Early Review: ASH VS. EVIL DEAD (Episode 1-2)

Shock Till You Drop

Early Review: ASH VS. EVIL DEAD (Episode 1-2)

SHOCK spits out an early (relatively spoiler-free) review of ASH VS. EVIL DEAD, episodes 1 and 2.

Though the press notes that accompanied the screener sent to SHOCK forbade us (the great unwashed horror media) from revealing plot points from the first two episodes of the hotly anticipated STARZ series ASH VS. EVIL DEAD, we’re going to attempt an early, (almost) spoler-free review, based exclusively on our impressions thus far.

Suffice to say, we are more than a bit enthusiastic about the program. In fact, for horror fans, this may be the most important television event since the premiere of AMC’s THE WALKING DEAD. And we’re ecstatic to reveal that, based on the pair of opening, 30 minute episodes screened, ASH VS. EVIL DEAD is bloody (and we mean bloody) brilliant entertainment, with nary a misspent minute. That’s right, EVIL DEAD fans…this is the one you’ve been waiting for.

It goes without saying that Bruce Campbell returns as the absurdly-abused, single-handed, demon-killing wiseacre Ash, who we find in the opening episode in a sort of professional and personal limbo. Like an old boxer whose best fights are behind him, Ash is still holding on to memories of his adventures (the film follows the events of ARMY OF DARKNESS, sort of, but could easily serve as a stand-alone narrative), still wasting his days working at S-Mart and filling his nights with cheap booze, cheaper women and other forms of slow-death, self destruction. That is, until one night, after a binge of sex, drugs and hazy bravado, Ash, in the throes of coitus, foolishly opens ye olde Book of the Dead, babbles some passages and wakes up with the mother-lode of morning after (mourning after?) regret.

Pretty soon, those nasty Kandarian Deadites are popping up everywhere and Ash, joined by a pair of younger accomplices, rolls up his sleeve, sticks a chainsaw on his stump, and gets down to the nitty gritty of monster mashing.

Like Sam Raimi’s original EVIL DEAD trilogy, the joys of ASH VS. EVIL DEAD aren’t in the revolutionary twists of plot, but in the manic style that Raimi, Rob Tapert and Campbell (along with their wealth of FX co-conspirators) bring to the party; this is the most manic-thing-masquerading-as-a television-series I’ve ever seen. It most certainly is EVIL DEAD 4, presented in a sliced and diced, long-form fashion but – and again, this is early in the game – it might be the best offering in the franchise thus far. It’s certainly better than the silly ARMY OF DARKNESS (don’t hate me but I’m not really a fan) and it has nothing to do with the grim remake. What we have here is the ultimate hybrid of the terrifying original and the THREE STOOGES-steeped style orgy of EVIL DEAD 2 but with an added dose of a contemporary noir bubbling and evolving in the peripheral. Literally, an evolution of substance and form and that goes for returning composer Joseph LoDuca’s fine work.

The central joy of the show is, of course, Campbell, and the seemingly endless ways in which Raimi and pals beat the living shit out of him (watch out for a killer Deadite dolly bit for a worthy companion to EVIL DEAD 2’s punishing bad-hand-battle). The actor aint no spring chicken either, but Campbell is so committed to the role and obviously so overjoyed to be back in the blue shirt, coated in blood and snarling bon mots, that he pushes through, delivering a physical performance that actors half his age would cringe at (and they do as Bruce out-badasses virtually every person in the show).

The lads know that the fans want this, that they NEED this and there’s a feeling that no matter any of their successes elsewhere, all that matters is this, here, now. All that matters is ASH VS. EVIL DEAD.

It’s like the hometown band leaving town, conquering the world and then coming back for another gig at the local dive, playing faster, better, stronger and with more urgency than ever before.

Welcome back, boys…

The post Early Review: ASH VS. EVIL DEAD (Episode 1-2) appeared first on Shock Till You Drop.

