Evil is a supernatural drama created by Michelle King and Robert King; this review will cover 177 Minutes. The central cast includes Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, and Christine Lahti. It originally aired under CBS before moving to Paramount+. As of this review, itâs available through Netflix and Paramount+ and its add-ons.
David (Mike Colter), Kristen (Katja Herbers), and Ben (Aasif Mandvi) assess a miracle. A woman pronounced dead for three hours came back to life in the morgue, leaving room for a massive lawsuit. Ben faces a problem he canât explain, while David faces old demons. Kristen comforts her children while unraveling why a demon haunts her nightmare.
What I Like about Evil: 177 Minutes
The moment of the miracle is particularly troubling, as the suspect of the miracle wakes up right before her autopsy. It creates an interesting dilemma that doesnât take much to empathize with and evokes a haunting horror.
177 Minutes also maintains that ambiguity between the real and supernatural, leaving just enough room for the characters to find justifications for their bias without minimizing the true evil rooted within.
While this episode remains dominantly Kristenâs, David and Ben get a fair deal of characterization and focus. Specifically, their stories explore the weaknesses of their characters, planting the seed for further development while showing how the group functions as a whole.
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Leland (Michael Emerson) remains an enthralling antagonist, providing a campy but threatening element to the show that matches the tone perfectly. He often haunts a scene because he easily pokes at weaknesses, making us wonder if there isnât some devilish influence.
Another performance to give credit to is that of Kurt Fullerâs Dr. Kurt Boggs. As Kristenâs therapist and professional peer, the two characters provide another layer to refute the more mystical elements of Evil.
177 Minutes addresses further evils that don’t provide the direct punch the first episode delivers. However, it does add a larger understanding of what the series hopes to explore, interweaving familiar evil with supernatural horror.
Tired Tropes or Triggers
One characterâs journey involves drug use. The complexity of this doesnât yet suggest addiction in the traditional sense, but it is shown and used as a crutch for the character involved.
This episode dives into racism, specifically tied to the healthcare industry. A later episode will dive further into this dynamic, but itâs a relevant point of 177 Minutesâs plot.
The bureaucracy of the Catholic church will remain a recurring plot point for Evil, considering the show follows Catholic assessors. Another more specific point to bring up is the malpractice and bureaucracy of the medical sector.
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There are a few meta jokes revolving around a horror series, which might undermine the show for some. This show provides a dark comedic tone to alleviate some tension, but this feels less like a campier approach.
What I Dislike about Evil: 177 Minutes
As mentioned, a future episode will deal with medical malpractice and discrimination in the healthcare industry with a far more weighty and critical analysis. 177 Minutes feels like it tests the water of what Evil can talk about, potentially providing the groundwork for such plotlines. However, that doesnât benefit this episode.
Thereâs a harder lean towards a procedural show, which fits Evil, but ties less to the overarching plot. For an otherwise tight series, this feels slightly underwhelming. However, this is a product of an overall tight, efficient, and effective show instead of a general issue of the episode.
Final Thoughts
Evil: 177 Minutes opens the door for more systemic conversations, focusing on ever-prevalent evil in our real world. While itâs a strong episode that lays out the foundation of future plot points, itâs more of a procedural than future entries. (3 / 5)
Zeth received his M.A in English with a focus in Creative Writing at CSU, Chico. As a human writer, he published in the 9th volume of Multicultural Echoes, served on the editorial board of Watershed Review, and is a horror reviewer for Haunted MTL. All agree he is a real-life human and not an octopus in human skin.
Fascinated by horror novels and their movie adaptations, Zeth channels his bone-riddled arms in their study. Games are also a tasty treat, but he only has the two human limbs to write. If you enjoy his writing, check out his website.
Witches of East End is not a well-known show. At least, I hadn’t heard about it until I stumbled upon it while researching this series. Now that I’ve experienced it, I’m not sure why it wasn’t more popular. And with a 7.5 rating on IMDB, it’s clear that those who saw the show agree.
Just the facts
Launching in 2013 and running for just two seasons, Witches of East End is the story of the Beauchamp family. Wendy, Joanna, Freya and Ingrid are witches. Joanna, the mother of Freya and Ingrid, has kept this from them for their lives.
Or, at least their current lives.
