Maybe that’s the single biggest problem with this version of The Stand: It pulled all its punches. There was really no internal struggle going on among any of the characters other than Harold and Nadine—Larry didn’t repeatedly second-guess his own habitual shittiness, for example, nor did Lloyd Henreid realize he’d sold his soul to the devil, nor did the Trashcan Man struggle to reconcile his pyromania with his desire to fit into Vegas society and do right by Flagg, the man who elevated him from captivity to the height of power. Vegas itself is pure fantasy and spectacle; it never makes the vital point that people willing to serve a sadistic authoritarian look and sound like normal people more often than not. The demands of Mother Abigail’s very Old Testament God are never properly struggled with either; the idea that the forces of Good can be cold and uncompromising in their Goodness never gets communicated. The freaking plague itself was an afterthought!

I reviewed the series finale of The Stand for Decider. What a disappointment.

Now consider the Trashcan Man. Arguably the series’ single biggest misfire from a character standpoint, he has no arc or growth or interesting personal journey to speak of. When he first appears in the series, he’s a gibbering crazy man with a penchant for firestarting. When he next appears, he’s retrieving a nuclear warhead, at the express orders of Randall Flagg. And for his final appearance, he delivers the bomb, as requested; the only hiccup is that he brings it to the wrong place, and considering his overall level of sanity it would have been a minor miracle if he hadn’t brought it to the wrong place.

If you’ll permit one last contrast with the novel, this is a case in which nearly every choice made by the show was the wrong one. In the book, Trash is crazy, yes, but he’s capable of coherent speech, coherent thought, and actual attachment to other human beings. He feels friendship with the people he gets to know under Flagg’s command in addition to puppylike devotion to the Dark Man. But his compulsive pyromania gets the better of him after someone unthinkingly ribs him about his fiery habits, and he winds up killing several men and destroying much of Flagg’s nascent air force before fleeing. Desperate to make amends, he does the only thing he feels is big enough to make up for his crime: He retrieves a nuke all on his own, without Flagg’s orders to do so, and delivers it to the Dark Man’s doorstep as an offering of penance. It’s a whole lot more complex, interesting, and ultimately human than just hooting and hollering his way from Point A to Point B to Point C the way he does in the show.

(In a way, Trashcan Man is as underdeveloped as Mother Abigail. In her case, we’re never really made to understand what’s so magnetic about her, or how close a relationship with God she really has. She’s just kind of…there, and it’s like the good-guy characters coalesce around a random old woman, not the Voice of the Almighty on Earth. Similarly, Trash is just a firebug, not the complicated individual with a near-supernatural expertise in weapons, incendiaries, and explosives that he is in the novel.)

I reviewed the penultimate episode of The Stand, in which many of its overall weaknesses are made manifest, for Decider.

The smartest thing this adaptation of The Stand has done yet is to stand aside. The convoluted, shifting timeframes, the need to balance the apocalypse with its aftermath—that’s all gone now. In its place is a very, very straightforward story: The man in black lives in the desert, and four people (and one dog) are walking to meet him.

I reviewed this week’s episode of The Stand, which I pretty much liked, for Decider.

I hate to do this, but I hope you’ll permit a book-to-TV comparison just this once. In Stephen King’s novel, this traumatized pyromaniac, née Donald Merwin Elbert, is a central figure, one of the core characters we follow across the country in the aftermath of the plague. If Lloyd Henried is the Stu Redman of Las Vegas, the main man in the new society Randall Flagg has founded just as Stu is the head honcho of Mother Abigail’s, Trashcan Man is roughly equivalent to Nick Andros, an outcast from society allegedly destined for a key role in the new world, or Tom Cullen, a man whose mental disabilities allow him more unfettered contact with forces beyond our understanding. (That element of Tom’s personality appears to have been dropped by the show.)

