Agatha All Along, Through Many Miles of Tricks And Trials
Episode three of Agatha All Along was not what I was expecting. Granted, I didn’t know what to expect. But a splash of suburbia and poisoning in the middle of a deadly Witches Road was certainly not on my bingo card.
The story
In this episode of Agatha All Along, our coven finds a suburban house in the middle of The Road. When they go inside they’re transformed into well-off housewives and one preppy Teen. They also find a bottle of wine.
Of course, they realize it’s likely a trap. But they also realize there’s no way out of the trap but through. So they drink.
Soon after, they realize they’ve got to find an antidote before they’re all poisoned. Jen, their potions guy, knows the antidote. So it becomes a race against time to find the ingredients and tools they need in a suburban house before they all die.
What worked
I want to start by shedding some well-deserved light on Sharon. This character is just so much fun. And so understandable. She’s a widow who went through hell at the hands of Wanda. And yet she was up for some unexpected girl time as soon as Agatha invited her. She sang along, removed her shoes, and started walking The Road. But when she realized that she was in a real alternate dimension and real danger, her PTSD came back hardcore.
Even so, after a momentary freakout, she stuck with the coven and did her best. No powers, no weapons. Just a woman who has joined a team and is going to do her very best.
I love her.
Now, we know there were some serious hints dropped that Teen is Agatha’s child in this episode. We’re going to talk more about that in the next portion, but there is one factor about this I enjoyed.
Several times in this episode, we see Agatha be protective of Teen. She pulls him behind her when there’s danger. She wants to keep the rest of the coven away from him. She doesn’t let him drink underage. And she even drinks the poison herself to keep him from drinking it.
Now, we might assume this is because she believes he is her son. I really hope that isn’t the case, but again we’ll talk more about that later.
She might be protecting him simply because she did have a child, and Teen reminds her of him. She might also be protecting him because he has some sort of power she wants for herself. Either option is very possible. Both are interesting. I am excited to see which way that storyline goes.
This was also a good example of character development in this episode. We learn so much about each character’s history, through the hallucinations they see while poisoned. I thought that was a fantastic way to handle backstory with such a diverse cast. This was also especially heartbreaking with Sharon, who seemed to remember a dark moment from an episode of Wandavision, in which she begs Wanda to save her husband from choking. I teared up.
Finally, I know this isn’t a Modern Witch post, but I do have to point out the unexpected nods to real witchcraft. This was especially funny as Jen makes a potion with ingredients that sound made up, but are actually commonplace and easily found in most homes. Mustard seed, petroleum jelly, honey, essential oils. All of these are things I have in my house and things I’ve used in spell work.
I also loved what Teen said about ‘analog magic’. AKA, the magic I do. “You know, witchcraft is a craft,” is a well-known line. And it’s one that most of us have repeated while shopping for too much yarn at Michaels.
What didn’t work
I really only have one complaint about this episode. And it’s not so much a complaint as a concern.
As I mentioned earlier, Jen seems to heavily imply that she thinks Teen might be Agatha’s son, who she traded to a dark spirit in return for a powerful grimoire. The hallucination Agatha has seems to suggest this is the case when she pulls back a blanket in a bassinet to find a book instead of an infant.
I hope this isn’t the case. Not only because it will make our main character really unlikable, but because it’s dull. And they came out with it way too early. Could they do it well? Sure, I suppose anything is possible. But if that ends up being the secret of Teen, I’ll be disappointed.
Episode three ramped things up in many ways. It’s a hint towards a deeper storyline that I am excited to see. If this was only the first challenge, I cannot wait to see the others.
(4 / 5)
Movies n TV
Evil: “A is for Angel” (S2E2)
“A is for Angel” is an episode of the supernatural drama, Evil. The assessors investigate a potential angelic possession.
“A is for Angel” 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 a potential angelic possession. David (Mike Colter) meets a helpful nun (Andrea Martin as Sister Andrea). Kristen (Katja Herbers) talks to the police. Sheryl (Christine Lahti) takes out her frustration on someone who deserves it. Leland (Michael Emerson) makes a haunting confession.