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John Carpenter’s In the Mouth of Madness (1994)

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John Carpenter’s In the Mouth of Madness (1994)

Time to revisit another classic John Carpenter film, this one from the early 1990s. If you look at Carpenter’s work in the 80s, you’l understand why the man is considered one of the masters of horror. Starting in 1980 with the fantastic film, THE FOG–just completely forget about the cinematic abortion of a remake–Carpenter then went on to make ESCAPE FROM NEW YORK (1981), THE THING (1982), CHRISTINE (1983), STARMAN (1984), BIG TROUBLE IN LITTLE CHINA (1986), PRINCE OF DARKNESS (1987), and THEY LIVE (1988). All great films that I’ve seen at least a dozen times each. Carpenter’s record in the 1990s wasn’t quite as strong, but it is nothing to scoff at either. He gave us the wildly fun VAMPIRES in 1998, and the VILLAGE OF THE DAMNED remake in 1995, but perhaps his best film from that decade is IN THE MOUTH OF MADNESS, an HP Lovecraft-inspired film that even takes the title from one of the master’s most famous books, At the Mountains of Madness. I don’t think this is as overlooked quite as much as Carpenter’s PRINCE OF DARKNESS, but IN THE MOUTH OF MADNESS is a classic Carpenter film that deserves another look.

Welcome home, Trent!!

The film is about John Trent (Sam Neill), an insurance fraud investigator who is tasked by his boss to investigate the disappearance of Sutter Cane (Jurgen Prochnow), a Stephen King-like horror writer who has mysteriously disappeared without a trace. The first person Trent talks to is Jackson Harglow (Charlton Heston), the owner of publishing house that exclusively publishes Cane’s books. Cane is a billion dollar industry and he owes the publishing house his new book, but is nowhere to be found. Harglow asks Linda (Julie Carmen), Cane’s editor who knows the man pretty well, to aid in the investigation. 

Do you read Sutter Cane??

Like most of Carpenter’s films, IN THE MOUTH OF MADNESS grabs you right from the beginning when we see Trent being placed in a mental hospital. Trent has clearly lost his mind, and little by little we come to understand that the madness Trent is experiencing is spreading like an epidemic across the globe. Dr. Wrenn (David Warner) is brought in to evaluate Trent and this is how we learn about the events that lead up to Trent’s madness. 

Trent believes that Cane’s “disappearance” is a publicity stunt to sell more of his books, but Linda tells him that over the last year, Cane’s books had became more bizarre and strange and that Cane started believing that his writings were real and no longer fiction. Trent buys Cane’s books and after reading them, immediately starts having hallucinations and nightmares of people killing each other and trying to kill him. Trent pieces together some clues he believes he found in Cane’s writings, and this sends Trent and Linda on a road trip to a location up in New England where Trent believes they will find Cane.

The man of the hour, Stephen King … er, Sutter Cane.

We get a lot of discussion about the nature of reality and what kind of impact, if any, the written word could have on reality. Linda tells Trent that Cane came to believe that his writings were no longer fiction, and that he believed he tapped into a kind of horrific reality that was trying to break into our reality. All the horrors and horrible things Cane used to write about are now writing through Cane in order to enter our world. Cane has become like a god, and whatever he writes in his books is now reality. Once Trent and Linda hit the road to find Cane, IN THE MOUTH OF MADNESS veers off into some truly weird areas. After driving all night, the two find themselves in Hobb’s End, which is also the title of one of Cane’s novels. Trent, now more than ever, believes that this is a publicity stunt and that the publisher created this town and all the people living in it were paid to act like certain characters from the novel.

But Trent is wrong.

This woman has …. issues.

It seems Trent and Linda entered into some kind of alternate reality and are actually in Hobb’s End. Linda is an expert on Cane’s novels–she did after all edit them–and knows what is going to happen at certain times. At first, Trent plays along, but he soon comes to realize that all the strange and scary things happening in Hobb’s End are happening for real. There are indescribable, tentacled things trapped behind a door which seem to be using Cane to enter into our reality; there are children possessed by an ancient, unseen evil; old ladies are killing their husbands in grotesque ways; and a general sense of madness has infected all the people of Hobb’s End.

Once the characters reach Hobb’s End, Carpenter takes us deep into Lovecraftian territory. There are unseen horrors and unnamable evils that are threatening to break into our reality, and it seems like Sutter Cane is the only one standing between us and them. The problem is, he wants to let them into our reality. Cane is essentially writing his new novel from inside of it. Whatever he writes happens, and Trent, it turns out, plays a large role in Cane’s plans. Once Trent returns to the city, Cane’s new novel is already released and is a huge hit. It seems that the more popular it becomes, the more cases of the unexplained madness are being reported. Even non-readers aren’t safe from Cane’s new novel because it was turned into a movie and has opened world-wide.

