Editorials
2020’s Horror Television in Review: New Discoveries, Returning Favorites and Cancelled Gems
No matter how the year panned out, at least horror was bountiful. Just a precursory glance at the most notable genre series that released in 2020 indicates an overwhelming selection.
Spread across multiple platforms and streaming services, the sheer content available meant a staggering number of brand-new series, limited runs, returning favorites, and shows that were canceled before they could even find their footing in the vast sea of competition.
Here’s the densely packed 2020 television slate in review.
The Discoveries
This section belongs to series that premiered in late 2019 and found renewed interest on streaming, or they spread by prolonged word of mouth.
Evil (CBS)
The 13-episode inaugural season of this CBS show premiered in September 2019 and ended in late January. Evil received a home release in June, but its Netflix drop in October generated the most buzz. The series follows a skeptical psychologist (Katja Herbers) enlisted by a priest-in-training (Mike Colter) and his tech specialist (Aasif Mandvi) to investigate miracles, possessions, and extraordinary cases. What makes Evil so special is its unique ability to dramatically shift between tones, from absurdist humor to genuine scares, with organic ease. Also impressive is how the series incorporates technology and psychology to cover all aspects of the supernatural. Of course, the creature/demon design is a significant plus.
Servant (Apple+)
Like Evil, Servant premiered in late 2019 and wrapped up its first season in January, leaving viewers desperate for more. Created by Tony Basgallop and executive produced by M. Night Shyamalan, Servant follows Philadelphia couple Dorothy and Sean Turner (Lauren Ambrose and Toby Kebbell) mourning the tragic loss of their infant. Dorothy’s profound denial results in her belief that her reborn doll is real, and the couple hires new nanny Leanne (Nell Tiger Free) to care for it. There’s something extraordinary about Leanne, however, and their lives will never be the same. A psychological horror that keeps its secrets close to its vest, Servant’s distinct atmospheric style will keep you hooked—season two, rumored to lean harder into the supernatural, premieres on January 15, 2021.
Gone Too Soon
The graveyard of fallen shows that received cancellations after their season run this year, many of which still cut deep. Consider this section a celebration of these genre series and a reminder to support your faves while it counts the most.
I Am Not Okay with This (Netflix)
This short 7-episode series premiered on Netflix in February and was the first of the year to explore the coming-of-age tale through exploding teens. Sophia Lillis starred as Sydney, a teenage girl navigating the trials and tribulations of high school while dealing with her family’s complexities, her budding sexuality, and mysterious superpowers just beginning to awaken deep within her. As heartfelt as it is bloody, with a fantastic supporting performance by Wyatt Oleff, I Am Not Okay with This was a critical darling and worthwhile adaptation of a YA novel. What was a shoo-in for renewal instead became a severe casualty of the pandemic.
Penny Dreadful: City of Angels (Showtime)
Four years after Penny Dreadful’s far-too-soon wrap-up, creator Josh Logan introduced a spin-off set in 1938 Los Angeles. Detective Tiago Vega (Daniel Zovatto) and his partner Lewis Michener (Nathan Lane) become embroiled in a gruesome murder case that serves as the connective tissue to a broader tale of history, social issues, and Mexican-American folklore. Despite familiar faces from the original series and a new, complicated set of supernatural characters, City of Angels failed to resonate and received a cancellation after its 10-episode run.
Helstrom (Hulu)
This standalone Marvel series followed Daimon and Ana Helston (Tom Austen and Sydney Lemmon), two estranged siblings with unique gifts. Through very different means, the pair tracks down humanity’s worst while trying to solve the broken family’s demonic mysteries. The 10-episode inaugural season failed to impress critics, though it did land with viewers- just not enough to earn a second season renewal in a year where the competition was fierce.
NOS4A2 (AMC)
Series creator Jami O’Brien expanded upon Joe Hill’s novel for season two in a big way, opening up the world of inscapes to introduce more characters and superpowers. The second season also expanded upon Charlie Manx’s (Zachary Quinto) backstory and his history with daughter Millie (Mattea Conforti), while continuing his battle with protagonist Vic McQueen (Ashleigh Cummings) and her family. The good news is that the season successfully wrapped up the story arc from the novel. The bad news is that we’ll miss out on future visits with Christmasland and creepy new villains of the inscape world due to cancellation.
The Outsider (HBO)
An adaptation of Stephen King’s novel, The Outsider followed the investigation of a boy’s gruesome murder in the Georgia woods and the mysterious force surrounding the case. The 10-episode series was a major hit with critics and viewers and boasted an impressive cast led by Ben Mendelsohn, Cynthia Erivo, and Jason Bateman. The Outsider originated as a limited series adaptation. While HBO bought and launched it as a drama series, the network ultimately decided to keep it as a limited series after hearing the pitch for season two. So, The Outsider exists in that weird space between limited series and a canceled series, with King having reportedly given his blessing for the Season 2 storyline.
