Saying this episode continues the show’s hot streak isn’t telling the whole story. It doesn’t rely on the introduction of world-building sci-fi/fantasy concepts like “The Schisma” and “The Filter,” nor is it carried on the back of an Academy Award winner given an entire hour to herself. It simply expresses the horror of sublimated violence and the ability of the supernatural to unleash it — the stuff that drives so much of the Master’s work — in its own voice.

If you’ve ever watched a show like Boardwalk Empire or The Americans, you might recognize the vibe. Like the Prohibition-era mob in the former and Cold War espionage in the latter, the particular strain of horror on display here is the mannequin that writer Mark Lafferty and director Ana Lily Amirpour (of the modern horror classic A Girl Walks Home Alone at Night), as well as showrunners Dustin Thomason and Sam Shaw, can position into new shapes of their own devising.

I reviewed this week’s episode of Castle Rock for Rolling Stone. It was my favorite to date.

I’m a guest on the latest episode of Struggle Session, a terrific left-wing pop-culture podcast starring Leslie Lee III, Jack Allison, and Jonathan Daniel Brown! On this episode I join the gents to talk about the entire Alien franchise — all eight movies, from the original quadrilogy to the Alien vs. Predator spinoffs to the Ridley Scott prequels. In space no one can hear you debate the space jockey, but down hear on earth all you have to do is subscribe and listen!

The most striking thing about the performance is, well, that it isn’t that striking at all. Eschewing straight-up tear-down-the-sky “tour-de-force” emoting, the veteran actor keeps Ruth’s reactions well within the range of normal human experience. When she’s sad, she cries rather than wails. When she’s angry, she yells rather than screams. When she’s frightened, she’s furtive and trembling rather than panicked and flailing.

It’s a rewarding approach. By rooting her performance in recognizable everyday reactions and emotions, Spacek avoids playing Ruth’s dementia as a source of horror itself. What’s happening to her brain isn’t treated as somehow creepy or gross, the way mental illness often comes across in projects like these. She is still a “normal” person, just one who’s no longer in control of how her mind processes space and time. Sure, it’s a frightening condition to suffer from. But both series co-creator Sam Shaw’s writing and the acting emphasize that it’s mainly emotionally exhausting.

I reviewed this week’s episode of Castle Rock for Rolling Stone. It’s a straight-up showcase for Sissy Spacek that she underplays beautifully. I remain at arm’s length from the show as a whole for reasons I get into later in the review, but across the board the performances are thoughtful and quiet.

You may not have heard of the monumental horror-image before, but like the Supreme Court and pornography, you know it when you see it. The little girls in The Shining, the statue of the demon in The Exorcist, the titular entities in The Wicker Man and It Follows: Though they’re rarely discussed compared to jump scares, gore, monsters, slashers, torture, or other hallmarks of the genre, the monumental horror-image is everywhere. Chances are good that if a movie has ever really frightened you, you have strange, standalone sights like these to thank.

The things you see in images like these aren’t brandishing a chainsaw or baring a mouthful of fangs, but something about them feels completely terrifying anyway. It’s not just scary, it’s wrong, like you’re seeing something that should not be.

Why “monumental?” In part, because subjects of these images are horrifying more for what they represent than what they actually do. In most cases, they don’t do anything but stand there. Yet seeing them alone is enough to indicate that something dreadful going on. Just as monuments in real life commemorate events or embody ideals, these images function as horror’s forward-facing surface — “monuments” to the deeper evil they connote.

Inspired by a twitter thread I did on the topic that went viral recently, I wrote about the monumental horror-image for The Outline, and they made an incredible visual presentation out of it that you really should check out if this subject interests you at all. This piece was nearly 20 years in the making and i’m so proud of how it turned out.

Castle Rock has just leveled up.

That’s the big takeaway from this week’s episode (“Filter”). From the start, the show had a baseline level of quality — talented cast, understated writing, a keen eye for everyday American evil and a willingness to aim for “eerie” rather than “over the top” — that’s a step up from most Stephen King adaptations (and also several prestige dramas in their shaky early episodes). Yet it’s never quite gelled into anything more transcendent than the sum of its competent parts. This installment was the first time it felt like you could see the series as something closer to a cohesive whole.

I reviewed this week’s Castle Rock for Rolling Stone. It’s getting there.