A little collage of Trent’s madness!!

Yup, IN THE MOUTH OF MADNESS is an apocalyptic movie that Lovecraft himself would give his seal of approval on. The acting is strong all around, and Neill, as always, gives a great performance as a man unknowingly thrown into the driver’s seat and who helps to usher in the end of the world. Neill always has a knack for playing characters who teeter on the edge of insanity and who sometimes pull back and other times fall right in (check out Sam Neill in EVENT HORIZON).

A little Lovecraft goodness from John Carpenter.

IN THE MOUTH OF MADNESS was written by Michael De Luca, who also wrote 1991s FREDDY’S DEAD: THE FINAL NIGHTMARE, and he takes what could’ve been a convoluted mess and keeps it sharp and focused. There may be a few places where you scratch your head, but if you stick with it, you’ll be greatly rewarded. A friend of mine who also watched this film recently thought it didn’t hold up well over all these years. I disagree with him. It is not a perfect film, but the story has the same impact in 2015 as it did in 1994. Solid acting, fun special effects, a terrific atmosphere, and some genuine scares makes IN THE MOUTH OF MADNESS one of those films I revisit every so many years and enjoy re-watching. If you haven’t seen this film yet, by all means check it out. I think you’re going to like the energy and the Lovecraftian story. If you haven’t seen this film in a while, it is time to check it out again and remind yourself why John Carpenter is one of Horror’s Masters!!

My Summary:

Director: John Carpenter

Plot: 4 out of 5 stars

Gore: 5 out of 10 skulls

Zombie Mayhem: 0 out of 5 brains

Reviewed by Scott Shoyer

Stay Bloody!!!

 

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Review: Bruno Mattei’s THE JAIL: THE WOMEN’S HELL on DVD

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Review: Bruno Mattei’s THE JAIL: THE WOMEN’S HELL on DVD

Italian sleaze master Bruno Mattei’s nasty exploitation cheapie THE JAIL: THE WOMEN’S HELL on DVD.

I vividly recall the first time I saw Bruno Mattei’s 1980 cannibal zombie chunk-blower HELL OF THE LIVING DEAD (aka ZOMBIE CREEPING FLESH).

It was a rental, during one of my early teenage movie parties, wherein my fellow fright fans and I would borrow a stack of shockers for the night, eat a bucket of bad food and hope to heaven that we’d get the shite scared out of us. And while my more conventional compadres would mostly select mainstream American films, usually of the Freddy/Jason/The Shape variety, I would always poison the well with my selections, which were almost always some sort of Eurotrash extravaganza, usually one I’d read about in GOREZONE magazine via the pens of Tim Lucas or Chas. Balun.

One night I pushed to pick up NIGHT OF THE ZOMBIES, which I knew was Italian and had seen reviewed in Mick Martin and Marsha Porter’s Video and Movie Guide, slapped with the dreaded “turkey” rating and condemned as “just one big, long cannibal fest”.

Sounded fine to me!

Unfortunately for my friends, NIGHT OF THE ZOMBIES was just too much for their delicate sensibilities. Even I was heavy of jaw after absorbing this one. The fact that it played out like a skid-row version of DAWN OF THE DEAD (complete with the Goblin score, which, along with cues from CONTAMINATION and BUIO OMEGA, were licensed by the producers) was one thing, but the movie astonished primarily because, between the gross-outs, half of it was comprised of grainy stock footage left over from a National Geographic expedition. Slow-motion birds, hopping marsupials and grease-painted ghouls make for strange bedfellows. My pals were aghast at what they deemed the worst movie they’d ever seen and my rental-pick power was suspended for some time.

But like all of us who groove on this stuff, I kind of fell in love with the film. There was a tacky energy to it; something inept, yet honest and wonderfully low-rent. The film was credited to director Vincent Dawn, which is, of course, Mattei’s anglo pseudonym and I soon looked for more Mattei fool’s gold, hidden under whatever name he opted to use. Stuff like the gritty RATS (which has the most absurd and oddly disturbing ending ever), the histrionic THE OTHER HELL (evil nuns and more recycled Goblin music!) and the earthy THE TRUE STORY OF THE NUN OF MONZA (which is like a crack-house baby made by Borowczyk and Pasolini). And these titles are just the ones I could find. Indeed, Mattei’s catalog runs deep. And dirty.

