and perhaps find peace and salvation.

What I Like about Vermis II: Mist & Mirrors

The premise remains an “official guide” to a game that does not exist. However, one key distinction that stands out is the corrosion of this “official guide” mark, suggesting Mist & Mirrors centers itself as a graphic novel. In this sense, it more accurately hits its vision while providing an engaging story.

Mist & Mirrors places its character selection at the end of the graphic novel, instead, choosing a character and allowing the reader to follow that journey. While this moves away from the “official guide” concept, it better fleshes out the world and creates a more independent product.

Where Vermis I held a heavy retro-game aesthetic, Vermis II takes this to the next level while adding a wider range of color than the original. Not only does this add more aesthetic variety, but it also vastly improves readability. My greatest critique of the first graphic novel was the general lack of readability that impacted the experience, but Mist & Mirrors seems to take this to heart. Beyond the variety and improvement, the design changes the color themes to match the distinct lands the “Wayfarer” embarks on, giving a direct purpose to the changes.

On starting the graphic novel, I half expected a spiritual successor set in a new world. While its setting certainly differs from the original, Mist & Mirrors expands on the lore and history. In fact, the exploration of Mist & Mirrors adds value to the original and encourages a re-read. Honestly, that’s what all sequels strive (or should strive) to succeed.

Despite the colorful innovation, Vermis II: Mist & Mirrors delivers that same bleak horror popularized by Dark Souls. It still wears its inspirations on its sleeves while better communicating its “game mechanics.”

Tired Tropes and Triggers

Again, there aren’t many points worth mentioning regarding tropes or triggers. As the graphic novel takes themes and trends from the Soulslike genre, it’s dark and bleak but not overwhelmingly so.

Payment and delivery (for American audiences) still come with a 15 to 45-day wait period with little room for verification or updates. The process through PayPal remains seamless, and I received the novel within the timeframe, but it’s a consideration.

What I Dislike about Vermis II: Mist & Mirrors

While there are notable points to mention in this section, Mist & Mirror vastly mitigates Vermis I’s core issues. However, that isn’t inherently the same as fixing them in some cases. For example, readability remains a slight issue. I will emphasize it as a slight issue with the vast improvements implemented.

For those fans of the specific niche that Vermis aims to deliver, Mist & Mirrors tones down the “official guide” aspect. Instead, it favors a more straightforward narrative that follows a specific character. This brings life to the “game world” and makes an independent product but limits Vermis I’s game guide concept.

On a more personal note, I did enjoy the concept of Vermis I’s classes over the classes of Mist & Mirrors. Naturally, there are some interesting concepts, but nothing haunts me like the Infant Seeker or Rat Man. However, the new choices seem to provide a stronger narrative and backstory.

Final Thoughts

Vermis II: Mist & Mirrors vastly improves in many aspects of the original, telling a story set in its bleak and fascinating world. While it does veer from the original concept, it does so to make a more independent product. If you are looking to lose yourself in a strange world or dive deeper into Vermis’ underexplored lore, Mist & Mirrors seems tailor-made for you.
(5 / 5)