The Stand Miniseries: Part 1: The Plague
The news keeps spilling out like an open wound of dreadful information, people are stuck at home in quarantine, and horror fans are talking about Captain Trips, aka the superflu, aka the man-made virus in Stephen King’s novel The Stand. This coronavirus thus far is nowhere near as deadly as the superflu. But we can see some parallels between real life and fiction: a collective state of anxiety and helplessness, the governments’ responses (or lack thereof), quickly filling hospitals, no known treatments, the dread of the cough. The Stand is basically the worst-case scenario of our current state of affairs mixed with supernatural elements, including one of King’s most notable villains: The Dark Man.
Some Background
This 1994 miniseries, directed by Mick Garris and written by King himself, is a classic. Some fans love it, some hate it; that is bound to happen with any book-to-screen adaptation. I have a love/hate relationship with the show. There are moments where I find it frightening and thrilling, emotional and, at times, comical. Other times it is completely frustrating and cringeworthy.
The Stand miniseries is six hours long and still, understandably, can’t include everything in the 1152 page uncut book. All that said, I’m not going to compare the show to the book because, despite their relationship, they are two different entities. Rather I will review the show on its own, occasionally pointing out some iotas relating to the novel.
Okay. Enough of my ramblings. Let’s get started.
The Plague
Everything is fine until it isn’t. On a California military base protected by a razor wire fence and officer Charles Campion (Rick McKinnon) in a security booth, a biological virus has breached. Everyone inside the base is dead. Campion, the only survivor, panics and drives as far away as possible, taking his wife Sally (Hope Marie Carlton), their daughter, and the virus with him.
As Campion travels, the virus spreads rapidly. People die left and right. But the government refuses to acknowledge their fault in the matter, downplaying how serious the disease actually is. Citizens riot, desperate for some kind of response. Only when the government starts losing their own members do they recognize the gravity of the situation.
Campion makes it all the way to Arnette, Texas, where he utters his last breath to Stu Redman (Gary Sinse). For weeks, the military holds Stu and others who came in contact with Campion in quarantine. Only Stu survives.
The hospital puts him under many tests until the entire staff acquires the disease and dies. Stu escapes quarantine and runs outside to a new world. As he lays on the grass, trying to take everything in, he has a vision of Abagail Freeman (Ruby Dee), a 108-year-old prophet best known as “Mother Abagail.” Abagail asks him to come see her, to come home. There’s not much time left.
The Rest of the Crew (So Far)
Larry Underwood (Adam Storke), the vain, egotistical rock star who only sees his mother when he needs money. Living in California, he travels to New York and meets Rat Man (Rick Aviles), whose significance has not yet come to light.
Another of our few female protagonists is Frannie Goldsmith (Molly Ringwald). She is compassionate and strong-willed, living with her father and dealing with the pesky admirations of Harold Lauder (Corin Nemec).
Nick Andros (Rob Lowe), a sweet young man who is deaf, non-speaking, and the constant victim of Ray Booth (Patrick Kilpatrick). Nick is the first to meet Abagail.
Lloyd Henreid (Miguel Ferrer) has a career dedicated to committing crimes. While the cops arrest him for murder, he sees a mysterious man perched on a telephone wire. But that man turns out to be a crow.
Kareem Abdul Jabbar plays the Monster Shouter, a minor character who foreshadows the apocalypse and Larry’s fate.
And, finally, out of the shadows in the middle of the night emerges none other than Randall Flagg, The Dark Man (Jamey Sheridan).
“Folks, I’ve just been ordered by my uninvited fascist guests to shut down.”
I adore (adore!) Rae Flowers (Kathy Bates). Her short scene guts me every time. Though the show does not credit Bates, she puts on one hell of a performance as a sardonic radio host who takes no prisoners. We don’t get to see much of her, but she is so well written that it feels like we’ve known her forever.
The Introduction
The Stand starts out with a bang. After Campion drives away, the camera leads us into his booth where we dive into the security footage and land in the military building. Blue Oyster Cult’s “Don’t Fear the Reaper” plays as we float over the myriad of dead bodies piled on top of one another. One man kneels against a door, fingers inches away from the handle while a woman sits straight in her chair, neck cricked to the side, eyes white and dead. A game show is on the TV in one break room, the jovial contestants unaware of their future demises. Lunch trays are splattered across the floor, blood drips down the victims’ mouths. Lights in another break room sputter on and off. There isn’t a single place absent of death.