Yet for some reason, instead of following Trash from the outset, The Stand‘s 2020-2021 iteration just sort of plops him down at the start of the sixth episode out of nine episodes total. We’ve barely gotten a glimpse of him blowing up oil tanks somewhere and receiving a psychic communiqué from Flagg when bam, the next thing you know he’s already in Vegas, getting the lay of the land from Lloyd and receiving the blessing of the Dark Man himself. Why didn’t the show sprinkle Trashcan Man scenes throughout the season, starting no later than episode two or three? I legitimately have no idea. Was it simply to shield us from Ezra Miller’s performance in the role—a high-pitched, gibbering caricature of a neurodivergent person? Again, I got nothing, man. I enjoyed the creepy Willy-Wonka-tunnel evil psychedelic montage he envisions when Flagg psychically contacts him, and I appreciate that he alone out of everyone in Vegas seems to recognize that Flagg is effectively a demigod worthy of worship, but otherwise nearly every decision involving this character is baffling to me right now.

I reviewed this week’s episode of The Stand for Decider.

It’s as if on the Vegas Strip did Randall Flagg a stately pleasure dome decree. People in fetish gear fuck freely in public. Everyone’s drunk, and some are doing blow right out the open. It’s a bacchanalia—and it’s being staged around a gladiatorial pit where slaves are made to fight each other with chainsaws.

In other words, it’s the nightmare scenario of people who used to want parental advisory stickers on Marilyn Manson records. Is it a plausible setup for a dystopian society run by a demon in denim? I’m not so sure. Where did he find all the hardbodied models, male and female, who are gyrating and pole-dancing and having sex out there? Does no one find the blend of hedonism and ultraviolence a little much? Could a new society really coalesce around that particular kernel?

The funny thing, and I use funny very loosely here, is that we’ve scene what an American dystopia would look like just last week. And while there is a certain cathartic venting of violent desires, it’s against perceived enemies to the desired order of things, not randos dumped into a thunderdome scenario while onlookers hump each other. It seems to me that the pitch Randall Flagg made to Lloyd Henried in prison—don’t you want the chance to get even with the kind of people who did this to you?—is a much more compelling and plausible way to structure New Vegas. Everyone there is attracted to the darkness Flagg embodies, so promise them the chance to extinguish the light (specifically in Boulder)! Turning the place into a sex club with a death-match arena in the middle just rings hollow. It’s a Hollywood idea of what fascism looks like.

I reviewed this week’s less-than-promising episode of The Stand for Decider.

I get the feeling that this iteration of The Stand is meant to focus on the whole life-in-the-aftermath aspect of the story, to the near-exclusion of the pandemic, and relegating the dark vs. light conflict—the titular stand!—to second place, at least for now. But it’s running out of road for this approach. Sooner or later, and probably sooner than later, it’s going to come down to Mother Abigail and her crew against Randall Flagg and his own. (A crew we simply have not seen at all yet, aside from that one episode when he rescued Lloyd Henried from prison.) I think the tone it’s struck for the material on which it’s concentrating its efforts is appropriately elegiac and surprisingly gentle. But if you’re gonna knock the house down again, it pays to have sturdily built it, and that I’m not sure the show has done at all.

I reviewed this week’s episode of The Stand for Decider.

It is kind of a feat, when you think about it: an audience in 2020 not knowing what’s going to happen in The Stand. This unusual, mix-and-match adaptation of one of the best-known horror novels in the English language continues to unfold in non-linear fashion, making familiar characters and plot points seem strange and unexpected. Sometimes this is very effective, like how it allows Nick-the-outsider and Nick-the-high-priest-of-Mother-Abigail to be directly contrasted with one another in the episode where we get to know him in the first place. Sometimes it doesn’t work as well, like how it races through the creation of the “committee” established by the survivors to govern Boulder; here it’s all the work of Mother Abigail, who picks them to be her emissaries first and a governing body second (if at all).

I reviewed this week’s episode of The Stand for Decider.

Overall, this episode functions less as a successor to the premiere and more as a part two. Showrunners Josh Boone and Benjamin Cavell are still introducing characters, weaving their pasts and presents together in that same dreamy way—a million miles from Stephen King’s relentless forward pace at this same stage in the story in the book version. In effect, we’re just seeing pieces of the puzzle at this point, and waiting for the final picture to take shape. Until then, it’s hard to judge the show as a success or failure, though the game cast, impactful score, and occasional flash of post-apocalyptic imagery (like the George Washington Bridge covered from one end to the other by stalled cars filled with dead passengers) are keeping my interest. It’s kind of like we’re in the early stages of the superflu, before it’s had a chance to really take off. We’ll see what kind of world we’re inhabiting when we reach the other side.

I reviewed this week’s episode of The Stand for Decider.