Review: 2015’s “Maggie” is a Midwestern Drama with Zombies
I think that one of the reasons that people find the zombie genre is so popular is because it’s so relatable. In every point of history, there has been a very legitimate fear of infection, and of becoming part of a huge mass of the unidentified/unnamed/unclaimed waste left in its aftermath. It’s a terrifying thought to have to watch your body rot and decay into something inhuman before your own eyed. Just as there’s a complex horror of being swallowed into an unmarked mass grave, full of other rotting husks of unknown strangers.
And of course, the more bureaucratic nightmare of quarantine – the loss of control over one’s freedom, autonomy and body. The isolation of being a number in a system, a statistic to be glossed over in news reports, or worse, totally neglected by the system built to serve and protect you as a citizen.
At the time of this review, the world is rocked by the Corona virus. Clips of videos and pictures on the internet show people being removed in hazmat protection, portions of cities blocked off for quarantine, and countless people reacting to fake or real bouts of public sickness. Borders have been closed. PPE has been sold out completely online.
Before that was Ebola, H1N1, SARS, Bird Flu, Hantavirus, The Spanish Flu, Tuberculosis, Rabies, Leprosy, The Black Death…
And, something more akin to this movie – the HIV/AIDS epidemic. But before we get into all that…
The Plot:
Maggie, played by Abigail Breslin, has just been given a death sentence – she’s been bitten by an infected person and is now positive for a disease that’s been ravaging the entire US. After trying to run away, she is picked up by her father and taken back to their house in the quiet countryside to await her fate. She’s given only a few weeks to spend with her family before being forced to suffer her final days isolated in quarantine.
During her time at home, she must come to accept her mother’s past death, learn to forgive, and face her mortality while losing her agency and body in the process as she becomes sicker. She experiences the fear and ignorance of even her closest loved ones as she becomes less and less of Maggie and more of something else entirely…
The non-spoiler reveal:
There’s no way around this: Arnold Schwarzenegger plays her dad.
It’s…unfortunate and, frankly, jarring to see older Arnold play a Midwestern farmer and father to a young twenty-something (and father to even younger children). And it’s not to say that he doesn’t try in this film, because he does.
And he does a good job at acting, but what probably drew a lot of people to watch this movie (me included) was what ended up hurting it – it’s an Arnold Schwarzenegger zombie movie at the end of the day. No matter how it’s packaged, that’s what’s going to stick in people’s minds and when this slow-burn drama starts unfolding, it’s…well…
(snob glasses affixed) In “Genre And The Invention Of The Writer”, especially when examining Foucault’s “author-function”, Anis S. Bawarshi said:
“The author-function does not refer to the ‘real’ writer, the individual with the proper name who precedes and exists independently of the work. Instead, it refers to the author’s name, which, in addition to being a proper name, is also a literary name, a name that exists only in relation to the work associated with it. The author-function, then, endows a work with a certain cultural status and value. At the same time, the author-function also endows the idea of ‘author’ with a certain cultural status and value.”
https://www.jstor.org/stable/j.ctt46nxp6.5
“The author-function delimits what works we recognize as valuable and how we interpret them at the same time as it accords the status of author to certain writers”
https://www.jstor.org/stable/j.ctt46nxp6.5
I know, you’re thinking, ‘But Brannyk, doesn’t that work in favor of the movie? The reason that we’re talking about the movie right now is because of Arnold “Put That Cookie Down” Schwarzenegger? And also, what happened with the HIV/AIDS talk?’
We’ll get to HIV/AIDS in a minute. First, yes, Arnold and Abigail Breslin’s (but we know it’s Arnold) capital is what drew people in. In fact, that reliance on his capital was incredibly faulty direction that the marketing took – relying on (and exaggerating) the scarce action scenes of the movie. They even went as far as to hype the movie with the most ridiculous tagline: “Don’t Get Bitten” as a way to sell Action-Arnold, and not Midwestern old-dad Arnold.
It’s no wonder that, while it fared well with critics, it bombed hard, not even making back its budget (which probably mostly went to the salaries for the actors, as there was limited effects and locations).
And it’s a shame because “Maggie” is a fresh take on an old trope. And so, patient reader, we get to HIV/AIDS.
