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“What We Do in the Shadows” Season 4 Review: Night Clubs, and Baby Colin in Another Hysterical Chapter

For many years, vampires were regarded as one of the most enigmatic monsters in pop culture, frequently appearing in film and television. Just like zombies, they’re fictitious creatures that have been reimagined by many in various ways. At the height of the Twilight craze, and the sexualization of blood-loving creatures, a more comedic take on vampires emerged with the film-turned-series, What We Do in the Shadows by Jemaine Clement and Taika Waititi. Both the series and the film reveal vampires who are not too different from the average, normal-food-eating human, with similar hopes and dreams. Now in its fourth season, the series continues to be one of the most successful and downright hilarious shows, engaging the audience from the first episode. Get ready for more drama, an avalanche of raunchy jokes, the creation of a nightclub, and a baby (!) Colin Robinson (Mark Proksch).

Our favorite group of vampires, which includes Laszlo (Matt Berry), his wife Nadja (Natasia Demetriou), Nandor (Kayan Novak), and Colin (now rebirthed and growing faster than the average human), found themselves separated for the first time at the end of season three. In season four’s first episode, directed by Yana Gorskaya and fittingly titled “Reunited,” the group is shown coming back together after a year apart. Nandor returns from traveling alone and Nadja and Guillermo (Harvey Guillén) come back from Europe, where the vampire joined the highest Vampiric Council. The blood-thirsty voyagers (and human companion Guillermo) arrive in Staten Island to find their beloved estate on the verge of destruction and with a new resident: The remains of the good ol’ Colin Robinson, now in baby form.

“WHAT WE DO IN THE SHADOWS” / Pictured: Kayvan Novak as Nandor. CR: Russ Martin: FX

It’s difficult to fully summarize season four’s genius, as there are so many great, chaotic, outright weird situations. Yet, each scenario is so intelligently written and executed that they make you laugh every time. In reality, not much has changed in terms of the story, but this isn’t a bad thing. It feels like it stays the same yet it gets better each season, with each of the characters developing in ways they previously haven’t, taking charge and trying to do things on their own. Laszlo and Nadja, after being separated, are beyond ecstatic to be together as they plan an unusual remodel of the Vampiric Council Headquarters. Demetriou’s character absolutely rocks the boss lady style. Simultaneously, Nandor embarks on a journey to find himself a wife, while Guillermo demands the respect he is due after years of service by Nandor’s side. 

The writing of the main characters is the best part of the series, and no doubt a big part of its success. There is no individual lead — each character, whether it’s Nadja, Guillermo, or Colin, is an integral part of the narrative and an element that brings plenty of laughter and memorable one-liners (those from Laszlo are something, let’s be honest). Despite each of them receiving their “five minutes of fame” and centering an episode or a portion of the season on one character, the creators balance it and focus on the other portrayal next. In effect, each character, including The Guide (played by Kristen Schaal), becomes more multidimensional and complex, providing the audience with added levels of familiarization.

“WHAT WE DO IN THE SHADOWS” / Pictured: Natasia Demetriou as Nadja, Matt Berry as Laszlo. CR: Russ Martin: FX

Berry’s Laszlo keeps cursing twice as much (and if you don’t like it, he’ll tell you to get fuc*ed). As he becomes a father figure to Baby Colin, the two form an out-of-this-world duo. Nadja’s doll that contains part of the human Nadja’s soul appears in the plot more frequently, adding entertaining banters between the doll and its owner. These are just a few of the most entertaining aspects of What We Do in the Shadow’s fourth season. Its genius lies in every comedic element added to the narrative; part of the fun is discovering them all one by one while participating in vampire adventures.

The clever, highly entertaining scripts are also one of the season’s highlights. All four episodes available for review have a strong backbone, and the scriptwriters: Stefani Robinson, Paul Simms, Wally Baram, and Aasia LaShay, among others, give each actor room to shine. It’s admirable that the show’s rock-solid story keeps getting stronger from season to season, reaching the same heights as its ever-growing popularity. The writing is still as good as it was in the first season, but it feels even more seasoned now than at the beginning of the group’s journey. However, as we return to Staten Island, to a barely standing mansion (thank you, Laszlo), one pressing question remains: When will Guillermo become a vampire? While seeing him chase after his master, and then attempt to gain his independence and become an individual rather than just half of a pair, is a lot of fun, it would be awesome to eventually see him evolve into a vampire — fangs and all.

