Abnormal Fixation Episode 6: "Zeigarnik"

 Here is the conclusion of episode 1 of Abnormal Fixation: "Zeigarnik!"   Please enjoy (but also like and subscribe, and leave a comment, please!)

Sci-Fi Pulse Reviews Abnormal Fixation's Season Finale!

Our web series lands its FINAL episode of Season One, tomorrow, and Sci-Fi Pulse is here with a great review!

Raissa Devereux writes:

"Abnormal Fixation, Episode 6....was everything the season finale needed to be. Plot points were addressed lovingly and thoughtfully, while leaving room for a second season of storytelling...The entire cast was excellent. That said, the finale belonged to two actors.  For his part, Trumbull McCoy completely sold Bleeder’s tragicomic triumph. McCoy’s parallel scene partner, Muir, lead the ensemble with the confidence and tenderness the story required.

I can't wait for the audience to see how it all wraps up, TOMORROW!

50 Years Ago: Trilogy of Terror (1975)

Perhaps the most famous TV-movie ever made, Dan Curtis's Trilogy of Terror (1975), turns fifty today.  It also  boasts an impeccable pedigree.  The anthology, which aired on March 4, 1975 as ABC's "movie of the week," consists of three Richard Matheson stories, two teleplays by William Nolan, four memorable performances by Karen Black, and sterling direction from Dan Curtis, the man behind Dark Shadows and the TV adaptation of The Night Stalker.  

If you're a fan of the genre on television, it really doesn't get much better than this...

Julie

The first Matheson story in this TV anthology is called "Julie," with a teleplay by Nolan.  

Here, a callow university student named Chad (Robert Butler) eyes the apparently prim-and-proper English Lit. teacher, Ms. Eldrich (Karen Black).  He fantasizes about her without her clothes on and then sets about making his fantasy real.  

Chad works up the courage to ask Julie Eldrich out on a date -- to go see a drive-in movie.  She accepts, and they watch The Night Stalker (!) on the big screen together.

At the movies, however, Chad drugs Julie's soda pop and takes her back to a seedy motel, where he snaps incriminating photographs of the teacher.  He then uses these photographs as a form of sexual blackmail, and makes poor Ms. Eldridge, essentially, his sex slave.

There's only problem.  Chad has assumed from the very beginning that he is in control of the situation; that Ms. Eldrich is exactly who and what she appears to be, a repressed, librarian-esque school marm.  Turns out that was an incorrect assumption, and Ms. Eldrich teaches an important life lesson to the "singularly unimaginative" Chad.

Although not the most-remembered segment of this horror anthology, "Julie" is pretty intense, especially because of the story's kinkier aspects: a student-teacher sexual relationship, and an early appearance on television of date-rape (replete with rape drug). The lurid segment's final revelation, that Julie is a veritable man-eater who maintains a scrapbook of her sexual conquests and murder victims, is also scarily effective.  Although it becomes clear that Julie is actually a wolf in sheep's clothing, the story nonetheless works as a "cosmic scales of justice righted" tale. 

Chad certainly had it coming, given his misdeeds...

Prime among the Trilogy of Terror stories, "Julie" makes fine use of Karen Black's talents, understanding the raw, unusual allure of this distinctive performer.  Sometimes Black can look absolutely gorgeous, but she can also be made-up to appear somewhat homely.  In other words, Black is a performer with layers, and all those layers are put to tricky and clever use in the TV-movie's first story.  In "Julie," Black exudes coiled-up, repressed sexuality even in the most innocuous school room scenes.  Even "hidden" under ugly glasses and dressed in unflattering clothes, Black manages to project this electric sense of the dangerous, of the erotic.  And that's what this story is all about.

In Trilogy of Terror's second story, titled "Millicent and Therese" another apparently prim-and-proper woman, a spinster named Millicent (Black) plans to destroy her younger sister, the sexually-promiscuous and possibly Satanic, Therese (also Black). Millicent communicates with a psychologist  (George Gaynes) about Thesese, and then plans to use her sister's own fondness for voodoo against her.