Brain Roll Juice:
“Maggie” is not the total chaos and calamity of most zombie outbreak movies. It’s an epidemic, yes, but as we see government-issued brochures given to Maggie, as we hear NPR news reports, and boring, routine doctor visits – this is not a collapsing society situation. Yet, there’s fear and prejudice against those infected. There’s ignorance. Some of it is rational – they are living in the country, where everyone knows everyone and resources are reserved for the larger cities. Maggie is seen as a victim, a carrier, a ticking time-bomb, a troublemaker, and an innocent child.
During her own time of accepting her virus and fate, friends and loved ones try understand how this change will affect them – some say goodbye, some turn away, and some give into prejudice and ignorance.
Throughout the movie (whether intentional or not) the interactions with the community, the government’s awkward involvements, and the sickness itself (not the cannibalistic part, though, duh) is reminiscent of the HIV/AIDS epidemic of the 80’s-90’s. Maggie as a “carrier” of a deadly and mysteriously disease that is clumsily handled by government officials and little understood by the general public pulls a lot from history. We see Maggie losing agency, little by little, with her choices and her own body as she is slowly succumbing to the virus. We see more government intervention by way of law enforcement and medical staff, even when trying to help her. We see her own friends misunderstand her and the community at the brink of hysteria.
In fact, when questioned about the school re-opening and asked whether he would send his child to school with a child with the disease, the mayor of the town had this to say,
“I’m glad I’m not faced with that problem today, and I can well understand the plight of the parents and how they feel about it. I also have compassion, as I think we all do, for the child that has this and doesn’t know and can’t have it explained to him why somehow he is now an outcast and can no longer associate with his playmates and schoolmates. On the other hand, I can understand the problem of the parents. It is true that some medical sources had said that this cannot be communicated in any way other than the ones we already know and which would not involve a child being in the school. And yet medicine has not come forth unequivocally and said, ‘This we know for a fact, that it is safe.’ And until they do, I think we just have to do the best we can with this problem. I can understand both sides of it.”
Just kidding. That was Reagan in ’85. A full two years before forming the President’s Commission on the HIV Epidemic in ’87. And that was after AIDS was named in ’82 and HIV identified in ’82.
Any who, what I’m getting at is that there are similarities that make this a familiar ride in an old trope that I found refreshing, surprisingly rewarding and genuine. While I hope this nod was deliberate, the zombie virus itself pays homage to very real and very deadly diseases in our world as I stated before and while the scary zombie move is fun, this was a good stroll into what other facets the zombie genre could tell. Familiar stories. Heartbreaking stories. Vulnerable stories of communities trying to recover and survive; families learning how to deal with loss and say goodbye; and victims finding agency (in small or big ways) within their suffering and their final moments.
Bottom-line:
A slow drama with Arnold Schwarzenegger and zombies. If you feel like you’re up to that, give it a go.
(3 / 5)
Movies n TV
“How to Split an Atom,” a Scientific Return to Evil
The assessors return to investigate a particle accelerator with a damning history in “How to Split an Atom.” Season 4 Premiere of Evil.
The assessors return to investigate a particle accelerator with a damning history in “How to Split an Atom.” David (Mike Colter) can’t seem to shake off the dire warning of his vision. Kristen (Katja Herbers) reaches her breaking point. Ben (Aasif Mandvi) sees the light and faces some uncomfortable realizations.
“How to Split an Atom” is the first episode of season 4 of 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. As of this review, it’s available through Netflix and Paramount+ and its add-ons.
What I Like about “How to Split an Atom”
While “How to Split an Atom” does start in season 3’s conclusion, it’s still a satisfying introduction through Kristen’s reaction alone. While it’s less effective and necessary in the era of streaming services, it reminds viewers of the last season’s execution to re-establish tension.
“How to Split an Atom” sets Kristen and Ben to face their most personal challenges. While Kristen often gets a good amount of material to explore, Ben receives the least development of the three assessors. Now that the titular scheme suggests a scientific focus, Ben seems to earn more attention.
- In the final season, Kristen, David, and Ben continue to assess cases that involve wayward technology, possessed pigs, demonic oppression and infestation, a dance muse conjured by alleged witches, and an evil relic
- Throughout, Leland attempts to lure Kristen into raising a baby antichrist who was conceived with her ovum
- David is recruited by the Vatican’s secret service to remote view a paranormal ability to see the unseen to detect evil
- From creators Robert King and Michelle King (The Good Wife), Evil is a critically acclaimed psychological mystery series that examines the origins of evil along the dividing line between science and religion
- A skeptical female psychologist (Katja Herbers) joins a priest-in-training (Mike Colter) and a contractor (Aasif Mandvi) as they investigate the Church’s backlog of unexplained mysteries, including supposed miracles, demonic possessions, and hauntings
- This 13-disc collection includes all 50 episodes, along with deleted scenes and more!