And though he passed away in 2007, Mattei recently found a new lease on life via Severin’s grubby kid sister imprint InterVision, which recently released the sleaze kingpin’s double-dose of Philippines lensed, shot on video junkfests ISLAND OF THE LIVING DEAD and ZOMBIES: THE BEGINNING, both co-written by Antonio Tentori (DRACULA 3D) and both released in the last year of his life. Those gory, macho, donut-budgeted cheapies proved that, despite nearly four decades in the business, Mattei had learned little about quality (and about seamlessly blending stock footage; there are chunks of CRIMSON TIDE jarringly jammed into the latter title!) and God bless him for that.

InterVision goes another round with 11th hour Bruno with his 2006 greaseball gem THE JAIL: THE WOMEN’S HELL a truly astonishing, similarly shot on video in the Philippines, Italian throwback exploitation film (credited to Vincent Dawn) that has to be seen to be believed. Even then, you may not believe it. Channeling the crass, misogynistic Nazisploitation and Women-in-Prison gems of his early years, THE JAIL sees Mattei throwing every vulgarity at the fluid-stained wall and praying some of it sticks. So relentless is the depravity in the film however, that none of it truly offends; rather it’s kind of, dare we say, charming?

The film once more stars Mattei’s Filipino go-to-girl, the delectable Yvette Yzon, as one of a gaggle of gals who end up in dunghill women’s prison hellhole called The House of Lost Souls (HG Wells just did jumping jacks in his tomb) and are promptly abused, beaten, humiliated, raped, shot (then raped!), molested by snakes and raped again by lesbians. It just never stops. And then, just when you think Mattei and Tentori can’t bash our brains in any further, the entire enterprise somehow morphs into yet another riff on THE MOST DANGEROUS GAME.

THE JAIL sports some of the most outrageous, ham-acting I’ve ever seen in an Italian exploitation flick and that’s saying something. Outside of the operatically malevolent guards, cackling away in the thralls of depravity, whoever oversaw their English dub must have gotten the cast loaded and had a party. It’s just insane. There are no words. All I can say is that by the end of THE JAIL, I felt like I had been shot into another dimension. It makes Mattei’s notoriously sick Nazi/WIP opus WOMEN’S CAMP 119 (which featured footage of real concentration camps) seem restrained.

But again, it must be stressed that no matter how revolting Mattei’s work gets, none of it is ultimately offensive. Maybe that’s because Bruno was, by the accounts of people I know who knew him very well, a sweet guy. A smart guy. A decent guy who made a living making indecent films. THE JAIL: THE WOMEN’S PRISON is a perfect final act capper to one of the liveliest and faux-filthy careers in all of Eurotrashville. Recommended…but not to everyone, obviously.

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The Diabolical Lands in Theaters this Friday

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The Diabolical Lands in Theaters this Friday

The upcoming horror-thriller THE DIABOLIC will be landing in theaters and Digital HD this Friday, October 16, 2015, and with the DVD release on Monday, October 19, 2015. THE DIABOLIC is directed by Alistair Legrand, is written by Legrand and Luke Harvis, and stars Ali Larter, Max Rose, and Chloe Perrin. Check out the press release:

The Diabolical is the petrifying new film from hot new genre producer Ross Dinerstein, the man behind ‘The Pact’ franchise and Xavier Gens’ cult favourite ‘The Divide’. 

The Diabolical follows Madison, a single mother of two, who is awoken nightly by an increasingly strange and intense presence. She seeks help from her scientist boyfriend Nikolai, who begins a hunt to destroy the violent spirit that paranormal experts are too frightened to take on themselves. 

The Diabolical puts the constant dread and startling twists found in the ‘The Others’ alongside the relentless terror of ‘The Conjuring’.

Dig the trailer:

Stay Bloody!!!

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Theater Review: CARRIE “THE KILLER MUSICAL EXPERIENCE”

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Theater Review: CARRIE “THE KILLER MUSICAL EXPERIENCE”

SHOCK’s Heidi Honeycutt drops the bucket on the LA production of CARRIE: THE KILLER MUSICAL EXPERIENCE.

