Welcome to Streamin Demons, the podcast where we review the best and worst of horror streaming content. In today’s episode, we dive into three very different titles: The Last of Us, Noah’s Shark, and 90210.
First up, we have The Last of Us review, a post-apocalyptic video game that has been adapted into a highly anticipated TV series. This thrilling tale follows Joel and Ellie, two survivors of a deadly virus that has wiped out most of humanity. With stunning visuals, heart-wrenching storytelling, and intense action, The Last of Us is a must-watch for any horror fan.
Next, we have Noah’s Shark, a chilling horror movie about a group of friends stranded in the middle of the ocean with a deadly predator lurking beneath them. With jump scares, suspenseful twists, and a terrifying villain, Noah’s Shark will leave you on the edge of your seat.
Last but not least, we have 90210, a classic teen drama with a dark twist. This show follows a group of privileged teenagers in Beverly Hills as they navigate love, friendship, and scandal. But when a series of gruesome murders shakes up their community, the teens must come together to uncover the truth behind the killings.
So sit back, grab some popcorn, and get ready for a spine-tingling episode of Streamin Demons.
Ppppfffftttt, an RPG story by Jennifer Weigel
Poised Potion Poison Potential, an RPG story by Jennifer Weigel
(There – I finally said it! Second time’s the charm. Can we move along now?)
So I think Barbarella is losing it. Like she’s been sneaking healing potions. We never did manage to get to an alchemist before she downed one of those unmarked flasks we got off the goblins when we took their lair. Yeah, we all know they’re healing potions but I can’t help but think the goblins weren’t getting their goods legit. I mean, they are goblins, ‘nuff said. And I’ve heard some of the black market varieties have other weird properties too, so I fear maybe she’s gotten a bad one or something.
Anyway, she’s been acting strange, spending a lot of time by herself. And not working out, like usual, but rather rifling through the treasure trove. Not that she’s at all sneaky about it. I mean c’mon, it is Barbarella after all. She’s kind of the polar opposite of discreet. She’s always been more of a don’t-tread-on-me and mess-with-my-buddies-mess-with-my-war-axe kind of a girl.
It’s making Squidge suspicious. Yeah I know, Squidge is a bit edgy anyway, but they’re acting even more so now. They seem to have an even tighter grip on whatever things they’ve stashed away all up in that cloak of holding or whatever it is that they never take off and that makes it hard to remember much of anything about them. Hell, I don’t even know what gender they are, not that it matters anyway. I don’t concern myself with what Squidge is or isn’t up to so I don’t really care; generally the best is to assume the worst and move on. Nosing around in Squidge’s business is like begging for a stab wound to the back in your sleep, if you know what I mean. But they’ve been acting even more paranoid than normal, so I think they’ve noticed that something is off too.
You know, it’s been a long time since I’ve even had to down a healing potion; I tend to stay in the far back and let the other two hack n slash, it’s safer that way. And health elixirs aren’t my cup-of-probiotic-smoothie-protein-tea (it’s all too snake oil salesman fad craze diet antioxidant stuff for me). I’m more of a freewhellin fireball flingin kind of spell-slinger. The healing arts magics are a bit too… mushy gushy lovey dovey for me.
We aren’t a goody-two-shoes fixer-upper team, more of a nice-fill-in-the-blank-I-think-I’ll-take-it kind of ensemble. You know the type. #thuglifeforever. But times like this do make me wish we had a paladin or a cleric or even a druid to tag along. Where do you find the moral high grounders when you need them anyway? Sure, I guess I could go to a church or something, but some of the lesser evil critters I’ve wagered pacts and bargains with may not take too kindly to that. And the nature nice guys are all save-the-treants which generally doesn’t mesh with the whole fireball jive.
I guess Squidge could ask someone, but they only really talk to The Guild and just in that you-don’t-stab-my-back-I-don’t-stab-yours kind of sense, so we don’t have anyone to consult with on these kinds of things. It’s certainly not worth seeking out a 100 gp pearl for a wizened old wizard to snort for further clarity, even if the relative scarcity and exchange rate has made them significantly smaller and easier to haul around at this juncture, assuming you can find them at all. I swear, if the alchemists didn’t need to get high to get anything done it’d be a whole lot easier for everyone. And don’t even get me started on the Oracle, that nympho dominatrix bitch. Suffice to say I will NOT be going back there anytime soon, for ANY reason.