Of the triumvirate, "Millicent and Therese" proves the weakest story in short order.  It's pretty obvious from the get-go where the story is headed, and what relationship these "sisters" actually share.  There's much talk of sex in "Millicent and Therese," but in many ways, this story feels like a retread of "Julie" in that Black again plays both reserved and overtly sexy.  Despite the familiarity of the material and obviousness of the story's final "twist," Dan Curtis does an effective job of directing the tale.

Millicent and Therese

For example, most of the story occurs inside one room, inside a library in Millicent and Therese's mansion.  Curtis films several scenes in this locale from a low-angle that accentuates the architecture and decorations of the old world library.  

The idea being, I suppose, that those things which ail Millicent and Therese emerge from this particular milieu.  From this house; from this room. Even from the books on the shelf.

For instance, Therese may have killed her own mother as a child.  And she also seduced her own father when she was sixteen. The books in the library -- all about the supernatural and paranormal -- reflect those "evils" after a fashion.  These volumes also prove the gateway to the destruction of both sisters.  

It may not sound like much, but the nice staging of these sequences in the library somehow suggests a place of evil looming in the sisters' twisted history together.  And given what we come to know about them, it makes perfect sense.

In the third, final and most memorable of the tales in Trilogy of Terror, titled "Amelia," the audience is introduced to a weak-willed, mild-mannered woman, Amelia (once more, Karen Black). Amelia is constantly being bullied by her (off-screen) mother.  In particular, Amelia's mother does not like that her daughter has moved out of the house (to a spacious apartment sub-let) and that she is dating an anthropology professor.

On one Friday night, Amelia decides not to visit her mother and instead spend the evening with her boyfriend, since it is his birthday.  As a gift, she has purchased the anthropologist an authentic "Zuni Fetish Doll," a miniature monstrosity with sharp teeth and armed with a spear.  According to legend, the Fetish Doll houses the spirit of a great hunter, but the murderous soul is trapped inside the doll so long as he wears a golden necklace around his neck.

In short order, the necklace is removed (it falls off, actually...) and Amelia is forced to wage war in the apartment against a violent, miniature predator.

Amelia

Based on Matheson's short story, "Prey," "Amelia" is pretty clearly the go-for-broke segment of Trilogy of Terror.  After the relative restraint of the first two tales, this one truly goes all-out to get the blood pumping.  

Curtis and director of photography Paul Lohmann, un-tether themselves from they expectations they have knowingly fostered in the first two tales (of a relatively staid presentation) and with tremendous gonzo indulge in expressive, action-packed film making.  

Accordingly, this story features rocketing cameras bearing down on the imperiled Amelia, and other dramatic tracking shots, all lensed from the killer Fetish Doll's unique perspective.

Curtis achieves something else here as well, and it bears mention.  In particular, he stages many deep-focus long shots of the apartment, with Amelia framed in the background -- surrounded by door-frames on some occasions -- and only emptiness in the foreground.  The result is that we're actually looking furtively under coffee tables and chair legs for any sign of the murderous Zuni Fetish Doll.  

In many such cases, the doll is not present in frame at all...but we know he's nearby, and the deep-focus, long shots expertly set up the terrain of the battle and more than that, a sense of expectation.  These moments of silence and emptiness linger, and increase and enhance the mood of suspense.  

We wonder where the bloody monster is hiding this time...

As the battle grows more violent and intense, and Amelia grows more and more imperiled, Curtis makes these deep focus long shots turn cockeyed, which admittedly sounds cliched (like something out of Batman), but instead proves an effective tool in fostering real terror.  As the balance of power shifts towards the supernatural threat, it's only right that the "real" world's sense of order begins to literally and metaphorically tip over.  This technique of off-kilter shots successfully transmits the full-breadth of the monster's threat to Amelia.

Trilogy of Terror's Zuni Fetish Doll lives even today as one of the most potent 1970s "kinder traumas," responsible for God-knows-how-many youthful nightmares.   The creature has lost none of his macabre effectiveness some thirty-years later.  The Zuni Fetish monster boasts the sharpest teeth you've ever seen, has a big grinning mouth, and utters terrible, strange yells at it repeatedly attacks the imperiled Amelia.  You'll never forget what this creature is like in action; and you'll never forget the sound of his "voice," either.