This scene is the perfect introduction to the series: the arrangement of the bodies, the number of deaths, the music. We are seeing the multitude of this man-made virus and the undoubtable aftermath to come:
The world is astronomically fucked.
Critiques
As with the book, the cast in the miniseries is predominately white and male. One could argue they were recreating what King wrote, but that’s not a good excuse considering creative license exists. And this story is about the apocalypse. You’re telling me all the survivors are mainly white people? No. Just no.
I also want to mention Abagail Freemantle. She is one of the most important characters in the story, perhaps one of King’s most notable ever. And Ruby Dee is amazing in this role. But Mother Abagail as a character is stereotypical towards Black women. (This trait is very common for several Black characters in King’s early works, including The Shining and The Green Mile.) As much as I love The Stand, this stereotype is an issue that is impossible to ignore.
Then there are moments when things get very cheesy. Adam Storke’s acting sometimes leaves something to be desired (e.g. Larry’s reaction when The Monster Shouter tells him “he’s coming for you” looks like Storke just woke up from a nap and forgot he was in a television show). There are some small continuity errors you might catch if you watch very carefully, including the occasional camera in the window.
Oh, and there’s this:
The Verdict
I have some issues with the show, but I still fairly enjoy watching The Stand. There’s something a little bit comforting about the fact that we haven’t gotten as bad as King’s world. It is cheesy, yet also disturbing, action-packed, and exciting. You can watch this episode on YouTube; keep in mind a lot of the music is muted because of copyright (the death montage is completely silent because of “Don’t Fear the Reaper.”).
“The Plague” get’s 3 out of 5 Cthulhu.
(3 / 5)
Until episode two, check out what else we’re watching here at Haunted MTL.
First image after cover photo from the graphic novel. All other photos from YouTube.
Movies n TV
The Root of All Evil, or “The Demon of Money”
The assessors explore the vile evil of stock trading in “The Demon of Money,” the ninth episode of season 3.
“The Demon of Money” is the ninth episode of season 3 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.
The assessors explore the vile evil of stock trading. Dr. Boggs (Kurt Fuller) gets a positive review for his first draft. Grace Ling (Li Jun Li) struggles to adjust to her new reality. Leland (Michael Emerson) takes matters into his own hands. Monsignor (Boris McGiver) does what he must to do good.
What I Like about “The Demon of Money”
The investigation of DF’s stock provides a strange but enthralling mystery, accurately pointed out as similar to The Ring by Ben. It’s an unsettling and tension-inducing procedural plot to connect “The Demon of Money” together.
Michael Emerson’s Leland balances a genuinely horrifying character with Evil’s campier execution to deliver a haunting performance. This season seems focused on restructuring Leland’s transformation as the series’ key villain, forcing him to balance against other potential threats.
I initially struggled to understand Kristen’s distrust of Dr. Boggs, uncertain of what finally convinced Kristen. “The Demon of Money” clears up this confusion completely after revealing his book. While it’s not directly shown that Kristen read the book, the evidence suggests this is the case. I won’t reveal why it’s so concerning, but I love that Evil doesn’t beat the strangeness into the viewer, trusting them to catch on.
![Evil: Season Three [Blu-Ray]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRFdGJuQndVRmhtU1V3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDQ0OTM2OQ=)
- Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
- Robert King (Director)
- Audience Rating: NR (Not Rated)
![Evil: Season Three [DVD]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRGYWJYaGtVVFpFYlV3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDQ0OTM2OQ=)
- Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
- Robert King (Director)
- Audience Rating: NR (Not Rated)
Last update on 2025-01-31 / Affiliate links / Images from Amazon Product Advertising API
Monsignor delivers a moment of action for a character who often defines inaction. It’s an intense moment to see and a pleasant development for a character who plays a key role in the series. It also incentivizes a returning character.
Li Jun Li also pushes the boundaries of Grace Ling, possibly earning the right to claim this episode as her own. As a prophet-esque character, there’s often an instinct to dive into the mystic wisdom, but Grace seems burdened by her gifts and the pressure placed on her.
“The Demon of Money” remains a haunting episode of Evil, paying off many of the points built up in previous episodes. This episode pulls off most of season 3’s setup while delivering haunting moments.
Tired Tropes and Triggers
One can argue that “The Demon of Money uses the bury your gays trope. It’s hard to deny when there’s an admission of love just as death occurs.