Chilling Adventures of Sabrina (Netflix)
Series creator Roberto Aguirre-Sacasa adapted his comic books to create a very different vehicle for the teen witch. In a dark coming-of-age story, Sabrina Spellman (Kiernan Shipka) navigates humans and occult worlds while confronting the evil forces that threaten her loved ones. She’s been to literal Hell and back and encountered demons and witches of all types over the three seasons that have aired so far. Netflix announced that it would not renew the series ahead of its season four premiere on December 31, 2020, but at least it seems fans will receive closure. It’s a small comfort for a series that opened its doors to all types of horror, including the Lovecraftian terrors teased in last season’s finale.
Limited Series
If you’re worried about getting too attached to shows in fear of cancellation or you’re just plain short on time, the limited series tells a complete, self-contained story without much commitment necessary. These series won’t extend beyond their initial runs, allowing you to binge and enjoy at your leisure without worrying about the future.
Dracula (BBC One/Netflix)
The year kicked off with a bold take on Bram Stoker’s 1897 classic, one not too interested in adhering faithfully to its source material. The feature-length, 3-episode run followed Dracula (Claes Bang) from his Eastern Europe origins to his battles with Van Helsing’s descendants and beyond. Dolly Wells threatened to steal the entire show as the feisty Sister Agatha Van Helsing, but the gore certainly helped quite a bit. If you thought you’d grown tired of Bram Stoker’s Dracula, this series shook things up in a surprising way.
The Third Day (HBO)
For fans of Midsommar and similar folk horror, The Third Day followed a man and a woman’s separate journeys to a mysterious island off the British coast. In the first half of the 6-episode series, Sam (Jude Law) discovers a group of islanders dead set on preserving their way of life at any cost. Their secrets and bizarre rituals force him to confront his trauma, and he finds himself unable to leave. The second half follows Naomie Harris’s Helen, a woman who comes to the island determined to find answers. Instead, she finds herself in a perilous fight for survival. The Third Day does offer a familiar entry in folk horror, but it’s well-executed and full of enchanting mysteries that engross you anyway.
The Stand (CBS All Access)
The limited series adaptation of Stephen King’s epic novel has only just begun on CBS All Access. A new reimagining that shakes up the story in structure, featuring flashbacks within flashbacks, expect storylines to get cut while others get expanded upon in unique ways. Well cast, this iteration puts its characters first over the stakes in the ultimate battle of good versus evil. How it all shakes up, in the end, remains to be seen, but it’s interesting how creators Benjamin Cavell and Josh Boone skip over the pandemic setup and any hand-holding for The Stand novices. In other words, this is likely a limited series best suited for Constant Readers.
The Returning Favorites
In which we celebrate the sophomore efforts of beloved favorites.
The Haunting of Bly Manor (Netflix)
Mike Flanagan bid adieu to the Crain family and skipped across the pond to reimagine the literary works of Henry James. Netflix’s new season uses The Turn of the Screw as the main story, in which a young American nanny (Victoria Pedretti) cares for orphaned children in the haunted Bly Manor. Look for several of James’ ghost stories woven into this Gothic romance that will pull at your heartstrings by season’s end.
The Boys (Prime Video)
The second season of Eric Kripke’s The Boys upped the ante on the violence, gore, and complicated character arcs without losing its irreverent, biting humor. Sure, it’s not horror in the traditional sense, but its gleeful use of splatstick puts it firmly in the realm of genre that horror fans will love. Season two slowed down its release strategy, dropping the first three episodes at once before settling into a weekly format. The ire it drew from fans who couldn’t wait to see the next is another sign of how addictive the show is. Season two ends on some surprising revelations and cliffhangers for a new season, and luckily, it’s already been renewed for season three.
What We Do in The Shadows (FX)
What We Do in The Shadows didn’t just avoid the sophomore slump; it blew past it with such infectious style, humor, and heart, setting a new bar for perfection. Vampires Nandor, Laszlo, Nadja, and Colin Robinson made us fall even harder in love with their charm and hijinks throughout their encounters with rival vampires, witches, and trolls. Guillermo grappled with his place in the house amidst the revelation that he descended from Van Helsing. Throw in even more surprising guest stars, and you have a show that makes it impossible not to love.
The New Class
These are the brand-spanking-new series that premiered in 2020. These shows showcased how diverse the genre can be while drumming up a lot of engagement, viewership, and discussion. Mostly, though, they brought a lot of fun.