Thematically, the Zuni Doll is surely an avatar representing Amelia's personal dilemma: the fact that in her personal life she constantly and continuously surrenders to others; to her Mother and also to her boyfriend.  The Zuni Doll makes Amelia -- for once -- fight back.  It's too little too late, perhaps, and Amelia makes the ultimate surrender to the Zuni Doll in the film's final, chill-inducing close-up.  But she puts up a hell of a fight before then, using everything from suitcases to the bathtub to the oven to battle the monster lurking in her apartment.

Another reason "Amelia" works so well is that it lunges directly into the horror territory that the other stories studiously skirted.  We don't know exactly what Julie's power is in "Julie," and in "Millicent and Therese" the voodoo doll is almost an afterthought in a psychological tale about multiple personalities.  

But here, the audience finally sees a supernatural monster in action; one with snapping, hungry jaws, and inhuman powers.  Crimson blood flows pretty freely in this segment too -- a surprise for 1975 television production -- and so again, the effect of the story is amplified.  The first time you see Trilogy of Terror, you aren't really prepared for the third story to descend into bloody murder and wildly expressive camera-work, and so "Amelia" becomes all the more powerful and stunning.  

The thrill of Trilogy of Terror after all these years is three-fold.  On one hand, it's terrific to see Karen Black's versatility used to such dramatic and purposeful effect.  She is a gifted, idiosyncratic performer who isn't afraid to express seamy, powerful and unattractive emotions.  Secondly, the Zuni Fetish Doll is the high octane fuel of a million (or more) bad dreams, and can still provoke throat-tightening terror in audiences. And thirdly, the imaginative and terrifying stories by Richard Matheson plumb the depths of our worst nightmares.

For these reasons, Trilogy of Terror doesn't play like a funny old artifact from the disco decade, but as a damn fine horror movie.   The spirit of the film -- like the spirit of the malevolent Zuni Fetish Doll -- endures.  The film's final shot -- a zoom to close-up of Amelia in her new state as a "hunter" --  is not something you can easily forget or put down.

So make sure you check for Zuni Fetish Dolls under your bed before you go to sleep tonight...

Abnormal Fixation Season Finale This Thursday!

 Don't miss "Zeigarnik," our AF season finale, dropping this Thursday!  

Abnormal Fixation Now Streaming (and live-streaming) on Amazon and Roku!

There are more ways to officially get "fixated."

I am very proud to announce today that our award-winning comedy horror web series, Abnormal Fixation, is now available to stream on BOTH Amazon, and Roku!  

Get the app! Watch the livestream!

Check us out on Amazon!

Check us out on The Roku Channel.

The Story So Far on Abnormal Fixation - Don't Miss the Season Finale Next Week (3/5/25)

Just to bring everyone up to date on the storyline of Abnormal Fixation, and the goings on of Season, Elvis, Mark and the rest.

The Season Finale for our indie web series drops next Thursday, on 3/5.  Don't miss it!

 

AF Episode 5: "The Doll"

 

SciFi Pulse Reviews Abnormal Fixation Episode 5: "The Doll"

 SciFi Pulse's Raissa Devereux reviews tomorrow's episode of Abnormal Fixation, "The Doll:"

"Abnormal Fixation, Episode 5: “The Doll” paid off the world-building and character development ...John Kenneth Muir used the titular doll as one of several Chekhov’s guns. In the process, he gave viewers a master class on narrative economy, as he set up the season finale. Muir maintained the tonal tightrope walk. The payoffs were all necessarily tragic, even when the context was comic Additionally, Muir deftly juxtaposed Alyssa and Dr. Carol Carroll. Both women understood Season better than she understood herself.

As for Alyssa, I really appreciated how Muir used her as meta-commentary on film financing. I find I’m as invested in Alyssa’s creative journey as I am in the subjects of her documentary.

