Raised by Wolves Episode 7 (“Faces”) concerns itself primarily with the trials and temptations of Campion, stuck in that silo, and Marcus, the man who put him there. Both face thorny issues of truth, faith, identity, and personal ethics. And both are haunted by paranormal entities, as if they didn’t have enough to worry about.

I reviewed episode 7 of Raised by Wolves for Decider.

“I’m not one who wants,” Mother tells Tempest, one of the children in her charge. “I’m one who serves.” Turns out she’s only half right. Mother was indeed designed to serve her human creators, first as a weapon of war, then as a caretaker for the children meant to restart human civilization.

But as we’ve seen thus far in Raised By Wolves, she does want. She wants to protect those children and she wants to serve well—those are a given. But her time reliving her buried memories in the crashed Mithraic ark’s still-functional simulation has taught her to want something else: her creator, Campion Sturges. Just before she was deployed, Sturges buried her memories of him deep down inside, so she wouldn’t experience the pain of separation. Now she’s been reunited with him, in electronic spirit anyway, and she treasures every moment. She even steps into her digital past to share a kiss with him before the simulation ends. It’s so achingly romantic you forget one of the participants isn’t human.

I reviewed the sixth episode of Raised by Wolves for Decider.

If there’s two things I like about television drama, it’s a sudden uptick in quality I never saw coming, and a shocking twist that in retrospect I should have seen coming but didn’t. “Strange Case,” the strongest episode of Lovecraft Country so far and by far, presented me with both scenarios, and I couldn’t be happier.

This week’s episode of Lovecraft Country was the first one I really liked, and I really liked it. I reviewed it for Decider.

“I have never been prouder of anything in my life than I am of you,” the man says.

“You’re more pleasing than I imagined,” says the android, when the man gives her back her eyes.

“I please you?” he replies, seemingly grateful beyond words to hear it.

I single out these lines in episode five of Raised by Wolves (“Infected Memory”) because they’re so swooningly romantic to hear—but they’re not the voices of lovers speaking to one another. The android is the man’s creation, and the man is preparing to send her from his side forever, in hopes that she will preserve a kernel of humanity rocketed from a dying world. That’s Raised by Wolves for you: constantly tapping wellsprings of emotion where you least expect to find them.

I reviewed episode five of Raised by Wolves for Decider.

Four episodes in and I’m willing to stake a claim: You’re not going to find a better show this strange September than Raised by Wolves. Using hoary old sci-fi concepts—androids, aliens, harsh desert worlds, war-torn dystopias—it seems to have tapped into deep new veins of vitality in each, something I wouldn’t have thought possible in a prestige-TV format. But I suppose that just goes to show you that the death of prestige TV has been greatly exaggerated.

I reviewed episode four of Raised by Wolves for Decider.

In some ways this is Lovecraft Country‘s most effective use of genre to date. Largely stripped of horror’s mandate to terrify—this is comfortably the least Lovecraftian of the four episodes so far—it’s free to have some fun with swashbuckling, treasure-hunting tropes instead. These date back to the same period of pulp fiction as Lovecraft, or even before to the likes of Treasure Island and The Count of Monte Cristo, but being a citizen of turn-of-the-21st-century America I recognize more modern sources of inspiration: the Indiana Jones series (booby traps, perilous bridges, stolen artifacts, a beam of light revealing a treasure’s location), The Lord of the Rings trilogy (more perilous bridges, moonlight revealing a secret, a choice between subterranean tunnels), even stuff like The Goonies (the madcap energy of much of the episode, the watery tunnels). It’s not the most exciting use of this stuff, I guess, but it’s still a fun way to spend some time.

I reviewed this week’s episode of Lovecraft Country for Decider. At least this one isn’t really even trying to be scary?

Can you trust someone who’s been programmed to lie to you? It’s a simple question with a complicated answer, at least as far as Raised by Wolves is concerned. The show’s third episode (“Virtual Faith”) is deeply concerned with the issue of honesty at odds with people who are programmed—whether technologically, religiously, biologically, or by virtue of their role in a family—to be less than honest. When do their lies cease to be white and start to be actively destructive?

I reviewed episode three of Raised by Wolves for Decider.

Well, this is a relief: Episode two of Raised by Wolves is really, really good, too.

