Chucky – S2 E4 – “Death on Denial”
We are back with Haunted MTL’s continuing coverage of the Chucky franchise. This week, we talk about Chucky S2 E4, “Death on Denial,” which presents a format break in the show and some of the wildest stuff seen this season.
Seriously. You’re not prepared for this week’s episode.
Chucky – S2 E4 – “Death on Denial”
Chucky, S2 E4, “Death on Denial” is a break in the established structure of the show to present a meta-humor murder-mystery farce. Plus, it opens with a talk-show-like wrap-around featuring Chucky. This episode is shockingly different for a show that has been more or less telling a fairly typically structured narrative. Right from the start, Chucky introduces the show in a faux-talk show setting, establishing it as a very special episode. Chucky directly addressing the viewers is nothing new to the franchise. Doing so directly and to such a degree shows something different is going on here.
The episode’s narrative picks back up with Tiffany/Jennifer back in Beverly Hills following her murder of Detective Sam Gavin. Shortly after, Glen and Glenda (Lachlan Watson, The Chilling Adventures of Sabrina) arrive for their 18th birthday (more on this at the end of the review). However, Tiffany/Jennifer’s plans for a small birthday gathering are disrupted when Glen and Glenda invite Jennifer Tilly’s real-life and reel-life friends. With this in mind, Tiffany/Jennifer hires help to guard a room in the house. However, when there is a shocking murder and everyone in the place is a suspect.
The episode’s central question is how much does anyone know about Jennifer Tilly? “Death on Denial” is a wild episode. It presents a break in the series format and swaps out the chaos of Chucky for a parlor-room murder mystery. The episode features Tiffany/Jennifer, Glen and Glenda, and real-life friends of Jennifer Tilly: Joe Pantoliano (Bound), Sutton Stracke (The Real Housewives of Beverly Hills), Gina Gershon (Bound), and Jennifer Tilly’s sister, Meg Tilly (Psycho II). Also, WWE Superstar Liv Morgan appears in a genre-blending Chucky-hosted wrap-around.
How Was It?
“Death on Denial” is probably the biggest, weirdest, swing-for-the-fences episode in the show so far. It even blows far past last week’s episode in that regard. If you thought a Good Chucky and a Swole Chucky were strange – an improvised murder-mystery party of a possessed actress and her real-life friends is certainly something that will catch most viewers off guard. I don’t think anyone, but Don Mancini could have directed this episode and been so successful in that regard. Everything from the act-signaling title cards to the non-linear structure to the wrap-around reflects his bold approach to the franchise in Seed of Chucky and beyond.
With that said, as fun as the episode is for someone like me who appreciates the weirdness and compartmentalizes the format break, this will be a divisive episode. Instead of continuing the threads of last week’s episode, we spend an hour at a farcical Beverly Hills birthday party that spirals out of control. We spend time with a wrestler, a reality-television star, four acclaimed actors, and three playing versions of themselves as the worst people imaginable, and it is hilarious. It’s an even campier Clue if you believe that possible.
Episode Highlights
Viewers and critics should pay extra attention to non-binary actor Lachlan Watson who steps into the roles of Glen and Glenda with confidence. The whole episode is full of Seed of Chucky references, down to eye-twitches and British accents on their part. Watson also pulls off the challenging prospect of making Glen and Glenda different characters while being part of an obvious split, unified personality. They also look great while doing it. The costume direction is fantastic and helps sell the differences in Watson’s take on the two kids.
The revelation of Nica’s long-term plan and how the fractured personality fits into the situation is also excellent, creating an explosive final 10 minutes. That 10 minutes also confirms the fate of a character who vanished in season one and opens up many narrative possibilities.
It’s hard to talk about this episode without running the risk of spoiling it, so some of these thoughts are best saved for my podcast. I wouldn’t suggest this as an episode for someone new to the franchise; it would be far too confusing. “Death on Denial” is a meta-heavy episode and every bit as ridiculous and hilarious as a “meta-heavy Chucky” episode would imply.
(5 / 5)
Chucky – S2 E4 – Kill Count and Spotlight
Three new corpses pile up in this week’s episode, bringing the season total to eight. This week we have a poisoning, a shooting, and multiple stabbing. The stabbing is probably the most fun of the three, especially given the context and enthused joy expressed by both victim and perpetrator.
Again, this is a weird episode.
Seeds of Chucky
As always, each review features some notes on references and continuity in the whole Chucky franchise.
- Glen and Glenda’s age is a little complicated. Glen, as a singular entity, was born in 1998 during the events of Bride of Chucky. Glen and Glenda are a soul split into twins birthed by Jennifer Tilly in Seed of Chucky. The Valentine/Ray/Tilly family considers 2004 to be their actual birth.
- Chucky’s “affectionate” use of “Shitface” returns, contrasting Tiffany’s iconic “Sweetface.”
- The whole episode owes a lot to the murder mystery genre, but two significant influences up front are Clue (1985) and Agatha Christie’s novels.
- Regarding Clue: characters in this Chucky whodunit have color-based outfits that evoke those of the characters in the film and board game.
- Memory issues seem to be running with split souls. Glenda mentions a nightmare about killing a blond woman. Said woman is Joan from Seed of Chucky. Meanwhile, Tiffany/Jennifer doesn’t remember details about Meg and forgets Dianne Weist’s name and calls her Dianne West.
- Tiffany/Jennifer complains about losing an oscar to Dianne Weist in reference to the 1994 film Bullets Over Broadway.
- Far too many Bound references to convey here. The entire scene with Tiffany and Gina in a darkened bedroom features images pulled nearly directly from Bound. Specifically, a shot of the lips of the two women.
- The same trophy used to bludgeon someone in this episode is the one used to bludgeon Redman in Seed of Chucky.
- This is the first episode of the series not to feature Jake, Devon, and Lexi since their introduction.
- A certain… attachment to a character may reference the Evil Dead franchise.
That is the review and recap for this week. We’re continuing to cover the show at Kids’ Stuff – A Chucky Podcast. However, unlike these written reviews, our discussion show contains plenty of spoilers. If you missed the latest Kids’ Stuff, you could listen to it wherever you get your podcasts.
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.
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- Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
- Robert King (Director)
- Audience Rating: NR (Not Rated)
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- 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)
