“The Demon of Sex” is the third episode of Evil’s season 3, 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 a new marriage that struggles with intimacy. Kristen (Katja Herbers) takes control of her family. Ben (Aasif Mandvi) has an existential crisis after facing plumbing difficulties. Sheryl (Christine Lahti) struggles with the new work culture. Sister Andrea (Andrea Martin) battles a demon.

What I Like about “The Demon of Sex”

Ben usually seems underutilized as a character, especially in personal development, but season 3 works hard to rectify that issue. A skeptic’s disillusionment is an obvious choice for this type of character, but the writing and Aasif Mandvi’s performance drive the execution. It also adds another dynamic to his character referenced throughout the series, if rarely shown again, in the Science League.

“The Demon of Sex” is also a good episode for Sheryl, who struggles and triumphs in her new position. While her character trajectory teeters back and forth, “The Demon of Sex” shows what her development can look like when given the attention it deserves.

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Evil: Season Three [DVD]

• 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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“The Demon of Sex” also furthers the frenemy relationship between Kristen and Sister Andrea, providing ample material for both characters to explore. “The Demon of Sex” shows Kristen’s willingness to compromise and furthers Sister Andrea’s character flaws.

Leland (Michael Emerson) finally finds an attack that might work on Sister Andrea, beginning a plot thread to explore across the season. Commenting on this plot point might give credit to future episodes, but it’s a compelling example of Leland actually being devious and in control.

“The Demon of Sex” leans on Evil’s dark comedic tone, not intending to haunt the viewer but to entertain them. It dives further into the comical nature of corporate evil and marketing, showing a general shallowness in both arenas in which exploitation occurs. It’s dark, troubling, and entertaining without pulling its punches.

Tired Tropes and Triggers

In an episode titled “The Demon of Sex,” the titular demon seems to hold conflicting motives. First, it grows strong in the married couple’s abstinence, which suggests a different focus. But when acts become carnal, it’s the general kinkiness that makes the demon strong. Considering the couple talks about their troubles with a licensed therapist, it seems to evoke a general kink shame to the execution. However, the therapy also fails to resolve the underlying issues.

A slightly gory moment might unsettle some viewers, but it’s a single moment in an otherwise goreless episode.

What I Dislike about “The Demon of Sex”

As mentioned in a previous review, another demon seems to indicate a more direct concept of “sex,” while the motives of this demon seem more complex. It’s a minor point, but I can’t fathom why they didn’t connect this title with the more literal succubus that’s plagued this season already. Addressing that demon also seems like a more logical entry point as the audience sees what it’s been doing.

“The Demon of Sex” sets the groundwork for future plot points. While not a fault of the episode, it blends in the background, doing what it needs to and little more. I don’t mean to pretend this is a negative, but it doesn’t haunt the viewer like past or future episodes.

Final Thoughts

“The Demon of Sex” delivers but remains buried around more memorable episodes with more lasting power. It sets up key points for several characters and allows some to shine, but it doesn’t hold iconic moments to look back on. Ultimately, it functions as intended and keeps the audience eager for future developments.

Dark City (1998) is a Cosmic Horror film directed by Alex Proyas, though I’ve seen labels of tech noir, which certainly fits. This R-rated film stars Rufus Sewell, Kiefer Sutherland, Jennifer Connelly, and William Hurt. As of this review, Dark City is available to Kanopy and Amazon Prime Video subscribers, with additional purchase options on other services. 

John Murdoch (Rufus Sewell) wakes up in a hotel bathtub, plagued with strange memories and amnesia. Chased by strangers, he follows his memories of Emma (Jennifer Connelly), avoiding those who hunt him in his desperate attempt to understand his situation. As mysterious forces hinder him, Dr. Daniel Schreber (Kiefer Sutherland) claims to know secrets that might help. Emma Murdock (Jennifer Connelly) haunts him.

What I Like about Dark City

Dark City earned 12 awards and an additional 19 nominations. These recognitions include the 1999 Saturn Award from the Academy of Science Fiction, Fantasy & Horror Films and the 1998 Bram Stoker Award. In short, Dark City earns a strong critical reception.

Part detective tale and part cosmic horror, Dark City lures its viewer in with its aesthetic and premise. I hesitate in saying that the mystery drives the film as the beginning narration does spill most of the finer points. However, Rufus Sewell delivers a performance of someone so overwhelmed and out of his element that the terror shows despite our knowledge. This film wants the audience to know the mystery, focusing on characters learning the truth to hook them.

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• Rufus Sewell, William Hurt, Kiefer Sutherland (Actors)
• Alex Proyas (Director)

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Dark City

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• Rufus Sewell, William Hurt, Kiefer Sutherland (Actors)
• Alex Proyas (Director) – Alex Proyas (Writer) – Andrew Mason (Producer)

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Every performance nails its particular niche. From Kiefer Sutherland’s Dr. Schreber’s untrustworthy scientist to Jennifer Connelly’s mysterious Emma, each performance enriches the plot. This praise belongs to the entire cast, as many performances hold nuances that make sense after learning the entire truth.