But the enemies of their past lives catch up with them as Freya prepares to get married. Soon the girls have to learn how to use their powers before they are killed.
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And stay dead.
What Witches of East End got right
I will be honest, this portion is going to be pretty short.
One thing I appreciated was Ingrid’s fascination with witchcraft before she knew she was a witch. While she thought it was all make-believe, she was fascinated by it.
This feels very true to life. While being raised in a high-control and patriarchal religion, I was fascinated with witchcraft. Whether this fascination led to my conversion or there was always something calling to me is up for debate. But this fascination feels very familiar.
I also liked the moment in the first episode when Ingrid finds a fertility spell on the internet. Because, in this very modern world, most spells we witches learn are from the internet. Most of my witchy education came from creators on the internet. And thereâs nothing wrong with that. If a spell is going to work for you, itâs going to work no matter how you learned it.
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Finally, there was a frightening part of this episode that feels true. Not just as a witch, but as someone who lives near the Appalachian forests.
If you see someone who looks like you, run away. Get as far away as possible.
What they got wrong
While I enjoyed this show, I have to say that it was not witchy accurate. Starting with Ingridâs assumption that the fertility spell she does for her friend, Barb, is white magic, not black magic.
That’s not a thing. There is no white magic or black magic, there’s just magic. Practitioners might disagree about using baneful magic, but thatâs a personal decision. But the prospect of good bad magic is based on outdated puritanical opinions about right and wrong.
To put it bluntly, there is little to no witchcraft in this show that is recognizable. It is all fiction magic, based on the assumption that witches are mythical creatures that look like but are not humans.
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And thatâs fine. Itâs not claiming to be anything else.
Frankly, just because a show is heavy on realistic witchcraft doesnât mean itâs a good show. The Chilling Adventures of Sabrina had plenty of real witchcraft, and it was still a horrible show. So if youâre ready to enjoy this show for the pure fantasy/horror that it is, then youâll have a good witchy time.
While Witches of East End didn’t have much to do with Modern witchcraft, it was still a fun watch. Purely from a storytelling standpoint, I highly recommend it.
(4 / 5)
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By the way, if you like this you might enjoy my haunted apartment novella, Quiet Apocalypse. The main character is a modern witch, and I share some real magic in this fictional story of an unexpected end of the world.
The Modern Phoenix â Revisiting the first Regeneration in Doctor Who
In 1966 Television history changed forever as the Doctor changed from William Hartnell to Patrick Troughton. But how that came about, and the response is a very different story
Regeneration is one of the most distinctive elements of Doctor Who. For a series that has lasted for over sixty years, thereâs been remarkably little change within âDoctor Who.â Yes, the cast changes routinely, and some seasons have an arc, but the bare bones of the series â a Time traveler travelling through time and space with human companion(s) exploring new worlds and helping people â remain as consistent in 1963-1964 as they are in 2024. A story like âThe Daleksâ or âThe Aztecsâ still covers the same ground that âThe Giggleâ or âRosaâ did sixty years later.Â
One of the few, and the most significant, exception to this, however, is regeneration. The idea that the Doctor can change his form when injured, or aged, was a significant shift in the series, and one that has become central to its longevity. Iâd say only one other major change comes close to being as significant is the introduction of the Time Lords in 1969âs âThe War Games.â However even that did not provide as much of an impact as regeneration.
Since the initial regeneration scene at the end of âThe Tenth Planetâ episode 4, we as fans have become used to it. Doctor Who fans go through the cycle when we hear of a new regeneration. First we are uncertain, accepting them, and then preparing for the time they too will regenerate. Regeneration is normal now â but what was it like for people back in 1966?Â
This article explores the multiple factors in Doctor Who that lead to the first Regeneration, or Renewal as it was initially known. In particular we will look at how audiences and texts of the time attempted to explain and understand the change.
Underling issues in 1965
The 1965-1966 season of Doctor Who was already a time of significant change. Verity Lambert, the original producer, left early in the third season. Most of the original cast of companions left throughout the second season. William Hartnell was now the longest running, and the most significant person involved in the making of Doctor Who. As a result, he had a certain ownership of the character of the Doctor, and the series itself.