What I Like about Evil: “A is for Angel”
While “A is for Angel” fears depicting a biblically accurate angel, it still evokes a haunting terror such angels evoke. Brandon J. Dirden’s Raymond/Archangel Michael provides an unsettling performance that directly comments or alludes to actions that angels take in the bible.
This episode introduces Sister Andrea, who will become a key character of the series, acting as a spiritual advisor and mentor to David specifically. She’s interesting enough to evoke lasting memorability, given more attention than debut characters in their introductory episodes.
Leland’s confession to David gets dark, revealing much of the personal relationship the two had before the series began. While nothing remains confirmed, and Leland clearly aims to antagonize David, David’s reaction suggests that some truthful admissions linger within the deception. However, it’s ultimately a viewer’s decision to weigh these claims.
“A is for Angel” creates a rather terrifying dynamic that evokes a haunting narrative. Where the previous episode focused more on what comes next, “A is for Angel” dives into the horrific implications of the procedural plot.
Tired Tropes and Triggers
As mentioned earlier, the procedural plot involves an angelic possession and some Old Testament godliness, which might upset some viewers. Some points suggest sexism and abuse, but little of this receives attention beyond the claim.
A character potentially murdered their wife, suggesting spousal abuse, but the reality of the situation seems blurred. Regardless, the victim tries to leave their abuser, which is a common source of abuse in domestic violence.
While nothing remains confirmed, a child molester apparently receives angelic punishment. The viewer takes the word of the angel’s supposed host on this claim, which hardly means an absolute confirmation.
Suicide, potentially assisted suicide, is another plot point alluded to in the episode. Little remains a proven fact, but the suggestion seems plausible considering what the viewer knows of the situation. As this remains the only confirmation, the claims seem interpretable.
What I Dislike about Evil: “A is for Angel”
Again, “A is for Angel” puts a lot of focus on the horrifying concept of an angel but doesn’t try to depict a biblically accurate angel. Frankly, it’s a wasted opportunity, considering the haunting nature of their descriptions. Such descriptions rival that of Lovecraftian abomination in horrifying potential. It seems like a perfect opportunity for a show or film like Evil. Even as “A is for Angel” challenges the depictions, it hesitates to open its’ trillions of eyes to the opportunities available.
Leland allows the assessors into his home and leaves valuable evidence for the team to find. For such an intelligent character, these oversights seem uncharacteristic. Viewers might assume this frantic response is a ploy, but his reactions suggest otherwise.
Final Thoughts
“A is for Angel” returns Evil to the horror roots that the previous episode hadn’t lingered on. The episode unravels some mysteries of the past that better contextualize relationships. If you’re eager for Old Testament godly intervention, this episode brings out a proper dose of it.
(3 / 5)
Welcome to Nightvale is an incredibly popular podcast created by Joseph Fink and Jeffrey Cranor. It’s well-loved by horror and fantasy fans alike.
I think it’s, well, fine.
The book Welcome to Nightvale is the first of a series about the same nameless Midwestern town. And it was, well, not that great.
The story
We begin our tale with Jackie. She’s a nineteen-year-old who works at the pawn shop in Nightvale. She has been a nineteen-year-old for decades. Her life is simple. She works and she goes home. At home, she doesn’t do much but listen to the radio.
That is until a strange man comes to her shop.
Meanwhile, a mother named Diane is struggling with her son. He is a shapeshifter, and also a teenager. He appears to be struggling with both. Diane is trying to help him, but he doesn’t want her help. She’s feeling unloved and unappreciated. Which makes sense, because he is sure acting like he doesn’t love or appreciate her.
Then, his father returns to town.
What worked
The Nightvale world is, if nothing else, a creatively dark world full of illogical Eldridge horrors. There are simply dark things lurking, without any rhyme or reason. Fantastical and horrifying people live side by side with literal miracles. This is easily the most entertaining part of the whole book.
What didn’t work
That being said, all the lovely world-building in the world isn’t worth anything if there isn’t a decent story in place. It’s like a gorgeous set for a play that goes nowhere.
And it felt very much like this story went nowhere. Or, at least it took forever to go anywhere.