Cursed Films (Shudder)
Jay Cheel’s documentary series explores the myths, stories, and legends surrounding some of horror’s most notoriously cursed productions. Over the inaugural 5-episode season, Cheel assembles a variety of talking heads, candid discussion, and footage to expose the truth behind the curses of The Exorcist, The Omen, Poltergeist, The Crow, and Twilight Zone: The Movie. The result is an oft-heartbreaking realization that behind superstition lies a human cost.
Ju-On: Origins (Netflix)
Like the film franchise that inspired it, this 6-episode origin series followed an ensemble cast across time – all tethered to the infamous house. Even by season’s end, it’s not entirely clear what the story is about or where it’s headed, save for its rumination on the horrors that men inflict on those around them. Still, it’s a bold entry that eschews the franchise’s most popular characters in favor of forging new ground. Most of all, it brings about some unnerving and visceral horror via practical effects, courtesy of Screaming Mad George.
Locke & Key (Netflix)
The 10-episode inaugural season kickstarted the Locke saga from Joe Hill’s popular comic series, finally, after many failed attempts in the past. After their father is murdered under mysterious circumstances, the three Locke siblings and their mother move into their ancestral home, Keyhouse, which they discover is full of magical keys that may be connected to their father’s death. While it makes some significant departures from Hill’s source story, Locke & Key successfully invokes the comics’ imagery. It goes heavy on the fantasy-horror. If you’re a fan, you’re in luck as it was just renewed for a third season ahead of season two’s premiere.
Lovecraft Country (HBO)
The series with the biggest buzz belongs to this adaptation of Matt Ruff’s novel by series creator Misha Green. It follows Atticus Freeman (Jonathan Majors) in his quest to find his father during the 1950s, a time of segregation and social upheaval, but with many Lovecraftian beasties and terror thrown in for added complications. While Lovecraft Country has a lot to say, it’s also winsome for its cast, monsters and cinematic visuals.
Monsterland (Hulu)
Based upon the short story collection North American Lake Monsters: Stories by Nathan Ballingrud, this anthology series runs the gamut in style and tone. Mostly, though, it’s bleak as hell with a stark reminder that humans remain the worst possible type of monster. In other words, it’s not a series you want to binge unless you’re in the mood for despair. Like most anthologies, episodes will vary by taste and quality.
Raised by Wolves (HBO)
From executive producer Ridley Scott, Raised by Wolves centers on two androids tasked with raising human children on a mysterious virgin planet. It’s highly ambitious, cerebral sci-fi that feels very much at home in the Alien universe, though entirely unconnected. Raised by Wolves may feature an alien planet, gruesome deaths, and even some alien lifeforms, but expect this to instead get heady with its ruminations on religion. You can expect the weirdness to continue, as the series received a second season renewal.
Warrior Nun (Netflix)
This pulpy occult action series gives a fun twist to demonic possession and Vatican conspiracies based on a comic series. A singular, silly Hero’s journey with a witty teen antihero transforms into an epic, ensemble story that’s refreshingly ballsy and mature in the way it tackles oft controversial subject matter. After waking up in a morgue, an orphaned teen discovers she now possesses superpowers as the chosen Halo Bearer for a secret sect of demon-hunting nuns. In other words, expect an action-heavy series that will appeal to Buffy fans. Season one ended on a major cliffhanger, but luckily season two is on its way.
Editorials
Before ‘The Blair Witch Project’, ‘Alien Autopsy’ Showed How Real Found Footage Could Feel
The line separating artist from con man is a lot thinner than you might initially believe. While I think we can all agree that lying for the sake of profit is actively malicious behavior, isn’t it also true that the faux documentary aspect of The Blair Witch Project is half the reason why that film became such a cultural phenomenon? After all, if there’s one thing filmmakers have in common with stage magicians, it’s that misleading and misdirecting audiences is simply part of the job.
That’s why I’ve developed a habit of mostly ignoring the moral quandaries behind many of film and television’s biggest “hoaxes” in favor of appreciating the narrative elements that drive productions like Mermaids: The Body Found and even Animal Planet’s highly underrated The Cannibal in the Jungle. However, if there’s a definitive case of a highly publicized broadcast fooling the world into taking it seriously, it has to be Fox’s infamous 1995 TV special Alien Autopsy: Fact or Fiction.
It’s been over three decades since that eerie footage first haunted television screens right at the peak of the ’90s ufology craze, and in that time, the video has taken on a life of its own. From countless parodies and references in everything from The X-Files to Tony Hawk’s Pro Skater (as well as John Dower’s recently released tell-all documentary The Alien Autopsy Scandal, which I’d highly recommend to genre fans everywhere), there’s no denying the legacy of the Alien Autopsy video. However, I rarely see the tape discussed as what it truly is: a highly convincing found footage film directed by a passionate stage magician and brought to life by masterful practical effects work.