Dark City maintains tension for most of its runtime, with the ending being an exception. That isn’t to say that the film fails to create a haunting story, but the focus shifts as the characters learn more about their situation. While both parts of the film accomplish their objectives, it does minimize the horror.

Tired Tropes and Triggers

At the backdrop of this story, there’s a serial killer murdering sex workers. It’s a familiar plotline, and Dark City doesn’t push against its familiarity in most aspects. However, the reasons behind this plot are somewhat more complex beyond simple shock value.

There was one notable voyeuristic nude scene, but the first naked body is Rufus Sewell’s John. Besides these moments, Dark City doesn’t lend itself to voyeurism. Instead, it prefers a largely sexless and detached perspective, which seems common among Lovecraftian-inspired properties.

What I Dislike about Dark City

As briefly mentioned, Dark City doesn’t deliver a traditional mystery because the beginning narration spoils most of that mystery. While this doesn’t inherently hinder the film, it’s a decision that doesn’t seem to make much sense. Most of the narration gets shown or told to the audience later. It’s as if the audience isn’t trusted to understand these elements. However, this film repeats this information or shows it with better execution, making the narration unnecessary.

Without divulging too much, the ending empowers a particular character that hinders the cosmic horror influences. It’s hard to believe the danger of cosmic forces when they prove to be your equal.

While not a fault of Dark City, The Matrix would focus more on empowering its main character through realizing some truth. Since The Matrix came out a year after this film, Dark City holds a stronger claim to the trend. However, the execution of this plot point goes to The Matrix. Despite the drastically different focus and genres, I can’t help but wonder how much The Matrix’s success has overshadowed this film’s lasting power.

Final Thoughts

Dark City creates a tense journey for audiences to follow, combining cosmic horror and tech noir to create something unique. It’s a cult classic that earned an award after its digital re-release because few films provide its unique mix of genres. If you crave a dark mystery where humanity must adapt to overcome the impossible with a flare of cosmic horror, this film might satisfy your craving.

Episode four of Goosebumps The Vanishing is named after one of my least favorite of the original Goosebumps book series. I’m clearly in the minority since there are four Monster Blood books. And I’m sad to say that this episode very much lived down to the expectations the book set.

The story

We begin this episode with a flashback. Cece is excited to go to her debate group that Summer. She even brags to her fellow Type A teenage girlfriends. Then, she doesn’t get in.

That’s right, she’s been lying to everyone about going to debate class every day.

However, she still managed to get an interview for a college application. Too bad she gets sick at the meeting. She finds herself back at her mother’s apartment, throwing up in the sink. And if that wasn’t bad enough, the thing she throws up pulls itself out of the sink and tries to attack her.

What worked

I’m not going to lie, this was not a boring episode. Even scenes that were conversations among teen girls in a coffee shop were full of action. At no point did it struggle to keep my attention.

I was also pleased by how the Monster Blood creature looked. Or, whatever this thing is. The way it moved was eerie. The way the characters interacted with it was seamless. This effect was quite well done.

What didn’t work

Unfortunately, that’s where my praise for this episode ends. To start with, the monster still doesn’t make a lot of sense to me. I’ve complained about this in the last few episodes, so I won’t spend a lot of time on this. But it still does not make sense that this sentient spore went from possessing a person to a car to a cup, to then being puked up into its own body. A body made of blood, puke and kombucha.

I also complained last episode about Cece’s character. She was too perfect. And, as though this episode heard me, we now know that she was never as perfect as she was trying to seem.

However, as far as dark secrets for perfect Type A teens go, this one was weak and cliche. She’s lying to everyone about getting into some fancy debate team. And who hasn’t seen this? Who hasn’t seen this sort of thing before?

While there is nothing new under the sun, there are good ways to redo a cliche. And then, there’s this. It brought nothing new to the table.

This same complaint can be applied to the big conflict of this episode. As of now, we have three groups fighting the same monster from different levels. Frankie, Cece and Devin are being chased by the Monster Blood. Alex and CJ are aware something is wrong, but so far they only think it involves the car. And Anthony is chasing after the plants in the sewer. Like the proverbial blind people with the elephant, they all have a piece of the puzzle but need to put it together to get the whole picture. But everyone’s too busy running around to take five minutes to explain things to somebody else.

Goosebumps Classic: 3 Monster Blood (Goosebumps Classic)

• Item #:NTS503520
• ISBN13:9780545035200
• Format:Paperback Book

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What a boring motif. People refusing to talk to each other and explain things is the storyline for every single romantic comedy ever. And it’s never, ever, clever.

Overall, this season is struggling. The characters don’t feel genuine, the story is cliche, and the rules of the world don’t make sense. While it’s not boring, it is hard to care about anything that’s happening aside from it being fast-paced and fun to watch. So while it might be fairly entertaining, it’s not a show I’m likely to remember fondly or revisit. And we’re already halfway through the season. So if Goosebumps is going to prove me wrong, it had better act fast.