Reviews
[Web Series Review] ‘Inhuman Condition’ Is a Step Forward for the Medium
While web series aren’t exactly the first medium that comes to mind when thinking of quality story-telling, the internet has come a long way from silly viral videos and flash animations. Serious content creators like the THAC team and Felicia Day’s Geek & Sundry have proven that the internet is as viable a source of media as television or even movie theaters. Be it the Walking Dead Webisodes or Marble Hornets, web series are on the rise, and Shaftesbury/Smokebomb’s new supernatural drama, Inhuman Condition, has potential to be one of the biggest.
Starring Stargate: Atlantis’ Torri Higginson, Inhuman Condition follows the struggles of Dr. Michelle Kessler, a therapist treating troubled supernatural patients, such as zombies and werewolves, in a mysterious institute. Most of the five-minute episodes deal with Dr. Kessler’s attempts to reach out to these unfortunate patients through their short sessions together, as many of them don’t even consider themselves humans anymore, or carry some form of debilitating guilt due to their ‘powers’.
The premise may seem simple, but the series’ biggest asset is its focus on character drama and development, only offering brief glimpses into the paranormal and horrific aspects of each patient’s past. Higginson also brings a lot of charm to the table, making Dr. Kessler a relatable and likeable person who truly wishes to help those under her care, but who is also aware of the inherent dangers of dealing with these often unstable creatures, who are considered monsters by most of the population.
Naturally, this subtlety is partially the result of a limited budget, but works quite well in the series’ favor. Merely describing the aftermath of a lycanthrope’s vicious bar fight can be just as, if not more intense than actually witnessing it on-screen. That’s not to say that there isn’t a certain slick, studio-backed quality to the production, as despite the obvious limitations, there is no amateur casting or directing present here. I’d love to see things progress in future episodes, however, as a werewolf transformation here and there would certainly help maintain viewer interest.
The extraordinary abilities possessed by these patients may not be the main focus of the series, but both the writer, RJ Lackie, and director, Jared Pelletier, do a masterful job of relating these strange occurrences to real-world issues and social dynamics. Be it Thomas Olajide’s rebellious activist Linc, or the deeply anxious yet horrifyingly powerful Tamar (played by Cara Gee), these characters feel eerily real, as does the negative reaction most of the world seems to have when dealing with them.
Only six out of a promised thirty-three episodes have been released so far, but Inhuman Condition shows no sign of slowing down. If you’re up for a strangely introspective look at how the supernatural can affect regular people, I highly recommend checking this one out. After all, it’s free, and new episodes are scheduled to be released every Monday, Wednesday and Friday on the KindaTV Youtube Channel.
Reviews
‘Penny Lane is Dead’ Review: A Bloody Ozploitation Throwback Fueled by Punk Rock Energy [Fantasia 2026]
A cruel birthday prank leads to Ozploitation levels of violence and bloodshed in Penny Lane is Dead, the raucous horror-comedy feature debut by writer-director Mia’Kate Russell. A vicious ’80s throwback with a modern sapphic lens becomes the energetic canvas for Russell to make the leap from makeup artist to director, which means an infectiously unhinged dedication to practical effects. It’s that stellar effects work, along with a winsome punk rock heroine, that carries this bloody horror-comedy far even when its villains descend into grating cartoon territory.
Everything is rosy for popular girl Penny Lane (Bailey Spalding) in the summer of 1986. She’s celebrating her final days of high school with friends Toni (Tahlee Faraday) and Amy (Alexandra Jensen) at a remote family cabin before setting off to the college of her dreams. Penny is also riding the highs of her new secret romantic relationship with Toni; not even the naive and tender-hearted Amy is aware. Her good mood prompts her to also invite her family’s black sheep: cousin Kat (Sophia Wright-Mendelsohn, daughter of actor Ben Mendelsohn).
Though the trio braces themselves for Kat’s bad mood, she instead comes with cupcakes and a smile. It’s all a ruse; Kat gleefully sets about making Toni and Amy uncomfortable as Penny falls unconscious to her spiked treat. When Toni ejects her for the party foul, Kat then turns to criminal boyfriend Angus (Ben O’Toole) to crash the party. It transforms a night of intended revelry into a harrowing fight to survive.
Russell fully embraces B-movie, Ozploitation chaos, putting her characters through the absolute wringer. Punk rock energy and free-flowing drugs for party girl Kat set off simmering tension that roars to a boil with an inciting sexual assault. From there, Russell unleashes a no-holds-barred torrent of violence that delivers no shortage of arterial spray and wince-inducing prosthetic work. It’s not just the practical effects that are cheerworthy here, but Faraday’s resolute performance as Penny’s protector that forces her into fight mode. Penny Lane is Dead is prone to forcing its characters into making dumb decisions for the sake of plot momentum, but it at least imbues Toni with the adaptable street smarts that make her a rootworthy protagonist.
Penny Lane is Dead also excels at making you loathe its detestable villains. Wright-Mendelsohn gives excellent crazy eye; there’s a sadistic, manic edge to Kat that makes her instantly unsettling and unpredictable. She doesn’t bat a (crazy) eye as her much older lover, Angus, and his unsavory henchmen Rodowsky (Fletcher Humphrys) and Merrick (Steve Le Marquand), set about hunting Toni and Amy. But by the final act, Wright-Mendelsohn’s unhinged portrayal of the young psycho stretches thin with nowhere left to go. The one-note villainess descends into cartoon mustache-twirling that an unsatisfying conclusion fails to overcome.
Not helping is the clashing tone; Penny Lane is Dead wants to be a fun romp despite broaching bleak territory. The film’s baddies do their best to channel the ’80s with larger-than-life character choices; O’Toole and Wright-Mendelsohn in particular really latched onto the enjoyment their characters derive from inflicting skin-crawling sexual violence. It’s here where Russell’s examination of genre norms grows confusing, especially as it assigns all responsibility to Kat only for the horrors inflicted upon female bodies. And it really doles out brutal punishment upon Penny, Toni, and Amy.
As a lean, mean horror siege, Penny Lane is Dead holds your attention and effectively pulls you into Toni’s bid to meet dawn with her lives and friendships intact. It’s visceral, propulsive, and a strong debut in terms of style and energy. But Russell’s explorations never venture very deep, and that punk rock energy fizzles out by the film’s end, leaving you split on whether this rape-revenge tale offers enough catharsis at the end of its zany, brutal ride.
Penny Lane is Dead made its world premiere at the 2026 Fantasia International Film Festival and releases on Shudder on August 28.
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