All the regulars were excellent. They did a great job of conveying fatigue with the ruts their characters were were in. They walked the razor thin line with viewers between sympathy and exasperation.

The standout, however, was Leslie Cossor as Dr. Carol Carroll. She combined delightful physical choices with wonderful comic timing...

AF: Meet Dr. Carol Carroll (Leslie Cossor)

This week on Abnormal Fixation, the final new member of Elvis's unusual entourage is introduced.  

In "The Doll," you get to meet Dr. Carol Carroll, couples therapist and licensed exorcist. 

That description suggests, appropriately, that Dr. Carol will fit right in with the others on the team with Season and Elvis.

In real life, Dr. Carol Caroll is played by the incredible Leslie Cossor, an accomplished actor and comedian. 

Leslie arrived on set for AF and instantly brought her character vividly to life, right down to some incredible ad libs, which remain in the final cut of the episode. I know I speak for everyone in the cast when I say we  love working with Leslie. She brings a unique and playful energy to her role, which keeps us all on our toes.

Leslie was also part of the cast of Enter the House Between in 2023, playing Eris, the half-human/half-lar offspring of Theresa. 

Leslie has also worked locally, regionally, off Broadway and with Cirque Du Soleil’s “Quidam.” Leslie specializes in voice in movement with her work heavily based on elements found in Fitz-Maurice and Linklater voice work, Laban, Bartenieff, and Alexander movement techniques. She lives in Charlotte, NC with her husband and children.

Tomorrow, get ready to meet Dr. Carol Carroll!

50 Years Ago: Doctor Who: "The Ark in Space"

The fourth actor to portray the famous time traveling "Doctor," Tom Baker followed on directly from the Jon Pertwee years, a span wherein -- for a substantial stretch of time -- the renegade Time Lord from Gallifrey was trapped on 20th century Earth, unable to explore the universe.

That travel ban had been lifted previous to Baker's arrival (following the anniversary celebration, "The Three Doctors), but "The Ark in Space" represents the fourth Doctor's first foray away from terra firma; and a harrowing one at that.

Can you believe it's been fifty years since this serial ended its BBC run (February 15, 1975)?

"The Ark in Space" is also an early and prominent example of producer Philip Hinchcliffe's new template for the long-lived series, one that involved a dramatic shift towards more overt horror territory.  

Indeed, seasons 12 through 15 of Doctor Who --which still represents a kind of golden age for the classic series -- presented one outer space  horror-themed serial after another, with titles such as "Terror of the Zygons," "Planet of Evil," "The Pyramids of Mars," "The Brain of Morbius," "The Seeds of Doom," "The Masque of Mandragora," "The Hand of Fear, "The Face of Evil," "The Talons of Weng-Chiang," "The Horror of Fang Rock," and "Image of the Fendahl."  

In these tales, the universe itself seemed to take on a new, distinctly mysterious and dark aura.  There was a strong Lovecraftian angle to the series at this juncture, as monstrous gods (Sutekh), species (The Fendahl), and personalities (Morbius) threatened to arise from centuries-long slumber, or even from entrapment in the ice (Krynoid) to threaten mankind and the universe at large.

"The Ark in Space" expertly sets that terrifying tone for this new concentration on horror, and does so from the inaugural shot; a point-of-view perspective shot that reveals some kind of green-slime-covered monster attacking a sleeping human inside a suspended-animation chamber.  

Aboard the T.A.R.D.I.S., Doctor and his two companions, Sarah Jane Smith (Elisabeth Sladen) and Harry Sullivan (Ian Marter) set down near the site of the attack, on a seemingly abandoned "artificial satellite," the space station called Nerva.  

The station is an example of "30th century construction," and the time/space travelers quickly discover that Nerva is also a "cryogenic repository" warehousing the survivors of the human race.  These poor souls have been asleep for some 5,000 years, following solar flares which devastated the surface of Earth.

 Now, the "entire human race" awaits "a trumpet blast," to wake up, start over again, and re-populate the healed planet.