There’s some effective bodily disfigurement within this episode, one example leaning toward body horror. These are the results of self-harm, but these actions remain off-screen. Viewers witness the results of the act, but the harm is relayed to the viewer well after the act
What I Dislike about “The Demon of Money”
The procedural plot will have a slight return in a later episode, but it reaches a conclusion that doesn’t satisfy the mystery. I wanted more of it, which is far from a bad problem but one to point out. Ultimately, the missed potential undermines the execution.
Ben claims The Ring is a B-film, which is rightly called out, but the claim can’t go unmentioned here. Regardless of one’s opinions of the adaptation, it’s hard to label the film as a low-budget B-film considering its 48 million dollar budget. For shame on that claim.
Final Thoughts
“The Demon of Money” brings viewers closer to the end of season 3, tying the loose plot threads to set up the season finale. With a haunting procedural investigation, this episode remains a unique example of what Evil offers. While some weaknesses appear and interesting plots drop, the episode lingers in the mind to haunt the viewer.
(5 / 5)
Movies n TV
Anna (2013) To Some, Mindscape to Others, a Thriller Film
Anna (2013), also known as Mindscape, is a psychological thriller of a struggling memory detective named John.
Anna (2013), also known as Mindscape, is a psychological thriller directed by Jorge Dorado. This R-rated directorial debut stars Mark Strong, Taissa Farmiga, Brian Cox, Saskia Reeves, Richard Dillane, and Indira Varma. As of this review, interested viewers can watch this film on VUDU, Hoopla, Plex Channel, Pluto TV, Roku Channel, Tubi TV, Amazon Prime, and more. Anna originally released in 2013, but it released in the US in 2014.
Struggling to return to his work as a memory detective, John (Mark Strong) pursues a new assignment. Anna (Taissa Farmiga) views John as her last chance to prove her innocence before she’s condemned to an asylum. As John searches through her memories, a tale of abuse and manipulation unravels.
What I Like about Anna (2013)
Anna earned three nominations but no award recognition. From the Sitges–Catalonian International Film Festival, it earned a nomination for Best Motion Picture. The Goya Awards recognized Jorge Dorado with the 2014 nomination for Best New Director. Finally, Anna received a nomination from the Gaudí Awards for Best Art Direction.
Taissa Farmiga’s performance balances the line between suspicious and innocent, which is necessary for this unraveling mystery. It’s a delicate role, but Taissa Farmiga brings to life the material given.
![Inception (4K Ultra HD/BD) (4K Ultra HD) [4K UHD]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2T1RGd1dGaFJhWEI1V1V3dVgxTk1NVFV3TUY4dVgxTk1NVFl3WHk1cWNHYz18MTc0MDQ0OTM2OQ=)
- Acclaimed filmmaker Christopher Nolan directs an international cast in “Inception,” an original sci-fi actioner that travels around the globe and into the intimate and infinite world of dreams
- Dom Cobb (Leonardo DiCaprio) is a skilled thief, the best in the dangerous art of extraction: stealing valuable secrets from deep within the subconscious during the dream state when the mind is at its most vulnerable
- Cobb’s rare ability has made him a coveted player in this treacherous new world of corporate espionage, but it has also made him an international fugitive and cost him everything he has ever loved
Last update on 2025-02-22 / Affiliate links / Images from Amazon Product Advertising API
Anna‘s plot rotates around a new fringe science that’s slowly gaining traction. It’s less a dissection of this science and more a norm that Anna expects viewers to believe. It’s an interesting concept, though not unique. Still, it’s a nice additional dynamic to the mystery.
While not a horrifying film, it does deliver a mystery that keeps viewers engaged with enough hooks to add an extra layer before something gets stale. That mystery does linger in the mind in some respects but doesn’t haunt the viewer.
Tired Tropes and Triggers
Despite Anna not depicting these moments, sexual assault remains a recurring element of the film. Little remains conclusive, with some suggestions that these are false allegations. Furthering this point, the film depicts Anna as a manipulator and flirt when some incidents suggest she’s a survivor of assault.
Derogatory language might upset some, but these remain brief moments. The use indicates a particular character’s immaturity, but I’ll raise the point regardless. Furthering this line of analysis is a moment where a bullied character is implied to be gay, but it’s likely just an insult.
While not inherently a trigger, this new field of science earns the claim of being somewhere between forensic science and lie detector tests, a massive gap that anything can fit in. It makes everything subjective when the film wants to claim absolute evidence. I can’t help but wonder what exploring that unreliability might look like, but that’s not this film.