The advertising for the Los Angeles musical CARRIE: THE KILLER MUSICAL EXPERIENCE calls it “immersive,” and that’s not an overstatement. The production’s scenic designer Stephen Gifford has transformed the 84 year-old Los Angeles Theater in Downtown LA into a high school gym populated by telepathic outcast Carrie White, her creepy deranged mother Margaret, the spiteful Chris Hargensen, teen dream Tommy Ross, and regretful (oh, so very regretful) Sue Snell. This musical version of Stephen King’s terrifying story is written by the screenwriter of the original 1976 film, Lawrence D. Cohen, and is directed by Brady Schwind.

CARRIE: THE KILLER MUSICAL EXPERIENCE is not a spoof, nor is it amateurish; it’s acted superbly and sung beautifully. The main set pieces, though minimal, are accompanied by strategic and thoughtful lighting and special effects that break the barrier between the audience and the stage. There actually is no stage, really; the actors perform in the middle of the high stands of auditorium bleachers built to seat the audience. Perhaps most impressive are the aerial stunts in which Chris (played by Valerie Rose Curiel) is tossed up in the air by Carrie’s telepathic anger at the climax of the prom, or when the “windows” above the bleachers break, raining down broken glass (aluminum confetti) on top of the audience’s heads.

Sadly, this most amazing and scariest of scenes (both of the original film and book) is given such short attention, rushing past the gore and violence extremely quickly. Likewise, when Carrie comes home, covered in blood, and has the ultimate showdown with her mother (Misty Cotton), it all goes by so fast – much faster than in either film version. This is, I’m sure, due to the director’s choices, but if the first half of the musical weren’t extremely long and filled with character-building songs about high school and first love, I wouldn’t have minded that the horror aspects of the musical were so few and far between. Attempts at emulating the De Palma slow motion and split screen direction are there, but rare. When they are included, the effect is pretty awesome and surreal.

Fans of the novel Carrie, the original film CARRIE, and even the remake, will notice the empty feeling at the end when there’s really not much blood or violence. I mean, it is a live musical, so of course there are limitations to what they can show. There are no hands sticking up out of gravestones, no bloody bathtub cleansing, no succession of telepathic knives sticking Margaret to the crucifix, no burning house falling down over Carrie at the end of the story, and, most sad of all, just a minuscule amount of blood is dumped on Carrie at prom. If these changes are not because they wanted to “tone it down,” then they must be because they simply could not perform these scenes with the limitations of live theater.

Amazing, amazing performances by Misty Cotton as Margaret White and Emily Lopez as Carrie White make up for this. The captivating Garrett Marshall as Billy Nolan and Valerie Rose Curiel as Chris Hargensen are great foils to bland Tommy Nolan and Sue Snell, played by the so-so Jon Robert Hall and Kayla Parker.

The music, which was originally written in the 1980s, feels fairly timeless but is a reminder of the fantastic history of the musical itself. During its premiere 1988 run in Stratford-upon-Avon, England, actress Barbara Cook was nearly decapitated on an elaborate set (which makes the fact that THIS version of the musical has such elaborate sets pretty exciting. Maybe someone will be decapitated? I mean, that would be horrible). It was a flop on Broadway later that year, and it wasn’t until 2012 that it was finally revived.

Now, playing in Los Angeles this month and part of November 2015 at the historic Los Angeles Theater in Downtown LA, the production has taken full advantage of the new location to fully engross the audience. The theater itself, built in 1931 in the French Baroque style, is dazzling, with countless rooms, such as a ballroom and elaborate restrooms, and has been infiltrated to become a sort of CARRIE-themed haunted house. The production has created a faux pig farm tableau, Carrie’s bedroom, the girl’s locker room, and – of course in the ballroom – a balloon-filled school-gym prom. All of these rooms must be passed on the way to the restrooms, the concessions stand, and the exit, making the intermission pretty special. The theater building itself is dilapidated and only open to private rentals. Floors are buckling, gorgeous tapestry paintings are faded, ornate fixtures are falling apart. It is a massive lawsuit waiting to happen, so I am sure the insurance policy is fantastic. The unbelievable ceiling is riddled with bullet holes (about which the employees seem to know nothing).

