We’ll Never Have Another Show Like ‘Evil’

As we’ve bemoaned often of late, one of television’s greatest shows, Evil, has come to an end, despite not delivering a definitive ending for the characters, or even wrapping up all the storylines it set up over the course of four glorious seasons — which is pretty much exactly what the show has done all along. Now that the end has come, it’s time to look back at the series as a whole, an autopsy of sorts. Just where does Evil fit in the annals of television history? That’s just it — it doesn’t. Evil isn’t just a great show; it’s decidedly unique, and there may never be another show like it.

‘Evil’ Is, First and Foremost, a Horror Show

By its simplest definition, Evil falls squarely in the horror genre, and on that level, it succeeds wildly. Evil doesn’t waste time in making that clear from its very first episode, “Genesis 1,” with the introduction of two different, yet very similar, evil entities. The first is Michael Emerson‘s Leland Townsend, the main antagonist of the series. Darkly comic, creepy, and yes, horrifying, Leland may be human, but in Emerson’s hands he’s someone, some thing, that isn’t human at all. The second is George, a demon portrayed by Marti Matulis. He sets the stage for the host of demons we meet through the series, and although he, like Leland, is darkly comic, that first introduction where we see that dark, leather-like skin and piercing orange eyes is one of Evil‘s defining scary moments.

The horror in Evil isn’t limited to its demons and humans, but to its storylines as well, with the series delivering some of television’s most horrifying scenes. “Rose390,” the fourth episode of Season 1, stands as the best example of the entire series. It’s an episode that is horrific not only on a surface level but on a much deeper, emotionally jarring level as well, something that Evil consistently does well. On that surface level is the titular character, a creepy, haunting VR girl that traumatizes the Bouchard girls. The true horror of the episode lies in the investigation of 9-year-old Eric (Luke Judy), who has been exhibiting the traits of a psychopath, lashing out violently towards his parents and his newborn baby sister. Judy gives Eric an unsettling edge, another excellent performance from a young actor, a strength of the show that doesn’t get enough play. After he nearly drowns his sister, the team is authorized to perform an exorcism on him, only it’s too late: Eric is “missing,” but it’s heavily implied that his parents have murdered him to protect their newborn daughter. The horror lies in the truth of the moment, a troubling act that is marginally justified by having prevented a more horrific one.

‘Evil’ Isn’t Afraid to Make Its Audience Think

This leads us to the other element of Evil that separates it from its kin: it’s not afraid to make its audience think for themselves. Were the actions of Eric’s parents ever discovered? Was Sheryl (Christine Lahti) always looking to take Leland out from within his own organization, or did she only come to her senses when her granddaughters were endangered? Is young Timothy still the Antichrist? Evil infuriatingly, and wonderfully, refuses to spoon-feed the audience answers, or bring plot lines to satisfying resolutions.

That steadfast refusal of the series to take the easy, crowd-pleasing route extends to its overarching themes. Evil challenges its viewers with the idea of nature versus nurture, without making a definitive statement on either. It explores faith, from characters like Kristen (Katja Herbers) and Ben (Aasif Mandvi), cynics who decry faith and search for the logical, to Sister Andrea (Andrea Martin), the devout nun whose faith remains unshaken to the very end, with Father David Acosta (Mike Colter) representing those struggling between the two extremes. Evil gives a well-rounded look at the Catholic church itself, not lowering itself to color the institution as all child abusers, but not so adoring that it ignores the church’s faults. Evil lays out the evidence but allows its viewers to be both judge and jury.

‘Evil’ Expands the Horror Genre’s Limits

Other shows have done much the same, of course, so what really makes Evil so unique? Unlike others in the genre, like Hannibal or The Exorcist, Evil has a winning mix of elements that expand the limits of what the horror genre on television can be. For a show so rooted in horror, Evil could be just as funny, even funnier, than any sitcom on TV today. Leland is wickedly funny and delivers some of the series’ best lines (personal favorite: “You have no idea how hard this is making me right now” while being repeatedly slapped by Kristen). Andrea Martin’s brilliant comedic talent shines with her Sister Andrea, with a twinkle in her eye as she takes on demons with a near-maniacal glee. And the way the Bouchard girls turn Leland’s plan to troll Lexis (Maddy Crocco) with his “Pollie the Pig” avatar, in the online game Bumblebee Valley, around on him is far and away the funniest moment in the whole series.

That last piece speaks to Evil‘s clever commentary on social media. Evil has never been afraid to call out social media, with the aforementioned Bumblebee Valley being used to draw attention to similar apps being used by adults to lure children. Apps that replicate the voices of deceased loved ones, and are used to propagate dangerous online trends, like the “Possessed Pork Challenge” of Season 4’s “How to Slaughter a Pig,” have been targets, as has clickbait, deep fakes (like the one that kept “Andy” (Patrick Brammall) far away from home), and, as we see in the series finale, the use of VR to tap the evil of the 60 directly into the minds of its users.

Most important, however, is the strength of the characters, and their relationships both on the show and off. These characters genuinely care for one another, in a way that, by all accounts, is replicated off-screen as well among the cast. There are no weak spots in Evil: everyone delivers, everyone is given depth. The Bouchard girls are allowed, even encouraged, to act as real sisters would, talking over one another. #TeamGood, our protagonist trio, is a pitch-perfect combination of talents and personalities that have grown to be more than coworkers, but a family. And regardless of just how absurd things seem, like having a cloven-hoofed demon that’s the CEO of the company, it’s played straight, grounding the absurdity just enough that it seems normal… or at least as “normal” as Evil can get. The series finale didn’t outright close the door on a sequel, or on a spin-off, but at least for now, it is something that isn’t being considered, according to show creators Robert and Michelle King. Unless that happens, the likelihood of seeing another show like Evil again is slim. And that is, ironically, downright Evil unto itself.

Evil is available to stream in the U.S. on Paramount+.

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