Last update on 2025-03-03 / Affiliate links / Images from Amazon Product Advertising API
In comparison, David takes a step back, but the performance shows a man haunted by his vision. You see this conflict in his performance as he seems more held back and reserved throughout the episode.
Though far from unique to this episode, I haven’t yet found the opportunity to dive into the opening credits. These credits embody the idea of evil as an intrusive force against the good. It visibly displays the famed “problem of evil,” showing how the darkness intrudes against the light.
“How to Split an Atom” prepares the viewer for a new norm across every character. While that doesn’t evoke a truly haunting experience, it remains effective in building the foundation for the final season of Evil.
Tired Tropes and Triggers
Andy (Patrick Brammall) spirals in this episode, induced by trauma and manipulation. His interactions with Kristen showcase several toxic behaviors. While these issues hold merit and other forces manipulate him, this might not matter to some.
Though not directly stated, a minor character seems to suffer a psychotic break, leading to their death. “How to Split an Atom” doesn’t confirm if this is a suicide, a demonically assisted act, or a complete accident.
What I Dislike about “How to Split an Atom”
“How to Split an Atom” explores a similar titular scheme as last season, but it doesn’t resonate as well. It feels like it retreads season 3, focusing instead on science but still lingering in a similar design.
There’s a strange scene where Sister Andrea and David speak in a low whisper despite being alone in her room. If “How to Split an Atom” wants to imply that spies listen in, “How to Split an Atom” doesn’t show this idea effectively. However, I think it’s intended to parallel Catholic confession, but it still doesn’t make logical sense in execution.
As streaming shows become standard practice, starting a new season in the prior season’s conclusion makes the episode more dependent and repetitive. While the execution remains effective in “How to Split an Atom,” I can’t help but linger on that thought.
Final Thoughts
“How to Split an Atom” establishes a definitive timeline where all the forces of Evil will collide. It has its strengths but doesn’t haunt the viewer. The ramifications of Ben’s descent and Kristen’s breaking point keep this episode from blending into the background, but only slightly.
(3.5 / 5)
We’ve reached the end of Goosebumps, The Vanishing. And after eight episodes of quality going up and down, I’m sad to say that the finale held to that theme.
The story
We begin this episode with the teens getting ready to go down into the fort to save their dad. Dr. Pamani gave them serum injections to keep them from being turned into pods. Then she locks them in, intending to never let them out again.
Through a series of quick thinking and bravery, everyone makes it out of the fort, though. Including Matty, Nicole, Hannah and Sameer.
For a time it looks like everything is going to be alright. Until Anthony tells Jen that they’ve got to do something about the alien ship that’s still trapped within the fort.
By the way, watch this with the caption on. It’s fantastic.
Jen and Anthony go back to Dr. Pamani’s lab in time to realize that no one is safe. Least of all, their kids.
What worked
You might notice that the ‘rescuing Dad from the pod’ part of this episode was over pretty fast. That’s because the actual story of this episode was about what came out of the facility rather than what was going on down there. And that was a surprising misdirect. I enjoyed that I didn’t see this misdirection coming. Well done.
I will also say that this episode was fun to watch. The critters were equal parts creepy and kind of cute. The dialog was fun and there were a lot of laughs.
This ending was also satisfying. All the questions are answered. Everyone gets a happy ending and all the people you want to get together do. It was a solid ending with no loose threads.
What didn’t work
Unfortunately, that’s all the good things I can say about this episode.
Let’s start with the continued superficiality of the whole story. I just didn’t feel much of anything for any of these characters. I had a little twinge of bittersweetness when Matty looked through the box of his old things. But that was about it.
The problem here was that everything was going too fast. We jumped from chaos to chaos so fast that the emotions didn’t have time to sink in. It was like rain on a dry field. No matter how much falls, if it can’t be absorbed it’s not going to do much good.
Here’s the real problem I have with this episode, though.
You’ll recall that in the last episode, I was irritated by how quickly Dr. Pamani decided to help the kids. It should surprise exactly no one that she didn’t decide to help them, but to trap them in the facility to be podded forevermore.