Castle Rock is burning. Not just because of the wildfires raging across the hills that surround the town, either, although their hazy orange glow, reflected in the skies above, gives this new episode — “Harvest” — an appropriately infernal vibe. Consider the opening flashback, in which Henry Deaver seeks treatment for the unexplained ringing in his ears that’s plagued him on and off since he was a teenager. “I guess everyone thinks they grew up in the worst place in the world, huh?” the doc asks with a smile. In the lawyer’s case, of course, the answer is a resounding yes. But the implication, via a smart script from Lila Byock, the dreamy direction of Andrew Bernstein and the inclusion of real-life, ripped-from-the-headlines horror that’s become part of this show’s dramatic schematic, is clear: Everyone did grow up in the worst place in the world. The world is not a nice place to grow up in at all.

I reviewed episode five of Castle Rock for Rolling Stone. There’s a lot I think is admirable about this show—it handles the Everyday All-American Evil that’s King’s specialty in a way that feels current and urgent rather than nostalgic and corny, and the cast of fine actors is taking the material seriously. But in the end, it comes down to what kind of villain the Skarsgård character is, doesn’t it? And we don’t know that yet.

SPOILER WARNING

This leads directly to the show’s most disturbing sequence to date. Trapped in his hellish prison job for the foreseeable future, helpless as his fellow guards beat and dehumanize the prisoners — and quite possibly tainted by the touch of the Kid — Dennis Zalewski snaps. Grabbing his gun, he methodically marches through Shawshank, murdering every officer and official he finds. When he finally reaches the warden’s office, he finds Deaver there. “I wanna testify,” he says … before a flashbang grenade drops them both to the ground and a shotgun-wielding bull blows him away.

It’s a gorgeously fucked-up sequence, in large part because it’s just so very Stephen King-ish — and not in a way we’ve really seen before on screen. This kind of killing spree is a staple of the Master’s work: Seemingly ordinary men just lose it one day. They pick up a rifle or an ax, slaughtering their way through as many people as possible, offering one final deadpan non sequitur before someone puts them down like a rabid dog. (The town history of Derry, where It takes place, is full of rampages like this.)

And there’s nothing about Zalewski’s affect here to suggest that if he’d gotten away clean, he wouldn’t have just gone down to the bar for a drink, complaining about a rough day at work. It’s not quite the banality of evil, but there’s a workmanlike quality to it that gets right under your skin. Murder is so routine it barely registers.

Isn’t that what Zalewski himself tells Deaver? “Bad things happen here because bad people know they’re safe here,” the guard warned the lawyer when he tried to downplay the potential to open a prison-wide investigation. “How many times can one fuckin’ town look the other way?” In his desperation to expose Shawshank’s horrors, the man turned himself into one of those horrors. He had to become the prison in order to destroy it.

I reviewed this week’s episode of Castle Rock for Rolling Stone. The ending was impressive.

During another flashback, we see Molly invite young Henry up to her room to hang out. Her neighbor leads a sheltered life, most likely an abusive one. So he’s baffled by her meticulously curated posters for period-appropriate college-rock bands. (“What are ‘Violent Femmes’?”)

He’s even more flustered when Molly drops this bomb on him: “I know what you do in your room. Touching your thing. It feels like fireworks.” The moment is cut short when Daddy Dearest starts hollering for Henry to come home, but this sudden and relatively explicit swerve into adolescent sexuality is a welcome sign that Castle Rock will take that element of Stephen King’s work seriously. (The recent It adaptation excised the book’s infamous orgy scene entirely, but replaced it with a weird scene of a bunch of guys leering at a girl in her underwear instead … as if that’s somehow an improvement.) Carnal knowledge is a huge driver of the author’s character development and horror craftsmanship alike. Kudos to the show for having the courage to even try to tackle what can be a danger zone onscreen.

I reviewed the third and final episode of Castle Rock that Hulu launched all at once last week for Rolling Stone. This was the weirdest and best.

The bigger question facing Castle Rock is how much it wants to tap dance between the Master’s raindrops. Strong performances by the cast in general, and by the remarkable, dead-serious Andre Holland in particular, make the show watchable if you don’t know your Randall Flagg from your Kurt Barlow. But if you’re a fan, hearing Lacey talk about “the dog” and “the strangler” most likely gave you a bigger thrill than anything else narrative-wise. And when you think back through the King mythos, it’s not hard to come up with another character who had the ability to inflict disease and cause death with a just glance of his own dark, intense eyes. Is the show content to be a superhero-comic-style nostalgia act, where the main dramatic drive is figuring out when your favorite villains are about to return? Or does its portrayal of an economically devastated small town where the biggest source of jobs is a privatized prison provide fertile enough ground to grow evils all its own?