“WHAT WE DO IN THE SHADOWS” / Pictured: Matt Berry as Laszlo, Kristen Schaal as The Guide. CR: Russ Martin: FX

What We Do in the Shadows remains a constant source of talent, skill, elaborate stories, and never failing jokes. The show’s executive producers, including Jemaine Clement, Taika Waititi, Stefani Robinson, and Paul Simms, are successfully riding the high, proving that the series’ success isn’t without hard work and an eternal passion for the vampire’s sharp bite. Season four has everything its fans could want, becoming yet another lavish entry into this vampire world. So, if you wish to experience more absurd adventures and outlandish situations, strap yourself in for the ride when What We Do in the Shadows returns on July 12th on FX and Hulu the next day.

Grade: A

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Retrospective Review: “AHS: 1984” offers an 80’s nostalgia, but lacks the “American Horror Story” vibe—And It’s Not A Bad Thing!

The glorious time of the 80s was not only great because of the legendary music, or eccentric clothing. It possesses its richness and interest thanks to many slasher films created at that time. Such films as Friday The 13th or I Know What You Did Last Summer inspired another season of the franchise. As a person born in the 90s, with an old soul who’s in love with Etta James or Siouxsie and The Banshees, the love for the 80s shouldn’t come as a surprise. And although Ryan Murphy and Brad Falchuk’s AHS:1984 lacked a specific atmosphere that the American Horror Story franchise usually provides, it’s not a bad thing. On the contrary—it offers something fresh. 

1984, California. Brooke Thompson (Emma Roberts), Montana Duke (Billie Lourd), Xavier Plympton (Cody Fern), Chet Clancy (Gus Kenworthy), and Ray Powell (DeRon Horton) meets at the dance aerobics class supervised by Montana. Shortly after, the group decides to sign up as counselors at the infamous Camp Redwood, where a gruesome massacre transpired fourteen years ago. 

As the group listens to Donna’s story (Angelica Ross) and chats by the fire, they have absolutely no idea that Mr. Jingles, aka Benjamin Richter (John Carroll Lynch), escapes an insane asylum and follows the path to his past, tightly connected with God-fearing camp owner, Margaret Booth (Leslie Grossman). At the same time, another famous serial killer travels to Camp Redwood to kill the victim that escaped him back in Los Angeles. 

The plot takes its time and, as a result, possesses a few snoozes here and there. Some scenes seem to be quite monotonous, but they prove to be beneficial for the story in the end. The narrative is cheesy, campy, and cartoonish, but it’s exactly what it’s supposed to be—a reflection of the 80s in horror, the existence and evolution of slashers and brutal serial killers. 

The season is not without stumbles, but good elements win over the flaws. The script is imaginative and enjoyable as the blood splatters everywhere and body parts fly all over the place. Nonetheless, 1984 still seems to be less bloody than, for example, Hotel or less suspenseful than Asylum. 

Murphy and Falchuk blend their legendary cast with new faces, creating an unusual combination. Characters are well-crafted and maintain their momentum where it’s necessary. Although the lack of the scream queen of the television or, for others, Sarah Paulson this season certainly takes its toll on the season. The character development varies from one role to another. Chet and Ray’s characters are the setting for Margaret, Nurse Rita, or Brooke, who are at the forefront of the plot. 

Leslie Grossman as Margaret Booth / FX Networks.

What easily focuses the attention is a phenomenal, hyperbolic performance of Leslie Grossman as a religious freak, Margaret Booth. Her eccentric wardrobe filled with tailor-made suits, a hairstyle like Ivana Trump, and the exaggerated statements about God will remind you of your weird aunt who comes to visit you now and then and decides to control your life for the five-hour visit span. Alongside Grossman, Angelica Ross, likewise, deserves applause. Previously known from her role in Pose, Ross’ character is a career-driven woman with an ambitious yet intriguing fixation for serial killers and their anthropology. Ross’ nurse Rita, aka Donna Chambers, would be a great conversation starter on the topic of how far you can go in the name of science and your family.