According to a range of sources, William Hartnell had favourite people who could help manage his moods. Maureen OâBrien (Vicki) described her role as âlaughing (Hartnell) out of his five or six tempers a day.â When William Hartnell had conflict with others, both William Russell (Ian) and Peter Purves (Steven Taylor) would mediate. According to Producers, Hartnell would be frustrated about the length of the script, and need to rehearse. According to castmates, Hartnell would be insisting on maintaining consistency in the series, such as by ensuring the TARDIS controls maintained the same use over all episodes.Â
During the third season, however, Hartnell began to slowly lose his supports throughout the cast. William Russell had already left the series in 1965 by choice. Other cast who shared Hartnell’s frustrations found their contracts not renewed. When Maureen O’Brien had her contract ended while she was on holiday. Peter Purves also had his contract not continued. Both actors had voices objections about the development of their characters, but were shocked to find this resulted in leaving the series. The abrupt nature of these exits further exacerbated conflict Hartnell felt towards the production crew.Â
This conflict came to a boil with 1966âs âThe Celestial Toymaker.â
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The Regeneration That Never Was
In “The Celestial Toymaker” the evil Toymaker forces the Doctor to play his games. Out of frustration for breaking rules, the Toymaker makes the Doctor invisible for most of the story. Producer John Wiles planned for the Doctor to be permanently changed in this process, with William Hartnell not returning. Only the objection of the Head of Serials, Gerald Savory, at the time prevented this plan from coming. John Wiles, and his script editor, Donald Tosh, finding the working relationship with Hartnell irreconcilable, resigned. They were replaced by Innes Lloyd and Gerry Pedler respectively.  Â
Hartnellâs health was deteriorating also at the time, though it was not known. He had undiagnosed arteriosclerosis, a condition which restricted blood flow to the brain. This resulted in Hartnell experiencing difficulty remembering long passages and irritability from these memory gaps.Â
Hartnell disclosed some of these pressures in an interview to the Daily Mail on April 26, 1966. In this interview, Hartnell expressed feelings of irritation with people. Discussing the production team, Hartnell explained he knew his role and did not want their interruptions and alterations. The Producer at the time, John Wiles, was not aware of Hartnell’s illness. Subsequently, Wiles had seen Hartnellâs memory lapses and moods as an act, further antagonizing their relationship.Â
Despite these issues, Hartnell states in the interview the BBC would continue the series as long as Hartnell remained. Hartnell however wanted to have more time off, and more space to recover. Noticeably around 1966, Hartnell’s Doctor is frequently missing in episodes. Health issues and holidays meant Hartnell had a reduced role in most stories from âThe Massacreâ onwards. Â
Alongside these internal stressors, reviews externally began to criticize the program. The Daily Worker in 1966 described the series as âshowing signs of ageâ and that âYoungsters are getting tired of itâ
With Peter Purves leaving in June 1966, Anneke Wills as Polly and Michael Craze as Ben became the new companions. However, Hartnell did not establish a good relationship with his new co-stars. Interviews with the two actors reported Hartnell appearing very isolated and alone. Wills reported Hartnell would lose his temper quickly over ridiculous things, leaving her and the other cast very tense. She added the remaining cast supported each other apart from Hartnell.  Reportedly, Hartnell complained about Wills sitting in his chair, and Wills responded by having her own chair available for all. By June 1966, the increased conflict in the production office and health concerns lead to discussions of replacing Hartnell. However, this time Producer Innes Lloyd had approval to look for a new Doctor. By 16th of July, Hartnell had told his wife that he had decided to leave the series.Â
But the way he was to change was still to be determined.
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Introducing Regeneration
The term âRegenerationâ itself did not occur at this time in the series. Two regenerations later in âPlanet of the Spidersâ this process was officially named as regeneration. Initially, in production discussions, the action was described as âRenewal.â It is not exactly clear who first developed the idea of how the Doctor was to change form. However, it is most likely to have come from discussions between Innes Lloyd and Script Editor Gerry Davis. Production notes at the time focus mostly on the character of the new Doctor, with little about the change itself. What the Production team did envisage was a change which occurred every 900 years or so, feeling:
As if he has had the LSD drug and instead of experiencing the kicks, he has the hell and dank horror
Initial Interpretations of the First Regeneration
The Doctor Who Annual 1968 is a fascinating snap shot into how the change initially by the public of 1967. Annuals were produced around the middle of the year, to give to children at Christmas time. In the sixties, annuals were one of the few examples of Doctor Who media available. There were no books, very few novelizations, and definitely no audio plays. If you wanted further adventures with the Doctor, or to read about Doctor Who the series, the annual was almost your only option.Â
For the 1968 Annual, we have a few first ever events. It is the first time the Annuals would feature television companions alongside the Doctor, with Ben and Polly appearing. And of course, this is the first annual which featured Patrick Troughtonâs Doctor as main character.