I reviewed episode two of Castle Rock for Rolling Stone. It’s still a show finding its sea legs.

If the premiere is any indication, it’s not the diverse strands of the Stephen King Extended Universe that’s holding this thing together: It’s Moonlight veteran André Holland. His character Henry Deaver is a just a black American from a lily-white small town, raised with a heaping helping of old-time religion and unexamined trauma. He’s not dreading an encounter with a demonic clown – the lawyer just wants to make sure that his client gets the legal representation the Constitution guarantees. He’s a careworn man trying his best, not a hero undertaking a quest. This is Mr. Holland’s opus: He acts like doesn’t know he’s in a highly anticipated television event from the creators of Lost and The Shining. He makes Castle Rock feel like a drama, not the haunted-house ride at the county fair.

And while Holland gets the meatiest material this time around, he’s surrounded by actors capable of moral and emotional seriousness. His mom is played by Carrie herself, Sissy Spacek. Pangborn is played by Scott Glenn, who’s brought grizzled gravitas to everything from The Silence of the Lambs to The Leftovers. Molly Strand, the suburbanite pill-popper who briefly shows up? That’s Melanie Lynskey, who hasn’t met a role she couldn’t crush since Heavenly Creatures. Frances Conroy, a solid player in both prestige dramas (Six Feet Under) and guilty genre pleasures (American Horror Story), cameos as Warden Lacy’s blind wife. And the Kid? It’s Bill Skarsgard, dialing his performance as Pennywise from It down several notches but still weird and wall-eyed as ever.

Finally, there’s the not-so-good Warden Lacy, played by Terry O’Quinn. All the emphasis on Lost‘s unanswered questions makes it easy to forget all these years later, but the actor was an absolute godsend for that show — an MVP who could play a wily survivalist, a Wolverinesque badass, a failed hero, a bitter old man and an embodiment of pure evil with equal nuance and skill. Yes, the Warden commits suicide by driving off a cliff with a noose around his neck (“guillotining himself with a Lincoln,” as Henry puts it). But we’re in King Country now, and even if you discount supernatural shenanigans, the flashback toward the episode’s end indicates we haven’t seen the last of him.

I’m covering Castle Rock, the new “songs in the key of King” series on Hulu, for Rolling Stone, starting with my review of the series premiere. It’s not sit-up-and-take-notice stuff like The Terror was, but it’s promising.

Stream This Absurdist but Empathetic Documentary About Live-Action Gamers

A scene from “Darkon.” Ovie Entertainment

‘Darkon’ Where to Watch: Stream it on Amazon Prime; rent it on Amazon, Google Play, iTunes, or YouTube. Save it to your Watchlist.

This 2006 documentary from Luke Meyer and Andrew Neel takes its title from the Darkon Wargaming Club, a society of live-action role players in suburban Baltimore. Strapping on homemade armor and whacking each other with foam-padded weapons, these weekend warriors (and wizards and elves) gather to enact elaborate story lines of conquest and intrigue. But peel away the helms and tunics, and you’ll find a diverse group of people, driven by personal or economic dislocation to find fulfillment in an imaginary world: a stay-at-home father, a single mother, a young businessman, a teenage misfit.

“Darkon” is bracingly honest — and, in the context of today’s cultural conversations, prophetically relevant — about the limits of escapism. And the determination its subjects display in using their own imaginations to find agency and joy is deeply moving. At a time when wide swathes of nerd culture have gone toxic, the downtrodden but upbeat adventurers of “Darkon” are downright inspiring. — Sean T. Collins Stream an Overlooked, Terrifying Slice of Satanic Panic From John Carpenter Alice Cooper, center, in “Prince of Darkness.” Universal Pictures   ‘Prince of Darkness’ Where to Watch: Rent it on Amazon, iTunes, YouTube, Google Play and Vudu. Save it to your Watchlist. The writer and director John Carpenter birthed the slasher film with “Halloween,” reinvented the creature feature with “The Thing” and created the sci-fi dystopia of our age with “They Live.” The guy is good. But he has never been better than in one of his most overlooked efforts, “Prince of Darkness” (1987). This bone-deep-disturbing supernatural horror film pits an outmatched team of professors and students against Satan himself, who appears in the form of a swirling green ooze that the Catholic Church has kept sealed away for centuries. As that evil essence permeates the claustrophobic and abandoned urban church where they’re trapped, the academics’ mission switches from study to survival. Simply put, this movie just feels wrong. Both the story’s structure and the entity’s powers shift constantly, preserving the power to shock. The theology underpinning the horror, meanwhile, is perverse enough to make even my extremely lapsed Catholic jaw drop. If you liked the madness of “Hereditary,” bow to the “Prince.” — Sean T. Collins

