Buffy the Vampire Slayer S1E1 “Welcome to the Hellmouth”
AKA Exposition and Witticisms
Who said romance is dead?
We kick off the great saga of Buffy with the lamest date ever – Welcome to the Hellmouth. A Sunnydale high school graduate of indeterminate recency has brought his petite blond friend to see the gym roof. Apparently the petite blond agrees that this is lame, because she gets all snarly and attacks.
Credits: Howling! Guitars! Cheerleaders! Potions! Stakes! Dancing! Hero formations!
Maybe high school is the real Hellmouth
Buffy (Sarah Michelle Gellar) wakes up from a cryptic nightmare. If the boxes in her bedroom weren’t expository enough, her mother’s urging to not be late to (or get kicked out on) her first day at her new school lets us know she is new in town.
Meanwhile, a teenage boy is clinging for dear life on a skateboard he evidently got that day. This is Xander (Nicholas Brendon) friend to Willow (Alyson Hannigan), resident nerd. She agrees to help him with his trig and suggests he pick up a specific text in the library, “where the books live.” Xander and pal Jesse say the phrase “new girl” back and forth in increasingly distressing ways.
Buffy meets with Principal Flutie (you can call him Bob, but should you?). He desperately wants to give her a clean slate, but he backtracks pretty quickly after learning that her expulsion was the result of burning down a gym that was full of totally not-vampires.
As Buffy is leaving the office, she quite literally runs into Xander. He helps her pick up the spilled contents of her bag with all the goofy charm he can muster. So much charm, in fact, that she forgets her wooden stake.
In class Cordelia (Charisma Carpenter) shares a textbook and many Sunnydale social insights with Buffy, including the need to identify losers on sight. She invites her to The Bronze that night shortly after insulting Willow’s dress – a bold move in lime green pants, Miss Chase.
Slay it ain’t so
In a suspiciously ornate library a suspiciously British librarian named Mr. Giles (Anthony Stewart Head) thrusts a book labelled VAMPYR toward Buffy. But Buffy hates archaic spellings so she quickly leaves.
Since her plan to acquire textbooks has fallen through, Buffy seeks out the tutelage of one very confused Willow. Xander tries to be way too witty (aside from his “tiny fences” joke he makes when returning her stake. I’ll give you credit for that, X). Cordelia runs up to let Buffy know that gym is cancelled due to the dead guy in someone’s locker. Buffy responds in the totally normal fashion of asking if he had holes in his neck and was drained of blood.
Cordelia does not have that information, so Buffy makes easy work of tearing off the gym door and checking out the scene for herself. After confirming her fears re: vamps, she has it out with Giles. He lectures her about her sacred duty as Slayer, his sacred duty as Watcher, and the extra-supernatural nature of Sunnydale. Buffy is well aware of her responsibilities. She is also aware that it is a lonely life. Slaying meant to be a secret identity situation, a la Bruce Wayne/Batman. Too bad Xander was in the stacks and overheard the whole thing.
We quickly cut to a super dramatic, quasi-religious underground monologue given by a very large vampire.
Proper socialization
Then we are back to Buffy. She is struggling to pick out an outfit for tonight, a task she was good at once upon a Slayer-free high school experience. Her mother is trying very hard to remain positive about their move.
On her way to The Bronze, she senses she is being followed. She does this slick little handstand maneuver to turn the tables on her pursuer. He calls himself a friend (but not hers), refers to Sunnydale as the “mouth of hell,” and warns of a harvest. Oh, and he gives her a cross necklace.
[At this point, omnipotent as I am, I warned my first-time viewer husband Trav that this is the least dramatic we will ever see this character. He does not believe this can be possible.]
At The Bronze Buffy and Willow get to know each other a little. Willow details her friendship with Xander (he once stole her Barbie). She also describes her difficulty speaking in front of most guys. Buffy gives her the most generic carpe diem life advice ever. The she spots Giles and excuses herself to confront him.
[Trav cannot emphasize enough how distressed he is that Giles is hanging out at this teenage club.]
Buffy gets out some interesting insults, including “skanky” and “textbook with arms” (only one of which is appropriate for a librarian, and I’m not elaborating on which). At the same time, Giles chides her on not honing her Spidey Slayer senses to locate the vampires that are definitely in this club. She wins the argument with a fashion technicality. But this is a short-lived victory, because she sees that the vampire she spotted is leading Willow outside. Buffy tries to intervene but only succeeds in nearly staking Cordelia, who now officially hates her. We see that at that moment Jesse is talking to our petite blond vampire from the beginning, Darla (Julie Benz).
The “why” in Vampyr
Back underground our monologuing vampire, Luke, is monologuing a much uglier vampire out of a red hot tub. This is the Master. He is 1) apparently trapped underground by a mystical forcefield and 2) very hangry. MonoLuke informs him that Thomas and Darla are out hunting for him now.