A great surprise was the role of Roberts as a shy, young Brooke Thompson. The last name is no accident; it’s a little ode for Wes Craven’s The Nightmare on Elm Street and Heather Langenkamp’s character. The role was a nice change for Roberts to play someone other than the ignorant, entitled type she’s known from, for example, in Coven or Wild Child. We also need to thank the casting team, who selected Zach Villa as a young Richard Ramirez. Both him and John Carroll Lynch did a magnificent job in the season.

The excellent, greatly written 80s nostalgia manifests itself in many different elements—neon-styled lighting and the feeling of restlessness create a perfect setting for horror and 80s fans. However, it would be nothing without a fitting soundtrack. The music tones are mostly led by Billi Idol, his White Wedding, and even more cult songs.

The season provides much fun, especially for the fans that seek nostalgia in cinema and television. That is precisely the essence of AHS: 1984—the fantastic narrative that is a return to the slasher culture and the subgenre’s birth. Although it’s not the best entry to the franchise, it’s certainly a success among the fans.

AHS: 1984 is streaming on Netflix and Hulu. 

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Emmy Feature television The Handmaid's Tale

The season 4 finale of “The Handmaid’s Tale” is the series’ most satisfying finale yet

PHOTO EMBARGOED FOR USE UNTIL JUNE 16th, 2021. The Handmaid’s Tale -- “The Wilderness” - Episode 410 -- June draws on all her resources and relationships, risking everything to ensure her own kind of justice. Commander Lawrence (Bradley Whitford), June (Elisabeth Moss), and Mark (Sam Jaeger), shown. (Photo by: Sophie Giraud/Hulu)

The below article may contain spoilers for the season finale of The Handmaid’s Tale.

Do you remember how, after waking up from a four-year coma, Kill Bill’s Black Mamba finally exacts her vengeance on those who had wronged her and it’s both delicious and satisfying to watch? June Osborne (Elisabeth Moss) waited about the same amount of time. After years of torture, physical and mental abuse, and rape, enraged June demands justice. With the final episode of The Handmaid’s Tale, “Wilderness,” airing this Wednesday, the creators may have delivered the most satisfying and utterly delectable finale that will leave you with goosebumps.

In the final scene of the ninth episode, we discover that Fred Waterford (Joseph Fiennes) made a deal with Mark Tuello (Sam Jaeger) – the information about Gilead and its system for his and Serena’s freedom. While the man delivers the news to June, we observe her expression gradually changing. From the slight smile, it transforms into full-fledged rage when the woman runs after Tuello and screams, “That man is a fucking rapist and you know what he did to me! You know! You know what he did to those women! I’m going to fucking kill you!”

The Handmaid’s Tale — “The Wilderness” – Episode 410 — June draws on all her resources and relationships, risking everything to ensure her own kind of justice. June (Elisabeth Moss), shown. (Photo by: Sophie Giraud/Hulu)

The scene itself exudes rage, frustration, and anger. It easily translates into our world, where women are consistently let down by those who should have protected them and are forced to watch their oppressors walk free. We can feel June’s rage in every fiber of our being. In this and every other scene, Elisabeth Moss’ acting is riveting and enchanting.

In the season four finale, “Wilderness,” we see the main character struggling to accept that Fred is ready to jet off to Geneva to await his trial. When he returns, he will be a free man, as Fred tells Serena in one of the scenes. Luke tries to console June and even suggests that she should let it go (really, Luke?). However, it’s clear that the former Handmaid won’t rest until Fred has received justice for the actions he committed at Gilead.