What I Dislike about Anna (2013)
The biggest deal breaker for some is this concept of a teen mastermind. I won’t go into details about the mystery, but I am often fatigued with this idea of a teen femme fatale. While Anna gives enough mystery, it’s an overused trope.
Mark Strong’s performance delivers on the material, but John seems so easily manipulated for someone who does this as a profession. While out of practice, I don’t understand why he believes or doesn’t believe information. If Anna depicts John as overly critical or gullible, the film will have a more consistent character.
I assume there remains an understandable reason for the name change, but Anna appears as a common title for a film, spinning a series of some recognition. Mindscape also earns some recognition and competition, but it’s a more memorable title than a single noun name.
Final Thoughts
Anna provides an interesting concept and mystery, but many shortcomings hinder the execution. Viewers eager for a psychological mystery with a drop of sci-fi, Anna delivers an engaging story. However, the market does provide competition, making it a tough film to recommend. (3 / 5)
Movies n TV
Tips on Raising Evil from “The Demon of Parenthood”
The assessors investigate cursed toys in an attack against commerce, but Ben has a finger on the issue in “The Demon of Parenthood.”
“The Demon of Parenthood” is the eighth episode of season 3 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.
The assessors investigate cursed toys in a terrible attack against commerce, but Ben (Aasif Mandvi) has a finger on the potential issue. David (Mike Colter) receives another task from the Entity. Kristen (Katja Herbers) learns more about her missing egg. Leland (Michael Emerson) invites Dr Boggs (Kurt Fuller) to the darker side of spirituality. Sheryl (Christine Lahti) takes her granddaughter to work.
What I Like about “The Demon of Parenthood”
I enjoy the espionage aspect of the Entity, pushing David to questionable grounds as he navigates what’s right against what’s demanded of him. While this plotline doesn’t reach its full potential, this episode highlights one of the more interesting opportunities of this idea. The Entity consistently interferes with the procedural case, possibly covering up abuse to support its objectives. This episode highlights this dynamic to perfection.
Kristen gets pulled in multiple directions, forced to question her trust in David, and faces a unique horror after learning about her missing egg. While I won’t dive deeper into this issue for this review, it’s safe to say this episode belongs to Kristen, and Katja Herbers delivers.
Her unsettling night terrors suggest an intuitive understanding of some of the manipulations around her, highlighting these moments to the viewer by proxy. Beyond these meta moments, the execution of these night terrors remains pleasantly unsettling.
- Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
- Robert King (Director)
- Audience Rating: NR (Not Rated)
- Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
- Robert King (Director)
- Audience Rating: NR (Not Rated)
Last update on 2025-01-31 / Affiliate links / Images from Amazon Product Advertising API
Among a constant trail of failures, Leland lingers in the background as he puts pieces together for his master plan. We don’t see the full scope of his vision yet, but the suspense it builds for future episodes earns its place. I’m interested to see how these plots will evolve, even if Leland’s luck seems to turn sour. Perhaps it’s because of this dynamic that the tension works so effectively.
With a shocking moment tied into this episode, “The Demon of Parenthood” creates one of the more haunting episodes. However, the greatest accomplishment in the episode is what it establishes for the future of the series. While not all these points follow through by the end of Evil, it’s still an episode that ripples across the show’s progression.
Tired Tropes and Triggers
Without diving into too many details, spousal abuse and murder occur in the episode. This abuse might indicate a demonic influence, but such points remain speculation.
A severed body part and some gore stand out in this episode. It hardly earns enough attention from fans of gory horror, but the squeamish should tread carefully toward the end.
What I Dislike about “The Demon of Parenthood”
Many dropped ideas seem genuinely interesting, building to some potential development that receives little payoff. Missing these opportunities will never feel satisfying. While some changes are understandable, it creates holes in the narrative. For example, Dr. Boggs’ dark seduction slows in pace, becoming implied or withheld from the audience soon after “The Demon of Parenthood.” These experiences often adapt the concept of evil that the show seeks to bring to life.
Sheryl’s compliance with Leland’s plan still seems underdeveloped as a concept, especially with how far she takes it in this episode. While later episodes add a different perspective, I can’t help but feel these are retcons or concepts not thoroughly thought out.
Final Thoughts
“The Demon of Parenthood” progresses the plot and delivers some genuinely haunting moments. While a retrospective assessment does note many missed opportunities, the episode stands up beyond these missed opportunities. 
(4.5 / 5)