- Goosebumps now on Disney+!Jack Archer is convinced something strange is going on at his neighbor’s house
- Mr
- Fleshman always wears all black, hardly ever leaves his house, and never says hello to anyone
Last update on 2025-02-28 / Affiliate links / Images from Amazon Product Advertising API
While I’m thrilled that Dr. Pamani didn’t just change her mind, I still think it was dumb as shit that anyone, especially our main characters, thought she did. These teens aren’t dumb. Kids aren’t dumb. We shouldn’t be portraying kids as dumb in a show for kids.
I’m not saying this series was pure garbage. I’m not saying it was dangerous or unwatchable. I’m just saying that, if it didn’t have the name Goosebumps, I probably never would have watched it. This story just doesn’t have the same staying power that the original stories do. It was fine to watch, but in the end, just didn’t have enough substance to warrant a rewatch.
(3.5 / 5)
After a shaky start, Goosebumps The Vanishing is still on shaky ground with this penultimate episode. While there were some surprises, a lot of them were rather disappointing.
I feel like I say this a lot, but if you’ve read the original book then you might have a hint about where this is going. But it won’t tell you the whole story. So let’s take a trip to Camp Nightmare and see what’s waiting for us.
The story
We begin this episode with a flashback to the Fort before it was a fort. A group of Camp Nightmoon campers is hiking there with the worst camp counselor ever. It was almost a relief when the mysterious monster reached up from the cliffside and grabbed him.
Back in the present, the teens are putting the pieces together. They track down Dr. Pamani’s father and even find a book he published. They then locate the address of her lab and break in. There, they find her journals that chronicle the discovery of the monster, and how it managed to kill her entire team.
What worked
In this episode, and in fact this season, scientists are not the bad guys. Which is a relief. Science fiction and horror tend to hold up a mirror to society, showing us what we’re really scared of using monsters and ghosts as allegories. So often, when people are wary of science and scientists, we have horror movies that demonize them.
But that’s not what happened here. The scientists are not necessarily the good guys, but the ones who tried to save the world. Even though they failed, they tried.
One good example of this was Dr. Pamani telling her father, “We’re scientists, not soldiers.” This is a great line. And this episode had a lot of great lines. The dialog was on point. Nothing felt forced, but it also felt polished and impactful. It was just overall well done.
I also enjoyed, to a point, the flashback scenes to 1969. It was interesting to see the people who tried to contain this entity. To learn from it. The flashback was also ominous. Because never did the characters explain how this entity got there. They didn’t seem interested in that, only in how to destroy it. Since we don’t know why or how it came to New York, we don’t know if there are more of them somewhere else. And since everyone’s being so secretive, we might never know.
Until it’s too late.
What didn’t work
Unfortunately, this episode failed more than it succeeded.
Let’s start with the sudden change of heart Dr. Pamani has. For decades, she’s been controlling and containing this creature. She’s been careful to never take risks that might release it into the world. So when Cece and Devin want to go save their dad, she says no.
At first. Then, after a not-so-passionate plea by Cece, she changes her mind and agrees to help them save Anthony.
Which seems like a really quick departure from her stance just moments before. Honestly, this wasn’t believable at all. It was lazy. It felt like they just didn’t have a good enough reason for her to change her mind, so they just handwaved it away.
This wasn’t the only part of the story that was too easy. This whole investigation went smoothly for them. They wanted to find the book by Dr. Avi Pamani, and they found it at the library. They didn’t even find it. The librarian found it for them. They wanted to find Dr. Pamani’s address. They found it in seconds and also found her credit score. They got into her lab by doing nothing more than cutting a chain holding the door shut. And we’re supposed to believe that no one ever thought to do any of this? Four teenagers vanished in the 1990s, and none of their family members were ever able to put all this together. That just doesn’t make sense to me.
Both of these issues feed into the main problem with this episode. The whole thing felt watered way down. Especially after the hints about some horrific medical experiments taking place at the fort. I love a good horrific medical experiment story, so I was looking forward to that.
But that’s not what happened. Instead, it was a watered-down alien invasion story with a bunch of people who did their best and failed. It just felt like, frankly, not enough. It felt like there could have been so much more, should have been so much more. Instead, we got the Great Value version of what we could have had.
At this point, I think I’m too invested to give up. After all, there’s just one more episode left. But I’d be lying if I said that was something I’m looking forward to.
(3 / 5)
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