The story felt incredibly repetitive. For instance, we went over and over how Jackie was nineteen and had been nineteen for decades. We didn’t need to do that. It’s bad enough that she’s choosing to not move forward in her life. We don’t need to experience it with her.
This over-explanation kind of killed the one part of the story I liked. It took all the fantastical, unexplainable parts of the story and killed them with over-explanation.
Maybe this wouldn’t have mattered as much if I had been gripped by the characters. But I just wasn’t. Both Jackie and Diane felt boringly real, despite their fantastical lives. They seemed stuck in their ways and unwilling to do anything to change them. And that is just not a character that I want to read about.
In the end, this just isn’t Fink’s best work. If you’re looking for something great from him, read Alice Isn’t Dead.
Or maybe it’s just not for me. I, after all, appear to be the only person on the planet who doesn’t like this podcast. If you enjoy the Welcome to Nightvale podcast, you might enjoy this book. But if you’re just looking to start your Halloween reading, there are better options.
(2 / 5)
Movies n TV
Evil: “N is for Night Terrors” (S2E1)
“N is for Night Terrors” is an episode of the supernatural drama, Evil, created by Michelle King and Robert King. The assessors assess a friend of the Cardinal.
“N is for Night Terrors” 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, 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.
The assessors assess a donor and personal friend to the Cardinal. Kristen (Katja Herbers) confesses to Dr. Boggs (Kurt Fuller). David (Mike Colter) struggles to balance his work and studies. Ben (Aasif Mandvi) meets a demon.
What I Like about Evil: “N is for Night Terrors”
Kristen returns from her season 1 finale with a strangely unreliable playfulness. With what the viewer knows, the performance creates an unnerving new norm for season 2 to unpack. While subtle, the trauma creates a domino effect across all her relationships. Everyone knows something’s off, even if they don’t understand what.
Leland receives the most material to execute, allowing him ample opportunity to build meaningful hostile relationships with all three assessors. The viewer sees a perfect example of this through his new interactions with Ben, with whom Leland had no previous direct interactions.
David further indulges in dangerous behaviors to evoke his visions, replacing his old habits with pain to access these visions with renewed clarity. David needs God’s attention, forcing him into unhealthy cycles. It’s a particularly unsettling pattern to witness.
As Ben is the least affected by the supernatural forces in the show so far, “N is for Night Terrors” sets season 2 as the correction of this grievous error. This dynamic creates a synergy between the first and second seasons, having already built Ben as the least tolerable to the supernatural shenanigans.
Of all the seasons, season 2 establishes my personal favorite title gimmick across the seasons. While some episodes of season 1 have great titles that tie in the episode’s procedural plot, season 2 achieves this standard while matching the tone and overarching plot.
Tired Tropes and Triggers
Leland directly abuses the bureaucracy of the Catholic church to get what he wants. While season 1 explores potential corruption in the Catholic church, “N is for Night Terrors” shows this corruption in action.
As mentioned above, David uses pain to activate his visions. It’s clearly shown as a negative with real repercussions on the body, but it does work. This won’t be a lasting solution for David’s visions, but that doesn’t help “N is for Night Terrors” communicate the toxicity of this behavior. Aside from this claim, one moment shows the toxicity of this behavior as David misses a call from the person he’s attempting to help.
What I Dislike about Evil: “N is for Night Terrors”
The episode begins with a recap but also lingers on the ending of season 1 after this recap. It seems a strange point to linger on. The streaming era makes this a more exaggerated issue as a viewer gets bombarded with the same information three times.
Because of the personal relationship that all but one of the assessors have with the subject they are assessing, it seems inappropriate that they would continue assessing them. The more obvious their bias, the less sensible Bishop Marx seems when he keeps them on this assignment.
Lastly, the focused trajectory of season 1 takes a backseat to the procedural plot. While it’s an understandable writing decision, it does step back from the initial focus. In a structural sense, this deviation becomes an obstacle specifically placed in their way, but it does reduce tension.
Final Thoughts
“N is for Night Terrors” re-accompanies the viewer with the dynamics of the Evil series following season 1. It plays a little too safe, afraid of expanding too much beyond the refamiliarization, but it adds a few new dynamics for season 2 to follow.
(2.5 / 5)