On her way to save the day, Buffy runs into Xander. He fesses up to eavesdropping in the library earlier. He then insists on helping her help his friends. Darla, Thomas, and their “dates” have wound up in a mausoleum. Jesse is slightly paler than before because Darla had a nibble on the way over. When Buffy and Xander arrive at the scene, Buffy stakes Thomas. He disappears in a cloud-of-dust effect that I will give due credit to for it being 1997. While she fights Darla, Xander and Willow carry Jesse out only to be surrounded by more vampires. In the mausoleum, a new player has entered. He throws Buffy into a coffin and MonoLukes his way all the way to a “To be continued” card.
I asked Trav for a one-sentence review for this episode: “All I can think about is how creepy the librarian is coming across.”
Welcome to the Hellmouth is a fairly pilot-y pilot, what with the exposition, but it’s pretty dang fun and sets you up for action, fun dialogue, and the hope that that SFX will improve along with way. 
(2.5 / 5)
Where to watch Welcome to the Hellmouth (sponsored links!)
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.
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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.
![Evil: Season Three [DVD]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRGYWJYaGtVVFpFYlV3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDQyOTAyMA=)
- Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
- Robert King (Director)
- Audience Rating: NR (Not Rated)
![Evil: Season Three [Blu-Ray]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRFdGJuQndVRmhtU1V3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDQyOTAyMA=)
- Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
- Robert King (Director)
- Audience Rating: NR (Not Rated)
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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)
Movies n TV
You’ll Have a Bloody Good Time with this Eternal (2004) Health Tip
When Raymond Pope’s wife disappears, he follows the trail. But each lead points him to the Eternal beauty of Elizabeth Kane.
Eternal (2004) is a horror thriller written and directed by Wilhelm Liebenberg and Federico Sanchez. This R-rated film stars Caroline Néron, Victoria Sanchez, Conrad Pla, and Ilona Elkin. As of this review, it is available for Amazon Prime members with renting options from Spectrum on Demand.
When Raymond Pope’s (Conrad Pla) wife disappears, he’s swept into the mystery of Elizabeth Kane (Caroline Néron). As his investigation becomes increasingly bizarre, bodies pile up and point to Raymond Pope. Will he clear his name, or will this bloody rampage drown him?
What I Like about Eternal
While all of the performances add to the film, Eternal thrives on the charisma and mystique of Caroline Néron’s Elizabeth. She enchants her targets, lowering their defenses until that final moment.
Conrad Pla’s Raymond Pope also requires a delicate approach to succeed. The sleazy and hypocritical detective seems genuinely concerned for his wife (at least initially) and sells that concern. While far from an easy character to root for, the audience understands him and the danger he faces.
There’s a heavy erotic thriller angle that Eternal delivers on. I’ll linger on this point in later sections, but it certainly knows how to build tension within a single scene or between characters. These moments don’t feel forced, and while they often target a male audience, interesting dynamics rise above general exploitative content, if only slightly.
This seems to be a passion project between the creators, Wilhelm Liebenberg and Federico Sanchez. This passion lingers in the moments to deliver something unique, if not without its flaws. The film doesn’t hold back, a point that fluctuates between negative and positive depending on the situation. Regardless, it holds a charm in that commitment that’s hard to replicate without passion behind the scenes.
Tired Tropes and Triggers
The film labels itself as “Inspired by True Events,” which only relates to the general discussion of Elizabeth Báthory. It’s also worth mentioning that, much like Vlad Dracula, her story remains heavily dominated by modern interpretations. I won’t pretend to hold exclusive knowledge of these historical figures, but cultural interpretation reduces realism. The claim means little to nothing.
The predatory queer trope applies to Eternal, with little complexity to challenge the point as the violence often targets women. It’s important to note that Elizabeth acts as a femme fatale in general, but the targets remain clear. However, this film did earn a moment of recognition from the Glitter Awards (a clip was used in 2006), which might suggest the standout performance of Caroline Néron’s Elizabeth earns back some goodwill.
What I Dislike about Eternal
The erotic thriller holds a stigma that Eternal doesn’t challenge. Elizabeth remains a clear femme fatale with a slightly supernatural twist. While the performance executes this character perfectly, viewers likely know if this remains an interest or a tired cliche for themselves.
While most of Raymond’s acts make sense for the character, I hold issue with the end. Without going into too many details, he is asked to do one thing to protect himself and does the opposite for no reason. Perhaps this indicates supernatural influence, but such a claim lingers in headcanon.
The film ends ambiguously, which hardly seems fitting given the evidence and weakens the overall film. A definitive ending, or something moderately more definitive, would strengthen Eternal.
Final Thoughts
Eternal’s major obstacle in executing its erotic thriller is that of tired tropes in the modern era. If one looks past these dated points, there’s a haunting thriller that can meet moments of excellence. The plot falls short in many areas towards the end of the film. Ultimately, if a vampire-esque thriller interests you, Eternal certainly adds its perception to the niche but in a familiar form.
(3.5 / 5)