I’ve begun contributing movie recommendations to Watching, the New York Times’ fun and useful email newsletter that offers tips on good movies and TV shows available to stream on pretty much any and every service and network. It’s free to subscribe, and the newsletters don’t appear anywhere else online (unless I copy and paste my segments, like so, which I shan’t be doing again), so go sign up!

Looking back, do you have a favorite moment from shooting?

Harris: Pag Island.

Menzies: The time on Pag Island? Really? That’s interesting.

Harris: Yeah, that was a fantastic place for us to shoot. It was totally different when we were in Budapest, because people were in and out from London for their bits. Once we were on Pag Island, everyone was there for six weeks, so we all got to hang out properly. And it was just gorgeous. So bleak and beautiful. The [tourist] season hadn’t started yet, so we had the run of the town to ourselves, and there was a really lovely feeling to it.

Menzies: In terms of filming, I think [my favorite moment was] finally doing our long walk-and-talk with you, up there on the high ground of that island.

Harris: Yeah, that was good. We rehearsed that a lot just the two of us. We would go for walks around the little town.

[Your favorite part] wasn’t playing against Pag F.C., Tobias? Taking on the locals?

Menzies: You know what? That was a bit of a letdown, because the day before I pulled a muscle in my leg so I couldn’t really play. I remember being disgusted about that. That might have been a high point, but not for me.

It might have been watching you order pink drinks around various continents. [Laughs.] Jared is very partial to a pink cocktail, so I saw more pink cocktails than I think I’d ever seen.

Harris: Yes, yes. I do love pink cocktails. My theory is that pink cocktails are very potent.

Menzies: You mean they’re more potent the pinker they are?

Harris: Yes. The only thing more potent than a pink cocktail is a blue cocktail, but …

Menzies: What? I’m going to accuse you of false science. What the hell is that? Blue is better than pink?

Harris: No, blue cocktails are very potent as well, but you’re properly forewarned when you look at a blue cocktail. Pink cocktails look quite friendly. They have an umbrella in them, some sort of fruit … they look innocent, and boy do they pack a punch.

Here’s a very silly excerpt from what is otherwise a very serious interview I conducted with Jared Harris and Tobias Menzies about their work on The Terror, the best show of the year so far, for Vulture.

If you want something done right, give it to actor Zahn McClarnon to do. That’s the logical conclusion to draw coming out of this week’s episode of Westworld, titled “Kiksuya” – and the series’ best hour by a considerable margin. For once, the show’s annoyances (easy escapes, constant pointless bickering, those damn orchestral alt-rock cover versions) aren’t enough to overwhelm the material of real value. It took one of its most underutilized cast members, placed him at the center of a storyline that directly addressed the series’ sci-fi conceit but combined it with real mythmaking power and then let him run. The warrior Akecheta may not save Ghost Nation and its many human captives, but he just might have saved this show.

Until now, McClarnon had only been required to do is act mysterious and menacing – which is easy to do when you’re covered head to toe in death-cult warpaint – and spend a little time in a real-world flashback scene looking smart and suave. (The dude is all cheekbones.) But if you watched Fargo Season Two, you know that this actor is capable of so much more. As Hanzee Dent, the Native American enforcer for a Midwestern crime family, he was a nearly mute murder machine whose every move and murmur carried the weight of the whole rotten world. His reading of a weary, whispered line like “Tired of this life” – so tired that even identifying himself as said life’s owner was too much to bear – was all he needed to make himself the season’s greatest monster and its wounded moral heart.

This is the McClarnon we get tonight.

Last night’s Westworld was, by a considerable margin, the best episode of the series. I reviewed it for Rolling Stone.

