Indeed, Evil revels in sinister fun, incorporating humor in the most unexpected ways, from the previously mentioned demon therapist to a sardonic demon simply named George, who returned to aid in the promotion of the show’s second season. While previously mentioned shows incorporate humorous banter into the shows’ main characters, Evil makes its villains the show’s major source of joy. Evil’s unique personality shines through its injection of humor into the horror. This coziness is reflected in the pop-up title cards that the show adopted in its second season, introducing each episode like a bedtime story.īut Evil is more than simply catholic X-Files or the mature viewer’s Buffy The Vampire Slayer. The effect of the procedural format offers a sense of comfort: the nostalgia of a television cycle from a bygone era combined with the predictability that comes with the monster-of-the-week format provides a cozy familiarity heading into each episode. The company’s logo turns out to be a demonic sigil – a marker for the Houses of Evil that seems connected to each case the team is assigned. For example, in the season three episode “The Demon of Money”, a demon hunts down anyone who has invested stock in a certain company. Each episode of Evil brings a new terror that the team must assess, with every monster hinted at being a part of the show’s mysterious “big bad”. While the show certainly has its fair share of crosses leaving burn marks and prayers evoking demonic retaliation, Evil expresses a distinct awareness of horror fans who enjoy the genre for its monsters just as much as, if not more, its heroes.Įvil does this in part by employing a procedural, Monster-of-the-Week format of the ’90s and early ’00s, best seen in The X-Files (1993-2002), Buffy the Vampire Slayer (1997-2003), and early seasons of Supernatural (2005-2020). However, Evil is not strictly interested in strengthening the catholic faith, nor does it target religious audiences.
Like in The Exorcist, much of catholic horror follows this same route of affirming religious faith through the depiction of its evils.
Perhaps the most famous example of this is William Friedkin’s The Exorcist (1973), which, alongside its source novel of the same name, was written by William Peter Blatty, himself a lifelong catholic. However, even when the team’s investigation reveals a practical cause, it hints at something sinister.Ĭatholicism and the horror genre are not an uncommon pair, nor are they as adversarial as one might expect. Another team member Ben (Aasif Mandvi), is Muslim and a committed atheist, always prepared to explain away the supernatural through a technological facade. Their job is not to prove possession but rather disprove it when it can be explained away by psychological diagnosis or technological trick. This skepticism, David explains, is exactly what qualifies her for the team.
When she’s approached by David Acosta (Mike Colter), a devout catholic training for the priesthood, with an offer to join his team investigating claims of possession for the catholic church, Kristen scoffs. At the start of the series, forensic psychologist Kristen Buchard loses her job with the DA’s office in Queens, New York.
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