And thank goodness. After the effusive, even bombastic praise I heaped on the pilot, boy oh boy would there have been egg on my face if the show were a one-hit wonder that fell apart immediately thereafter! Fortunately, there’s no such problem. Smart, surprising, tense, austere, and still rooted in remarkable performances, “Pentagram” lives up to the promise of the premiere.

I reviewed episode two of Raised by Wolves for Decider. Another winner.

First, an exclamation: Holy shit.

Second, an explanation: I had low expectations for Raised by Wolves. No, scratch that: I had no expectations for Raised by Wolves. You have to understand that I went into this show almost completely cold—no trailers, no advance reviews, nothing. All I knew is that it was an android show directed by Ridley Scott…and that’s where my expectations started to crater. Android-based science fiction is, for me, a big fat zero; I’ve never understood the compulsion to examine What It Means to Be Human over and over and over when we all experience exactly what it means all day every day for our entire lives. Love, joy, fear, suffering—like, we get it. I don’t need Alex Garland to serve me a sexy robot to figure this shit out.

More specifically, I’m deeply indifferent at best to the work of Ridley Scott, the big-time film director and now fairly frequent television producer who directed the series premiere from a script by creator Aaron Guzikowski. With very few exceptions (primarily Alien) I find Scott’s style simultaneously fussy and flaccid, its slovenly storytelling overcompensated for by strange aesthetic flourishes (think of his shaky frame-rate action/horror scenes from the likes of Gladiator and Hannibal) that convey no useful information or emotion. He’s had his name on some stuff I like a great deal, executive producing the masterful first season of AMC’s extraordinary survival-horror show The Terror for example, but that’s about it.

So. A show from one of my least favorite sci-fi subgenres, from a director in whom I have no faith as a rule? I’ll be honest: If I hadn’t been getting paid to watch it, I would have given this one the proverbial hard pass.

Boy, am I happy to be wrong.

I’ll be covering the new HBO Max series Raised by Wolves for Decider all season, starting with my review of the Ridley Scott–directed series premiere. All I can tell you is go into this as cold as you can, because wow.

So, it’s a monster of the week show.

Not that there’s anything wrong with that, I suppose. Episodic storytelling has been a mainstay of genre fare since television’s early days. You can rattle off a perfectly respectable list of shows ranging from watchable schlock to deliberate camp to proto-prestige that used this format: Lost in Space, the Star Trek franchise, Batman, Kolchak, Doctor Who, The X-Files, Buffy, Supernatural….Some have more connecting tissue between their adventures than others—The X-Files famously vacillated between the long-term storytelling of its mythology episodes and the short-term payoffs of its one-offs—but that’s the deal that fans of genre TV have made for decades.

I just expected Lovecraft Country to be something more, is all.

I reviewed this week’s episode of Lovecraft Country for Decider.

Courtney B. Vance is one of the most watchable actors on television. And listenable, too: His voice is a mellifluous thing, waxing and waning with his emotional tide. Lovecraft Country boasts a compelling lead in Jonathan Majors, and a high-energy co-lead in Jurnee Smollett, but Vance is where the show’s gravitas and its primary human interest comes from. You believe this guy is a guy, a fully dimensional person. You want to see what happens to him.

So naturally, they kill him in the second episode.

I reviewed last night’s episode of Lovecraft Country for Decider.

Lovecraft Country is about a horde of ravening, bloodthirsty white monsters who prowl the backwoods at night, terrorizing the innocent. Also, there are some multi-eyeballed Lovecraftian entities in it.

I reviewed the series premiere of Lovecraft Country for Decider, where I’ll be covering the show all season.

2. ‘The Silence of the Lambs’ (1991)

DIRECTOR: Jonathan Demme

CAST: Jodie Foster, Anthony Hopkins, Scott Glenn, Ted Levine

RATING: R

From the perspective of the Oscars, this is the most acclaimed horror movie ever made. From the perspective of a horror fan, the statuettes are well deserved. Anthony Hopkins is a monster par excellence as Hannibal Lecter, the refined cannibal killer whom Jodie Foster’s FBI trainee Clarice Starling consults for help in catching another serial murderer, the virulently misogynist and transphobic “Buffalo Bill.” The Silence of the Lambs is sad, in the way any film that’s seriously grappling with the reality of serial killers must be; it’s white-knuckle thrilling, like any good cat-and-mouse thriller; and it’s a parable of living as a woman in a world dominated by the male gaze. In other words, it’s as good as you’ve heard.