It was the best of worlds, it was the worst of worlds. Like no episode before it, this week’s voyage to Westworld (“Les Écorchés”) was the proverbial non-stop action thrill ride – a carnival midway of cool sci-fi/horror imagery and visceral combat. It had James Marden’s Teddy going full Terminator, dressed in body armor and beating short-lived security badass Coughlin to death with his bare hands. It has both Clementine and Angela going out in blazes of glory, the latter by blowing up the hosts’ backup files in the Cradle and setting them free from the park’s endless loop. It has a beautifully shot face-off between Maeve and the Man in Black, the camera resting on Thandie Newton’s foregrounded face as she uses her psychic powers to turn the MiB’s own android allies against him. It has a creepy Bluebeard closet full of Bernard replicas and the real version getting possessed by the electronic spirit of his own creator so he can murder Delos thugs guilt-free. In short, it’s full of rad-ass robot shit.

[…]

The same cannot be said of the new narrative’s antagonist. Frankly, it’s time to come to terms with Charlotte Hale. Obviously, Tessa Thompson’s on a career hot streak – but the character of Hale is ice cold, and not in the unflappable-villain way she’s supposed to be either. There’s just nothing interesting about this one-note one-percenter, or the smirking way in which Thompson delivers every line. She has the mocking affect of a condescending reply from a Trump supporter on Twitter. She’s obnoxious when she has the upper hand over Peter Abernathy and Bernard in their respective torture chambers, and she’s just as irritating when her picked-on minion Stubbs, or rogue hosts Dolores and Teddy, have the upper hand on her in turn.

I reviewed tonight’s Westworld, which was both good pulpy fun and incredibly stupid, for Rolling Stone.

The Terror didn’t end tonight. It died.

That’s the best way to make sense of “We Are Gone,” the tenth and final episode of this brutally humane series, that I can come up with. More so than anything else on television in recent memory—ever, perhaps?—The Terror is about the experience of death, because the story requires virtually every character we meet to die before the end. Much of that die-off happens here, tonight. It happens onscreen and off, spectacularly and quietly, peacefully and gruesomely, by suicide and murder and disease and starvation—and, of course, a gigantic demonic bear. Death is like a prism turned around in The Terror’s hand, showing every facet, never settling on any one of them as the force’s true face.

I reviewed the finale of The Terror, a truly great television show, for the A.V. Club. I’m proud of the writing I did on this show, and there will be more of it coming your way soon.

Dismemberment, disembowelment and decapitation: Traditionally, these aren’t what you’d call teachable moments. But thanks to some swordpoint shenanigans in Shogunworld, all three figure prominently into a key scene in this week’s episode of Westworld (“Phase Space”). Even better, they go a long way toward demonstrating why this installment is such a dramatic uptick in quality from its predecessors. Whether it’s the script by Mad Men veteran Carly Wray or the direction by Swedish filmmaker Tarik Saleh is unclear, but there’s attention paid here to subtle human reactions to events as they unfold that’s unequaled by previous episodes. It’s all about the execution – even when you’re talking about an actual execution.

Let’s take that gory swordfight as a starting point. The duel in question involves Musashi, the ronin befriended by Maeve and her posse last week, and his former lieutenant turned rival Tanaka. Eschewing the techno-telepathy of “the witch” in favor of an old-fashioned mano a mano – staged in broad daylight, as opposed to the previous episode’s inexplicably murky swordplay – the two men go blade for blade in front of our heroes and a whole crowd of townspeople. (Contender for most memorable shot: An old man covering a little boy’s eyes to shield him from the bloodshed.) The fight ends with Tanaka’s protracted, screaming demise: Musashi cuts his hand off at the wrist, then provides him with the short sword he must use for harakiri, before beheading him. It’s the first time in a long time that the show’s brutality has been this inventively and empathetically staged. When the samurai and his geisha comrade Akane (who memorably carves out the heart of her own daughter for cremation) choose to stay behind and fight for their homeland instead of fleeing, the decision feels truly earned.

I reviewed last week’s episode of Westworld, which I thought was better than most, for Rolling Stone.

But – listen, this is Westworld, there’s always a but – enough baffling decisions remain to knock you out of the action faster than a katana to the face. For starters, despite what looks like very strong fight choreography and a behind-the-scenes budget bigger than a small country’s GDP, all the combat is shot in the dark. This is usually either a cost-cutting measure (you don’t need to pay for details you can’t see) or a way to hide sloppy swordplay. Since neither of those factors appear to apply, it comes across like sheer addiction to the murky, somber lighting and color palette of Prestige TV. What’s the point of all that precise blade-wielding if you don’t actually get to see the damn blades?