So here we are. Maybe whatever it is’ll pass on its own. But I noticed a couple more of those goblin healing potions have gone missing. We all know they don’t work if you aren’t hurt. And I swear I saw Barbarella take her own axe to the shin before she downed one when she thought I wasn’t looking during my nightly séance with the campfire flames. My cohorts don’t realize I can actually do more than it seems from my ritual state. The demonspawn that grant me my powers aren’t always all-engrossing, especially if I’m channeling things I’ve done a bajillion times already and not trying to harness something new. Frankly sometimes it’s best to tune the spirits out since they pontificate at length for no reason, but I suppose I’m not one to talk.
I keep coming back to this thought though. Why would Barbarella hurt herself just to chug a stupid goblin potion anyway? Usually those dares go the other way. Goblin potions taste like bad grog two days following a dwarven ale upchuck hangover, and that’s if you’re lucky. Often they’re worse. And they’re not even that good as far as healing elixirs, mending maybe a minor flesh wound at best. They’re crappy, no getting around it, and a last resort at best. Why would she deliberately go out of her way to drink that shit?
You know, there’s a whole stash of the things left, and I am a bit down on health myself. Maybe I should try one to see what the allure is. Perhaps the camaraderie and shared experience could help me get Barbarella to sober up and leave the toxic sludge alone. Or at the very least, maybe I’ll understand what she sees in them. Perhaps they’re new and improved, but I seriously doubt it seeing as how they’re still just ill-obtained swag we got off some low-level goblins. You know, no one ever really gives goblins anything worth having unless they’re trying to exploit them in some way, and even then it’s really not worth it, seeing as how the goblins don’t have anything anybody wants to barter…
I swear those potions were in this satchel here; we had like over 100 of the things. Oh, here’s one, way down in the bottom of the bag having fallen under some of the other crap we looted that wasn’t worth much of anything. Wow I really had to dig deep to fish that out, and it’s only been about a week since the goblins’ lair… In the light looks like the same ol’ ordinary purple black pink tinged sludge we normally find, a tad more sparkle factor but not enough to care. Now why are Barbarella and Squidge both looking at me like I’m holding the golden goose egg of everlasting mana and fingering their weapons?
If you enjoyed this RPG story by Jennifer Weigel, perhaps you will want to see some art from previous campaigns or read the Twilight saga, both on Haunted MTL here.
Check out more of Jennifer Weigel’s writing here at Jennifer Weigel Words.
Movies n TV
The Beach House, a Film Review
The Beach House (2019) is a body horror film directed and written by Jeffrey A. Brown starring Liana Liberato, Noah Le Gros, and Jake Weber.
The Beach House (2020) is a body horror film directed and written by Jeffrey A. Brown. This film stars Liana Liberato, Noah Le Gros, Jake Weber, and Maryann Nagel. As of this review, this film is only available on Shudder.
Desperate to rekindle their strained love, Emily (Liana Liberato) and Randall (Noah Le Gros) escape to a beach getaway. They soon learn to find that family friends of Randall’s father, Mitch (Jake Weber), and Jane (Maryann Nagel), also had a similar idea. After getting used to each other, a mysterious fog engulfs the town. Unfortunately, they realize too late the danger they find themselves in.
What I Like
Body horror gets under my skin, and The Beach House certainly lives up to the standard. There’s something magical about creatures terraforming your body to their preferred environment, turning humans into nothing more than conscious prisoners in their own flesh. While I wouldn’t consider this film the most traumatic or unsettling example, it utilizes wonderfully grotesque scenes.
Aside from the body horror, the film drops a few Cosmic Horror–or Lovecraftian–vibes that go together perfectly. Another favored genre of mine, this combination ensures the odds are overwhelmingly against our human leads.
Beyond the grotesque, visuals might not overwhelm but certainly succeed in their goal. Several scenes provide an intentionally tranquil experience that contrasts with the grotesques and improves their effectiveness.
In terms of performance, each actor hits their mark. While some roles require less effort, each contributes to the plot as intended. The standout performance goes to Liana Liberato’s Emily, who acts as co-lead. She simply has the most to work with and lives up to the part.
Tired Tropes and Trigger Warnings
As “body horror” should indicate, this film will hit hard for the more squeamish viewer. While horror by nature has some amount of grotesque, body horror brings that grotesque to the next level. While I don’t particularly find The Beach House hitting harder than its competition, it certainly respects its chosen genre.
What I Dislike or Considerations
A few scenic montages may hit or miss depending on your interpretation. While I have my own theories, that speculation goes beyond the scope of this review. Many of these scenes overlap more philosophical conversations and musings that may annoy or add layers. This strategy seems a common practice in Cosmic Horror, which forces characters to rationalize the irrational.