Reading through it, it seems the authors did watch Troughtonâs first story âPower of the Daleksâ but no further. Popular companion Jamie (Introduced in Troughton’s second story), does not appear. Troughton’s costume from his first story, features in all images, despite the costume not being used again.
Also in the annual, there is an article entitled âPhoenix in the TARDIS.â This article compares the mythological creature of the Phoenix from Arabic folklore, with the new Doctor as âOur Modern Phoenix.â The article describes the change as follows:
At the end of nine hundred years, a strange psychological storm rejuvenated his form, changing his character in many ways
The article describes the new Doctor as more âwith itâ and âswitched onâ to the 20th century. The Doctor is less likely to confide in companions, and more likely to be a man of action. Surprisingly, this article is the first time regeneration is used in Doctor Who, with the conclusion pondering âWhat lies ahead for the regenerated Doctor.”
Whatâs interesting about this article is how the act of regeneration isnât seen as an event that will reoccur. Instead, this is an event that needs almost a millennia to actually come about. Troughton planned to leave the role longer than three years, but he also doubted the series would last this long. Troughton was interviewed later he admitted he thought the change to Hartnell would lead to a cancellation within a year. Even when Troughton did leave after three years, changing the Doctor again was only considered as an alternative to cancellation when suitable alternative series could not be found.Â
Audience reactions, gathered by the BBC were not positive to the change. Audience feedback during his first story reviewed Troughton as being miscast as the Doctor. The media, while initially curious about the change, became increasingly critical of Troughton during the first season. The Daily Worker on Janaury 25th 1967 reported that while Hartnell would bring dignity to the party in stories, Troughtonâs clownish person only amplifies the nonsense. The radio times meanwhile interviewed a member of the public, decrying Troughton as turning the Doctor into âCoco the Clownâ
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Meanwhile, the ongoing Doctor Who comic strip in âTv Comicâ adapted to the change of incarnation but not mentioning it. The Doctor had been William Hartnell, and now was Patrick Troughton. He still travelled with the same companions of his Grandchidren John and Gillian, who did not seem to care that their Doctor was different, though no longer referred to him as âGrandfatherâ anymore.Â
Long Term Acceptance of Regeneration
Troughtonâs Doctor was eventually accepted as his first season moved away from historical stories, and towards images of the future. The Cybermenâs return in âThe Moonbaseâ in particular had some critics changing their appraisal of this new era. At the same time, cast changes, with Frazer Hines, joining the cast, added to reasons audiences enjoyed the series more.Â
However, that does not mean regeneration was accepted as normal. After three years, Troughton announced his departure from the program. With six full years completed, the BBC discussed completing the series, and replacing with something new, with an idea of being influenced by the new series âStar Trekâ being discussed.
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What saved âDoctor Whoâ at the point was lack of suitable options, with only Doctor who able to start relatively simpler and be adaptable to what the channel needed. However, budgets did need to be cut, leading to the Third Doctorâs era being largely earthbound for the first three years. This necessity of reduced exploration lead to a series with a larger regular cast, going beyond the Doctor and his companions, and including regular allies in UNIT, and a regular enemy in the Master. This regularity meant that when the Doctor faced his third regeneration, the first to be described as a regeneration, the threat of cancellation with actor departure was no longer considered.
Instead with âPlanet of the Spidersâ we have the first regeneration where the process was paid attention to. The idea of regeneration coming about when a body faces significant damage or trauma is first referenced in this story. The idea of being reborn rather than rejuvenated is expressly stated in this story.
Final Thoughts
Looking back at the production notes for Hartnellâs final story, itâs surprising how little information or consideration went into it. Even now, weâre not entirely sure who exactly came up with the idea of regeneration. Likely no single person can ever claim credit to the full idea. John Wiles original idea of the Doctor being transformed by the Celestial Toymaker undoubtedly had an influence by raising the idea of changing the Doctor but keeping the series, even though the change only occurred after he had resigned.