The theater couldn’t have picked a better location, especially if you discount the fact that the Los Angeles Theater is smack in the middle of the vilest and disgusting part of Los Angeles. When you park in one of the massively overpriced lots and walk to the theater, you’ll pass dozens of starving, disabled, homeless people literally dying in the streets, begging the white hipsters on their way to the theater to see CARRIE: THE KILLER MUSICAL EXPERIENCE for food, money, anything. The oppressive California October heat, still in the 90s, makes the streets smell like garbage (or maybe it is just the garbage that smells like garbage). In any case, most people from New York should feel right at home, as I imagine being a privileged white hipster ignoring the poor and enjoying the aroma of cooking street garbage is normal for their theater attendees. For Los Angeles, it is a new and worsening phenomenon. It is part of the added attraction of going to see CARRIE: THE KILLER MUSICAL EXPERIENCE at this particular location. In fact, it is so shockingly heartbreaking that once you get inside the theater, you won’t even notice that the building doesn’t actually have air conditioning.

At the screening I attended, the cast received a wholehearted, standing ovation from the entire audience, me included. If you go into it knowing that it isn’t CARRIE the film, but CARRIE: THE KILLER MUSICAL EXPERIENCE, you won’t be too disappointed. What you sacrifice in horror you gain in talented people singing and dancing. It’s a fair trade.

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Rock Legend Glenn Danzig Prepped to Unleash His “Skeletons”

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Rock Legend Glenn Danzig Prepped to Unleash His “Skeletons”

Veteran gloom-rocker covers classics on new album, “Skeletons”.

Danzig fans (and ZZ Top fans and Aerosmith fans and The Troggs fans and…) rejoice! The legendary doom-rocker and ex-MISFITS front-man has a new disc ready to roll out called “Skeletons”  (Nuclear Blast/Evillive Records) and it’s a bit of a departure.

Judging from the new press photo above, Danizg is still ample pissed at the planet but “Skeletons” offers a brighter side and, in some cases, a wildly stranger side, to the notorious Satanic curmudgeon. See, “Skeletons” is a cover album and man alive are some of the tunes selected here off the beaten, bloody path…

“These are my skeletons,” says Danzig. “You may or may not know that I dig these songs. You could say that some of this music is the actual basis and skeleton of what I listened to growing up—ultimately informing the kind of music I like. It’s the foundation. If you took Elvis and Sabbath out of my life, I probably wouldn’t be the Glenn Danzig you know! I’m glad both sides are represented on this record.”
 
From the press release:
 
Ultimately, Skeletons sparks the next phase for Danzig. Helping catalyze his next full-length offering and tour plans, it’s yet another revolution. “I hope people dig it,” he leaves off. “I also hope it gives everybody a little bit of insight into the music I listen to and maybe an insight into how I did the songs. If you enjoy it, that’s great.”
 

Here’s a look at the full track list:

1. Devil’s Angels (from Devil’s Angels soundtrack)
2. Satan (from Satan’s Sadists soundtrack) 
3. Let Yourself Go (Elvis Presley)
4. N.I.B. (Black Sabbath)
5. Lord Of Your Thighs (Aerosmith)
6. Action Woman (The Litter)
7. Rough Boy (ZZ Top)
8. With a Girl Like You (The Troggs)
9. Find Somebody (The Young Rascals)
10. Crying In The Rain (The Everly Brothers)

I don’t know about you, but a cover of a track ripped from an Al Adamson flick…well, Holy Hell…we’re in!

“Skeletons” streets November 27th.

For more on the wild and still evolving world of Danzig, hang out at the man’s official site.

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TV Recap: SCREAM QUEENS Episode 105

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TV Recap: SCREAM QUEENS Episode 105

Alyse Wax breathlessly recaps last night’s SCREAM QUEENS episode.

Chanel has decided that she and the Chanels will be dressed as grieving First Ladies for Halloween. She, of course, will be Jackie Kennedy. #5 is assigned Mary Todd Lincoln, because she is batshit crazy, which pisses off #5.

The dean has gathered the Kappas and the Dickie Dollars at the house because they are the most likely to be killed. Zayday is still missing, and only Grace seems concerned about it. The dean has canceled Halloween by instituting a curfew, which pisses off everyone. Chad gives a rousing – if highly inaccurate – speech, but it doesn’t help. Curfew is still on. Chanel sends out an email to students saying that, to get around “canceled” Halloween, her pumpkin patch will open at 12:01am November 1st. “I am above the law,” she finishes. Of course, the next day in class, the police come in and arrest Chanel for Ms. Bean’s murder. As she is being taken out, she sees her sorority sisters watching and suspects they turned her in.