It’s hard for me to understand how secretive or known this event is supposed to be in the film’s world. Individuals know something outside of the town, with evidence implying governmental knowledge. This information creates a contrivance–perhaps, even a plot hole–because the characters had to reach this isolated town without any opposition.
One of the visuals didn’t exactly grab me. While I won’t go into too much detail, an effect looked too visually similar to a common animal that barely survives rain. It’s hard to be threatened by that. It also doesn’t exactly match up with some of the other visuals. Even the creatures that look similar to it still look different enough to provide a more alien assumption.
There are moments when the infected chase our main characters by crawling at them. While the context works, with injured characters helping to sell them, I can’t help but find these scenes amusing as opposed to frightening. Yes, it’s certainly visually different from the plethora of zombies out there, but it’s also less frightening than zombies that leisurely walk to their targets.
The Beach House combines cosmic and body horror to create an uncomfortable film that tests its characters. For those who enjoy these genres, it will certainly entertain you, but I doubt it will frighten you. I imagine the mood to watch it again might strike me, but I’m not entirely certain it will stand the test of time. (3 / 5)
If this movie suits your fancy and you want more, Honeymoon seems an appropriate recommendation.
Movies n TV
Every Secret Thing, a Film Review
Every Secret Thing (2014) is a crime thriller directed by Amy J. Berg and written by Nicole Holofcener, based on Laura Lippman’s novel.
Every Secret Thing (2014) is a crime thriller directed by Amy J. Berg and written by Nicole Holofcener. This R-rated film stars Diane Lane, Danielle Macdonald, Dakota Fanning, and Elizabeth Banks. Based on Laura Lippman’s novel of the same name, the film adaptation is accessible through MAX and DirecTV.
When a little girl goes missing, Nancy Porter (Elizabeth Banks) spirals into an all too familiar tale. As pressure mounts, Alice Manning (Danielle Macdonald) and Ronnie Fuller (Dakota Fanning) become the leading suspects. The strained frenemies unravel under the attention and reminders of their shared past.
What I Like
The film unravels in a non-chronological structure but makes it easy for the viewer to follow. It helps that the age difference clearly divides the younger actors, who change actors. One casting choice resembles their older counterpart, and the acting reflects a strong direction for their shared role.
Unreliable narration remains expertly communicated with scenes that change perspectives depending on whose perspective we view them from. This choice adds a reason to view the film twice, providing extra ambiguity for some of these events.
The camera gets up close and personal to an uncomfortable degree, which almost certainly presses the actors’ performances. This choice places the viewer in the character’s perspective and limits us from others’ perspectives to add extra credence to these biases.
Every Secret Thing provides a spiraling mystery that unravels with several twists and turns. Assuming the novel provided the outline, this film executes these points and keeps a consistently engaging experience throughout the runtime.
Tired Tropes and Trigger Warnings
Child abuse and neglect remain the central plot points of Every Secret Thing. Little of this abuse appears in scenes, but there is no escaping the danger children are in throughout the film.
Self-harm and suicide are shown throughout the film (once in the case of suicide) through one specific character. It isn’t glorified or romanticized nor addressed with particular sensitivity. For those sensitive to these subjects, it might be triggering.
Racism, the assumed motive for the bi-racial victims, plays a small role in the film’s narrative. However, character motives remain more complex, but going further spoils some elements. This film decision does create the reality that bi-racial children are the victims of child neglect and abuse in the film with little additional context. It does invite uncomfortable speculation, but speculation it would be.
Sexual assault is another concern for viewers, specifically statutory rape. This issue seems particularly mismanaged, considering the survivor remains an antagonist. One can be both survivor of assault and an antagonist of a film without needing to discredit the assault. While little appears of this issue, and the manipulation angle can indicate a perspective shift, it’s hard to refute how the film wants to represent this attack.
What I Dislike
Loosely tied to the above point, one character seems mentally off and purposely so. This point doesn’t inherently create an issue, but there seems to be a choice to make this character a mastermind. Perhaps this is better addressed in the book, but the execution is far from perfect here.
A newspaper montage reveals essential information which feels oddly misplaced. Practically the entire setup for the film appears through this montage, which creates the necessity to read these headlines in the minimal time given.
As a horror, nothing but the events are haunting. Children being abused or kidnapped always haunts, but the terror of this remains secondary to the mystery. While the mystery is nice, this film won’t particularly scare the seasoned horror fan.
Every Secret Thing unravels a mystery of opportunism, selfishness, and deception. While the movie won’t haunt the viewer, it certainly unravels a mystery that shocks them. The nuanced and deceptive characters add a layer of engagement that creates a unique experience, but I doubt this movie will linger in my mind.
(2.5 / 5)