That’s why I’d like to invite readers to join me on a deep dive into one of the most infamous broadcasts of all time in an attempt to reevaluate the footage as a fascinating narrative experience rather than a complete hoax.
The TV Special That Convinced Millions It Was Real
Ray Santilli next to Extraterrestrial replica in ‘The Alien Autopsy Scandal’
For starters, regardless of whether or not you believe that there was in fact an extraterrestrial crash in Roswell during the summer of 1947 and that some form of autopsy was performed on the victims, the producers behind the black & white recordings, Ray Santilli and Gary Shoefield, insist that their video was a “restoration.” Though I’d argue that the proper word is “remake”of genuine footage that was too damaged to air on television. That’s why the duo went on to recruit filmmaker and eccentric magician Spyros Melaris and sculptor/monster designer John Humphreys to bring their version of the autopsy to life and sell it to the highest bidder.
This is where the story of the Alien Autopsy as a narrative experience really begins. Melaris claims that his approach to the faux recording consisted of striving for extreme period accuracy in both shooting equipment and setting while also planting subtle details that would initially seem like mistakes but could later be revealed to actually fit the time period. That being said, the filmmaker was under the impression that the short would be released for free as a PR stunt, with the team later producing and selling an informative documentary chronicling exactly how the footage was faked and commenting on how easy it is to manipulate public perception with a good old-fashioned magic trick.
This obviously isn’t how things went down, and that’s likely the reason why Melaris has since distanced himself from everyone else involved with the project. Yet, no amount of behind-the-scenes drama can undermine the genuine effort that went into making the short as impressive as it is. From the sourcing of real animal organs from a local butcher to make the organic part of the creature more lifelike to the highly detailed sculpt that made use of a hollowed-out underlayer that could be filled with fake blood and assorted viscera, there’s a reason why so many Hollywood specialists are still impressed with the artistry on display here.
Of course, the believability is only half the story, as I think that the best part of the autopsy is how Melaris builds on the existing tension by obscuring certain details and often embracing the chaos of what a real examination of extraterrestrial life could feel like. The camera often goes out of focus at just the right time to make certain effects hit even harder, and we can only speculate as to what the hazmat-suited doctors are gesticulating about during the operation. There’s a real air of mystery to the whole thing that almost makes it feel like a cosmically terrifying, cursed film containing forbidden knowledge that civilians were never meant to see.
So when Fox’s Fact or Fiction brings in the specialists to comment on the film and its otherworldly subject, it’s no surprise that we end up with one of the most memorable mockumentaries of all time – albeit one where the participants are unaware that the footage they’re commenting on is basically a large-scale practical joke. A joke that the network was obviously in on, as many participants claim that the TV special cut out significant portions where guests point out that they believe the footage to be an elaborate hoax.
The Lasting Impact of the Hoax Turned Cultural Event
Regardless, I remember going to bed terrified after watching reruns of the special and thinking about the respected pathologist who claimed that the body was almost certainly inhuman, with even effects maestro Stan Winston commenting on how difficult it would be to recreate some of these visuals through practical puppetry. That’s not even mentioning Jonathan Frakes’ dramatic hyping up of the disturbing imagery as if he was talking about the tape from The Ring, with his spooky demeanor here likely being responsible for his later role as the host of Beyond Belief: Fact or Fiction a few years later.
Personally, I’d argue that the Alien Autopsy phenomenon had just as much of an impact on me as a horror fan as The Blair Witch Project, a film that was almost certainly influenced by the success of this immensely popular hoax (to the point where they even produced their own TV special commenting on Heather’s found footage). Even if Fox didn’t intend to produce a narrative feature about the aftermath of the Roswell crash, the end product still holds up remarkably well as a highly entertaining mockumentary exploring the idea that we may not be alone in the universe.
While neither Santilli nor the rest of the production team has ever commented on this, I also think it’s very likely that the idea of a faux Alien Autopsy could have been influenced by Dean Alioto’s The McPherson Tape/UFO Abduction. I’ve already written about how this granddaddy of found footage was co-opted by rogue ufologists who began selling bootlegs of the tape at conventions as if it were real evidence of a close encounter, so it’s not that much of a stretch to imagine that Santilli and company could have heard about this phenomenon and been inspired to come up with their own highly profitable hoax.
At the end of the day, it’s unlikely that the Alien Autopsy film is recreating any real footage from Roswell, but I can still appreciate the short and the accompanying television event as a standalone horror story that still influences the way we see found footage to this very day.
After all, the possibility that something could be real is often much scarier than finding out for sure – and that’s why I think Alien Autopsy: Fact or Fiction is still worth revisiting three decades down the line.
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