While Chanel is in prison, Hester convinces #5 that she is a double agent and tells her about her plan to get Zayday elected president and stepping in as veep. The two of them go get Jennifer on their side by bribing her with Chanel’s discarded Diptyque candles. 

Grace is panicked about Zayday. The Chanels are too busy eating imaginary lunch to help her, so she and Pete go to Wes for help. They walk in on Wes and Gigi having sex, which supposedly freaks Grace out because her dad didn’t talk to her about it, not because she saw her dad having sex. She promises she is cool with it and the four of them go talk to the dean. The dean is having a drink with Denise, both comparing notes on sex with Chad. Zayday has been missing for less than a day, so the police won’t do anything, but the dean hired Denise to investigate. Denise still, for some reason, believes Zayday is the killer and she faked her kidnapping. Even still, the five of them head out to find Zayday.

Chanel’s time in prison is brief and seems pretty easy. Her father refused to bail her out because it is a bad time for him to be the family member of a murder suspect. She has made friends with a trio of rejects from Orange is the New Black, and one of them is a die-hard Chanel fan, so she will do anything for her. Chanel blows them off when she is bailed out – #3 and Sam come pick her up. She recognizes them as her true friends.

Back at the house, Chanel discovers #5 dressed as Jackie Kennedy and she goes ballistic. She seems ready to kill #5 but instead sends her to prepare the pumpkin patch. #5 grumbles, but she goes, gathering Roger and Dodger to assist her. While #5 lights the hundred of so jack-o-lanterns, the brothers sneak away to try their luck at the Shining hedge maze. #5 turns around and discovers the Red Devil behind her. She runs into the maze, for whatever reason, where she meets the brothers. The three run, until the brothers decide that they want #5 to pick one of them. They can’t be dissuaded, so she picks Roger, probably because he was the closest to her and she wants to keep moving. Dodger goes another way, and Roger yells to his brother to be careful of his footprints. This yelling leads the Red Devil right to them, and he kills Dodger. Roger and #5 make it out alive.

Grace “hacks” into Zayday’s iCloud account and uses the “find my phone” feature to locate Zayday’s phone – and, hopefully, Zayday. The house belongs to an old woman who rents her cellar out to very responsible tenants. She has no compunction about letting them into the cellar, which is enormous and winding with many rooms. The group splits up: Gigi and Denise go one way; Wes, Grace, and Pete go another. Because that’s what you want to do in a horror movie: split up.

Grace’s group find the Red Devil’s work room, which includes a table set for dinner, a vanity for his masks and things, and a trap door. Earlier in the episode, we saw Zayday in the chamber beneath that trap door; now it is empty. On the other side of the cellar, Gigi and Denise have found the Devil’s “operating” room. Dozens of power tools hang from the ceiling; traditional tools line the walls; and at the center of the room is an autopsy table.

The Red Devil turns out the power in the cellar and stalks Denise. He stops short of grabbing her, but turns on a weapon. Denise screams and tries to tase him, but it is pitch black, and she ends up tasing Gigi. Despite being injured, Gigi manages to tase the Red Devil. The lights go back on, and Grace’s screams draw Denise to them. When she returns with the rest of the group, Gigi is recovering from her injury, and the Red Devil is gone.

Chanel calls for a vote for president, and is not subtle about doing it without Zayday or Grace there. She is essentially rigging the election her way. Before voting can begin, Zayday shows up, unharmed and in surprisingly good spirits. She said the Devil was nice to her, just sent her little gifts like beauty products down in a basket (a clear Silence of the Lambs reference here). It was rather pleasant. When the Devil dropped a ladder down, she climbed up, and was greeted with roses and a meal of Oakland nachos (whatever that is). Zayday thinks the Devil has a crush on her and uses this to her advantage. She stabs a knife through his hand and runs from the cellar. She went straight to the Kappa house. Chanel doesn’t believe her, but wants to get the vote underway before Grace arrives. Too late. Grace shows up and backs up Zayday’s story. Chanel goes through with the voting. Clearly we have to wait until next week to see who won. (Zayday, natch.)

Gigi is out walking, all alone. The Red Devil is following her. She surprises him: “You’re late. That got out of hand.” She wants the Devil to “take care of it” while she goes on a salad date.

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