I wrote a quick and dirty guide to horror on Netflix this month for Decider.

One of the best science fiction shows ever made, and one of the finest dramas of the Peak TV era, Dark ended thoughtfully, emotionally, beautifully, brilliantly.

I reviewed the series finale of Dark for Decider.

Welcome to Dark: The Lost Years.

In a way, “In Between Time” (that’s the episode title as translated by the subtitles; Netflix bills the episode as “Between the Time,” a more literal but also more nonsensical translation) is an answer to “An Endless Cycle,” Season 2’s tour de force. While that episode broke from the usual structure in order to depict a single, pivotal day in the Winden saga, the day of Michael Kahnwald/Mikkel Nielsen’s suicide, this one bounces around time and space much like most others do—but it’s the times to which it bounces that are the key. We visit the years in between the pivotal years, the years that fall outside of the show’s 33-year time-traveling cycles. It’s a way of showing us how the characters grow and develop when the threat of apocalypse isn’t imminent, and when Adam and Eva’s plans to alter or facilitate that apocalypse aren’t operating at a fever pitch.

I reviewed the seventh episode of Dark Season Three for Decider.

It probably goes without saying after all that that we’ve reached the most science-fictional point in the narrative thus far. You have to have a pretty tight grasp on the cast and the overlapping, sometimes contradictory timelines and alternate realities to have the first clue what much of the action of the episode is even about. If people were to accuse the show of disappearing up its own ass, I couldn’t really blame them.

But in the end, what you have here is a story of people being ground down by forces they can barely comprehend and cannot control. There’s a universality to that sentiment; dig past the twelve different versions of Martha or whatever and you’ll see it plain as day.

I reviewed episode six of Dark Season Three for Decider.

We haven’t even heard the opening line of dialogue in Dark Season 3 Episode 5 by the time we witness the disposal of its first dead body. The body belongs to Regina Tiedemann, buried by her time-traveling mother Claudia after dying of cancer. The first line of dialogue is “Why do we die?”—and it’s a question this episode answers in detail. One of the most melancholy and death-haunted hours of Dark to date, and boy is that saying something, “Life and Death” continues to add new wrinkles to the series’ complex spacetime-travel plot, while rooting itself deep in the fears and resentments of everyday people.

I reviewed the fifth episode of Dark‘s increasingly wild third season for Decider.

It really is a minor miracle that a show this dense and this loaded with science fictional plot devices works as a character-based drama. And vice versa, I suppose. I’m glad I get to bear witness.

I reviewed episode four of Dark‘s final season for Decider.

“I was always too gullible.” No kidding, Adam! Back when you were referred to as Jonas and weren’t yet horribly scarred, you followed a whole line-up of would-be time-travel gurus: Claudia Tiedemann, your own future self Adam, and now the elderly self of an alternate world’s Martha, named Eva. And guess what? Every single one of them lies to and manipulates you to their own ends. But don’t blame yourself. Skipping and jumping across time and space probably takes a toll on your internal lie detector.

I reviewed episode three of Dark Season Three for Decider.

But for all its plot density, for all its tangled family trees and multiple timelines and now multiple worlds, it doesn’t feel like boring sci-fi bullshit for a second. It’s too warm towards its characters for that. And no, warm in this case does not mean kind or soft—it means respecting their essential humanity and putting that at the forefront of the story, not the mind-teasers.

Katharina is a terrific example of this. As played by Jördis Triebel, she’s embittered and worn out from suffering, and that can entail lashing out, as it does when she practically assaults the teenaged Hannah. But the tenderness with which she greets Ulrich is heartbreaking, as are the tears in her eyes when she meets her mother, a nurse at Ulrich’s psychiatric facility. Like Jonas and Martha and Elisabeth and Claudia and Regina and everyone else, she’s a person, not a plot device.

This mentality has a ripple effect on the filmmaking as well. You see it in throwaway establishing shots, even, like when a nurse lights a cigarette and you can see the orange glow of the ember outside the psych hospital. There’s no reason for that to be there; it just is, because sometimes people step outside for a smoke. Dark never loses sight of what people do by virtue of just being people. The time traveling doesn’t change that. To borrow a phrase from another spacetime-warping show, humanity is Dark‘s constant.

I reviewed episode 2 of Dark Season 3 for Decider.