Bruce Miller has a surprise for us just when we think it’s all over. June has a few more trump cards up her sleeve. Commander Lawrence is one of them, and he makes Tuello an offer: twenty-two women walking from Gilead in exchange for “our brother’s return.” It’s an indescribable feeling of pleasure and satisfaction to see confused Fred being escorted away in a van. It’s possibly the first time in an entire series that he’s treated at least a little bit like the women he oppressed – confused, scared, and unsure of what will happen next. Nobody, not even Nick (Max Minghella), tells him anything.

And that’s where the spectacle begins. Miller and Liz Garbus, the director of the final episode, orchestrate a true tour-de-force, brilliant in perception and execution. The creators serve us yet another surprise that forces us to stand up and clench our fists in anticipation. After the arrival in no man’s land, June appears in front of Fred with two items – a gun and a whistle; she demands the man to choose. 

Even in a dire situation that Fred finds himself in, bleeding from his nose, he doesn’t believe that June has what it takes to shoot him. But that’s where he once again underestimates the power and wisdom of women. After blowing the whistle, other formerly oppressed women, including Emily (Alexis Bledel), appear behind June. “Run,” she quietly says.

Our emotions seem to reach their apex, and we don’t believe that the joy can be any greater, but we are mistaken. Miller and Garbus go above and beyond in an aesthetically pleasing, highly evocative sequence to serve the long-awaited vengeance in the most satisfying way, both with narrative and direction. “It has to look like love. That’s what he needs,” June narrates as the chase begins. “Pretend you like it. Pretend you love it. Pretend you want it. He is your Commander. He is your whole world. Don’t run. Don’t kick. Don’t scream.”

June’s narrative intertwines with Leslie Gore’s “You Don’t Own Me,” which has become the series’ anthem. Fred ultimately receives what is known as poetic justice, just as the lyrics reverberate in our ears. Without a doubt, the overall composition of the scene is one of the most exciting and empowering scenes in the fourth season. The main character smiles contentedly and completes her revenge, much like Beatrix Kiddo serving The Five Point Palm Exploding Heart Technique.

Fred Waterford (Joseph Fiennes) and Serena Waterford (Yvonne Strahovski), shown. (Photo by: Sophie Giraud/Hulu)

June and others ultimately get what they’ve been waiting for. The character can finally move on, but that doesn’t mean her actions will be understood by those around her. For instance, Luke is struck by June’s appearance in the following scene. What will their future bring? What about the rest? When the season ends, a befuddled Serena is left hanging on Zoom, not knowing Fred’s fate. What will her reaction be? Is her safety jeopardized? What about June? Will she be able to heal and continue her search for Hannah?

The finale of the fourth season is the most satisfying yet. While the one of last season filled me with tears as the plane with children and Rita landed, this one filled me with utter satisfaction. Let’s hope that the cast and crew of The Handmaid’s Tale receive a slew of Emmy nominations this year, because they certainly deserve it. 

The Handmaid’s Tale is available to stream on Hulu.

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The Film Nerdette Talks Pop Culture

December 4th, 2020

Welcome to my website! If you’re on Twitter or, more specifically, you’re interested in film and television and you’re on Twitter, you may have seen my profile while scrolling down. My name is Zofia Wijaszka and I’m a Los Angeles-based film and television critic. I am contributing writer for Awards Watch, First Showing, Nerdist, and many more publications. Before I moved to the United States and found outlets who let me contribute, I’ve written for Polish film portals such as Gildia Filmu, or local newspapers – all that while studying journalism and social communication with creative writing (sic!). Don’t ask me why.

My work varies. I can write a review of the new film with Margot Robbie, then you find me speaking about how Krampus is the best holiday film – seriously. My interest is mostly female characters in the pop culture discourse, but not only. Hence, you can find me talking about What We Do in The Shadows a LOT.

I’ve had this website for quite a long time – since 2016. I abandoned it, however, when I started my freelancing. But since sometimes I really want to write about something and there is no time to pitch said idea, I decided to revive my old website. And before you think you’ll find my old articles here, let me stop you right there and say – no way. The amount of overall cringe I have found was quite overwhelming and I don’t want to expose you to this.

My adventure 2.0 with the website will start with my review of The Prom which should go live this weekend or Monday so stay tuned if you want to learn my thoughts on Ryan Murphy’s new musical.