Also, true to the show’s programming, cringeworthy music cues are abound here. If you thought the cover of Kanye West’s “Runaway” (coincidentally the week he went full MAGA) or the “White Stripes: Indian Edition” version of “Seven Nation Army” were hard to take, wait until you hear faux-Japanese versions of the Stones’ “Paint It Black” and the Wu-Tang Clan’s “C.R.E.A.M.” The former, at least, is a callback to the show’s first use of the song, during the Sweetwater bandit raid that ShogunWorld has recycled for its own setting. But “Cash Rules Everything Around Me,” during a scene that has nothing to do with cash? Is the idea “Well, Wu-Tang love samurai flicks, so it works”? If so, why not remake a song that actually samples music or dialogue from those films? As it stands, this just sounds like taking the Wu’s most recognizable hit and dumping it in the middle of a scene just because they can. Not even dropping a big sack with a dollar sign right in Thandie Newton’s lap would seem more jarring.

I reviewed the Westworld where they went to Fake Japan for Rolling Stone. I was pleased to see the show embracing its innate pulpiness, which has always been far more interesting than the deep thoughts it seems to think it has, and I write about that a bunch. But it still makes everything such a challenge to actually enjoy because of choices like the ones described above.

“You construct intricate rituals which allow you to touch the skin of other men.” Barbara Kruger’s influential work of feminist agitprop may not have had murder in mind. But murder exists on a continuum that spans the rowdy-boy horseplay her image depicts, the societally approved homosociality of the playing field and the locker room, and the “rum, sodomy, and the lash” trifecta of life in the Royal Navy. The sailor-on-sailor killings, mercy or otherwise, in this incredible episode of The Terror can be seen as that continuum’s logical endpoint. The taking of life, up close and personal, is a form of male intimacy like any other.

I tried to do this week’s episode of The Terror justice for the A.V. Club. I hope I succeeded.

A hallmark of great art is showing you something you never imagined needing to see until you actually see it. No one is claiming that Westworldis the second coming of the Sistine Chapel, but the HBO hit has flashes of greatness from time to time – and there’s a scene in this week’s episode (“The Riddle of the Sphinx”) that’s damn near canon-worthy. Who knew that watching a grizzled Scottish character actor playing a robotic replica of himself, boogieing down to the manic crooning of Bryan Ferry in Roxy Music’s glam-dance classic “Do the Strand,” was what our lives were collectively missing? You can keep your mazes and mysteries and violent delights woth violent ends. We’ll take Peter Mullan’s Jim Delos rocking out to an Eno-produced glitter-rock jam any ol’ time.

I reviewed last night’s episode of Westworld for Rolling Stone. Typical Westworld: a good scene or two amid a ton of self-important dross.

Some shows don’t know their own strengths. Westworld, for example, is the best example of this phenomenon on the air right now. Its creators took Michael Crichton’s old sci-fi horror concept and ported it to a modern-day prestige-TV landscape where they could play up the sex and violence all they wanted, while still having the breathing room to depict the robotic theme-park attractions’ burgeoning self-awareness so slowly that entire scenes can pass featuring completely realistic conversations between “characters” who have no idea their every thought, word, and deed has been preprogrammed. The pulp thrills are right there for the taking; so is the (as far as I can tell) unprecedented experience of watching a work of fiction in which the heroes start out from a position where their interactions no more “real” than your iPhone connecting to your car via Bluetooth. And what does Westworld do? Bury both the juicy and heady stuff in boring puzzle-box narratives, pointlessly shifting timelines, and long boring conversations about What It Means To Be Human—a perennial thematic non-starter, given that all of us have a pretty good idea of what that means every time we wake up in the morning, thanks. There’s a fine show in there, but the show itself doesn’t know it.

The Rain is the anti-Westworld. As its fifth episode (“Have Faith”) amply demonstrates, it knows where its bread is buttered: in the faces and emotions of its cast of characters as they face a horrific world in which only connecting with each other keeps them afloat, and in racing through a series of post-apocalyptic tropes at a pace brisk enough to keep them feeling fresh while making each deviation from the expected path a genuine surprise rather than a “twist” so painstakingly telegraphed that redditors could figure it out months in advance and call it a day.

I reviewed episode five of The Rain for Decider. This one took a tried-and-true staple of post-apocalyptic narratives — the colony of seemingly well-meaning survivors who maybe aren’t so well-meaning — and made something new out of it.