Fantastico Disasterpiece Theatre: Good Adams Family Fun
Gringo Fantastico is a retired luchador presenting Troma films from the safety of a deteriorating recreation center tucked into chaotic Tromaville. He is begrudgingly accompanied by the French-Canadian demon piñata Francois who criticizes and disparages Fantastico throughout each episode. This week’s special guests are the Adams family (Wonder Wheel Productions). New episodes release on the first of each month on Troma NOW.
Chapter Tres
Fantastico Disasterpiece Theatre returns for Chapter Tres with “Hellbender and the Mixologist’s Mirror.” Initially premiering on October 1st, Gringo Fantastico (Nate Turnpaugh) hosts Charles Kaufman’s Mother’s Day (1980). The film is based around a rape-revenge plot and is Toby Poser’s personal pick because the “vengeance in it is satisfying.” This one very much deserves a content warning for being a prime example of a Troma film.
Behind the Mask
Cutting into footage that once again feels ripped directly from the past, the episode begins with Fantastico apologizing for his prior poor behavior. Rather, he emphasizes he has been “told to apologize.” Things appear to go well before agitation kicks in and Fantastico attacks the interviewer. Better luck next time, I guess.
Fantastico’s anger is once again centered around his mask. Audiences can feel the growing desperation to free himself from his alias. Throughout these segments, Turnpaugh crafts a surprisingly emotional look at Fantastico’s psyche. Who among us hasn’t wanted to rip off the socially-acceptable mask they’ve created to reveal the feral human beneath it? I never thought I’d relate to a luchador so much.
Humor and Hijinks
Entering Tromaville’s recreation center, the audience can see Halloween decorations. These touches help the set feel lived-in and create mental images of Fantastico and Francois bickering over their placement. Bringing in another Halloween tradition, Fantastico looks into a mirror and repeats “Bloody Mary” three times. Imagine my surprise when he walks out with an actual bloody mary. Which Francois promptly turns to “just a goddamned V8.”
Speaking with Turnpaugh, he reveals the entire episode’s script came out of him thinking of this particular joke. “I’m not going to waste this joke just as a throwaway gag.” When his wife learns of his intentions, she apparently says, “That’s really funny. You’re really stupid.” The joke expands and changes throughout the episode, and leaves me laughing each time.
Humor and fun is a key tenet when it comes to Turnpaugh’s production style. As he puts it to his crew, “We need to do it and we need to do it well, but it needs to be fun for everyone.” His primary concern with production is always ensuring he’s meeting his crews needs. With this episode in particular, he wanted his guests to have the best possible experience. He even calls in a mutated janitor to set up their chairs.
The Adams Family
Toby Poser, John Adams and Lulu Adams are three-fourths of the family which makes up both the film company Wonder Wheel Productions and the band Hellbender. Zelda Adams is unfortunately unavailable to join the rest of the family for their interview. When Fantastico asks how they made it through Tromaville to the rec center, they assure him they’ve had plenty of “inoculations.”
The Adams family has previously been interviewed on The Last Drive-In, albeit in a different configuration in season three. Toby, John and Zelda are present for that interview and it is Lulu who is unable to attend. Turnpaugh’s interview style gives Joe Bob’s a run for the money when presented with a comparison between the two. The most notable difference which works in Turnpaugh’s favor, is his choice to have all present members of the family together from the start of the interview.
Hoosier Hospitality
The family does seem to be a little too excited to be in Indiana, where Turnpaugh films Disasterpiece Theatre. John says, “We’ve driven through Indiana so many times and we have to look at it. Now we’re part of it.” Turnpaugh reveals in our interview he had treated the family to a full course of Hoosier hospitality in a very short amount of time.
“I had a one day window to get them in, shoot them in, and ensure they got back in time,” he says. After picking them up from the airport, they all go to a restaurant for what should be a quick meal before bed. It instead turns into a three-hour conversation over food and drinks. When the family is in need of good coffee and tea the next morning, Turnpaugh knows just where to go.
“I drive them out and I take them to my parent’s house.” He describes the ensuing encounter much like any between family friends, despite just meeting each other. Lulu plays with the family dog, John discusses carpentry with his father, and Toby and his mother share conversation. “My parents have been big supporters of this show, which helps.”
Good Bones
All of this culminates into a fantastico interview with the trio that feels like a good conversation between friends. The family fully buys into the conceit of the show, often throwing in references to Tromavilla and jabs at Francois. At one point Toby offers to kill Francois for Fantastico and the demon piñata is actually speechless.
As the family answers Fantastico’s questions, they build effortlessly off of each other. They tell stories about their family, past travels and productions and future plans. It is obvious they have a solid foundation of admiration and respect for each other. Wonder Wheel Productions itself gets its name from a series of sentimental family moments which they share in the interview. When they need more bodies for their films, they joke “How many cousins do we have?”
Future Releases
Toby, John, and Lulu also discuss their upcoming works Where the Devil Roams under Wonder Wheel Productions and Hell Hole under Blood and Honey Pictures. Where the Devil Roams is a film “with more our DNA in it” according to Toby, while Hell Hole is the largest production they have worked on.
Where the Devil Roams was originally set to be a Tubi exclusive, but it appears it will be premiering in independent theaters on November 3rd before becoming available to rent/buy the digital version on November 7th. Release information for Hell Hole is not yet available.
Punk Rock is an Attitude
This episode marks the first in-person guest interview Turnpaugh has done as Fantastico. He and Toby have built a friendship over time, and Toby believes Disasterpiece Theatre is “like watching your favorite band in a dive bar.” The show is punk-rock as fuck.
I can’t agree more. In its absolute defiance of normalcy, it is endlessly entertaining and informative. Fantastico’s development as a character is paying off and Turnpaugh’s abilities as showrunner, producer, host etc. continue to shine.
My rating for Chapter Tres of Fantastico Disasterpiece Theatre:
(4.7 / 5)
Follow @realfantastico on the platform formerly known as Twitter to know when to join in with the rest of the Fantasticats as they live-tweet each episode.
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=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRGYWJYaGtVVFpFYlV3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDQwMzk3Mw=)
- 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=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRFdGJuQndVRmhtU1V3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDQwMzk3Mw=)
- 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)