When looking at the past, itâs important to remember that while regeneration for the modern series is just a process of adapting to a cast change, in 1966, regeneration was a risk taken by a series trying to survive. The producers wanted little attention to be focused on the change, and instead to move on quickly with a new actor, and hence very little description or detail went into the change.
And that, in part, is why for Doctor Who regeneration was so successful, and determined the longevity of the series to this day. If William Hartnell had been replaced by the Celestial Toymaker, with the process being a consequence of running afoul of an evil God like character, such a precise process would have been difficult to repeat for later cast changes without being obviously repetitive. By keeping the idea of regeneration in Doctor Who vague it allowed mythology to develop around it as needed either by a production crew, or as needed for a story.Â
Regeneration was created for Doctor Who to respond to an actorâs decaying health, and intense conflict within a production team. But it continues by allowing a constant refresh and re-invigoration of the series, while keeping its base format the same.Â
With Season Two of Ann Rice’s Mayfair Witches coming out sometime later this year, I thought it was time for me to check it out. Though I’ve never been a big Ann Rice fan, I thought for sure that a story about witchcraft would be something different. Perhaps it would be less dull, less dramatic, and a bit more fun.
It was not
Just the facts
Released in January of 2023 on AMC, Mayfair Witches is based on the Ann Rice series, Lives of the Mayfair Witches. It follows the tale of Rowan Fielding. Adopted as a baby, Rowan discovers that she’s the heir to a powerful witch family. She’s eventually lured to New Orleans, where she learns more about her forgotten family and the secrets that she’s already a part of.
What Mayfair Witches got right
The first thing that I noticed about the show is the key necklace that several characters wear and carry throughout the show. I appreciated that. For those who donât know, a key is one of the symbols of a deity known as Hekate. This is a goddess many witches hold a lot of fondness for, as She is considered the goddess of witches, among other things. So I liked seeing her represented.
I also liked that so much of this first season was set in New Orleans. There are many places in America that are strong in witch history and lore, but few are as well known for it as New Orleans. So they got that much right, at least.
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What Mayfair Witches got wrong
Unfortunately, that was about all there was to enjoy about Mayfair Witches. I honestly struggled to get through it, if Iâm being totally honest.
First, as Iâve mentioned before, witchcraft is not something that must be passed down from parent to child. While your ancestry can play a role in your magic, if you want it to, itâs not the only or even the most important factor. I am the first witch in my family, and I do just fine.
My second complaint is also a complaint about the show in general. Mayfair Witches is not a joyful show. Itâs not a funny show. It is a show that takes itself very seriously as it talks about very serious things without a spark of levity or joy anywhere to be seen. Even the party scene in the first episode, The Witching Hour, seems more ominous than fun. No one seems like they’re having a good time. Rather, they all seem like they’re trying very hard to look like they’re having a good time.
This is a problem I have with Riceâs work in general, but itâs especially insulting when weâre talking about witchcraft. Witchcraft is joyful. Itâs warm. Itâs fiery and passionate. Sometimes itâs serious ritual work, but itâs also laughing when your tarot cards roast you. Itâs getting together with friends over the sabbats and sharing good food. Itâs making a tea with a spell whispered into it. Itâs protecting and providing for yourself and those you love.
There was none of that in Mayfair Witches. There is no joy, or warmth, or giving oneself space and tools for healing. There is no happiness here. And thatâs just not witchcraft to me.
Nor, frankly, is it entertaining television.
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Finally, I have one last bone to pick with this show. Itâs made clear during this season that Rowan has no choice about being a witch. But that’s the opposite of the whole point of witchcraft.
Being a witch is a choice like I said in my Supernatural review. You are not, cannot be a witch unless you decide that you are. No bloodline or initiation is more important to your craft than saying publicly or privately that you are a witch.
In the end, I canât in good faith recommend Mayfair Witches to you. Itâs dull, it takes itself too seriously, and itâs a rather grim depiction of magic in general. If you enjoyed it, Iâm happy for you. But as for me, Iâll give it a pass. There are far more interesting stories being told.
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