In an early portion of the first episode, the Doctor delivers a stirring speech about mankind and the species' possibilities, and his words bear repeating:

 "What an inventive, invincible species! It's only been a few million years since they crawled up out of the mud and learned to walk. Puny, defenseless bipeds. They've survived flood, famine and plague. They've survived cosmic wars and holocausts. And now, here they are, out among the stars, waiting to begin a new life. Ready to out-sit eternity. They're indomitable.  Indomitable."

However, those future pioneers of Earth now have a big problem.  An alien race called the Wirrn that the Doctor likens to "galactic wood worms" has infested the station.

The Wirrn swarm once lived in the Andromeda Galaxy but their "Old Lands" were seized by space faring human beings, and the giant bugs have been looking for a new home ever since.  Not to mention revenge. Again, consider how the discussion of "Old Lands" and the resurrection/return of an ancient evil resonates with the Lovecraft template.

The Wirrn plan to utilize the sleeping human race on Nerva as their primary food source, and more.  When they digest life forms, the Wirrn also absorb the knowledge of all such life, and so plan to become a "technological species" within one generation.

As his wont, the Doctor has once more stumbled into an inter-species battle for survival, and must pick a side for which to fight.  Given his history, and the affirmative quotation regarding mankind above, it's not too difficult to guess where his loyalties fall.   

But one delightful element of  "The Ark in Space" is that it isn't simply a serial about man vs. alien, or the Doctor racing to the rescue; much like the proverbial Time Traveler negotiating the breach between the Eloi and the Morlock.

On the contrary, this Doctor Who serial comments on an intriguing trend in the 20th century workplace that began in the 1970s and probably reached its peak in the mid-1990s.  

In this tale by Robert Holmes, the future humans in suspended animation are all workers with very specific assignments.  They are specialists, able to perform with great talent their assigned duties, and only their assigned duties.  They are advanced technologically, quite bright, and yet also rigid.   One woman named Vira (Wendy Williams) is a physician; the man named Noah is a leader, and so on.  

But beyond their specialties, these examples of future man are lost; diffident and vulnerable. 

In real life, the debate was whether or not workers would be more productive simply doing one task, or multi-tasking.  In the Recession of the early-to-mid 1990s, the trend towards specialization largely faded out and multi-tasking -- the performance of multiple tasks by one person -- carried the day.   With layoffs and an epidemic of "down-sizing" (a new term in the 1990s) workers had to prove their flexibility and worth to companies looking to cut and slash.

"The Ark in Space" debates this issue, in the process considering every shade of each argument.  Vira is designated a physician, but when Noah, the team leader, is absorbed by the Wirrn, she must step up to the plate and take command.  It is not her nature, and it's not her "job description," but fate has made these arrangements for her. She will either grow...or fail.  And if she fails, the human race fails.

The Wirrn represent a strong contrast to the trend of specialization in the work place: they gain knowledge easily, through biological absorption and can pick up new talents, skills, and data without re-education or any personal learning whatsoever.

They need only to...consume talented individuals to grow and fatten and prosper.  Because they are an insect culture, the Wirrn are also a hive mind.  And another word for that, of course, is "corporate entity."

So make any comparisons you wish there, between business executives and parasitic insects.  They are the "users" of the workers, who end up on top by "absorbing" the talents of those they exploit.

The more closely one studies "The Ark in Space," the more fully this debate about specialization in the human animal bubbles through to the surface.

In Part Four of the serial, for instance, Sarah Jane Smith -- a reporter by trade -- leaves her comfort zone behind in more ways than one by transporting an electronic cable through an egregiously tight vent shaft.

Like Vira, who becomes a sturdy and dependable commanding officer, Sarah adapts to the needs of the environment instead of sticking to one particular skill set.  Rather than specialize herself into oblivion, she grows and changes.  Again, this is gazed upon as an extemely valuable trait.

Yet there's a yang to this yin, as well.

An engineer named Rogan ultimately saves the day by releasing the docking clamps on a space shuttle containing the Wirrn.  Before he does so, Rogan tellingly informs the Doctor "This is my job," with the emphasis on the descriptor "my."  He meets his destiny by fulfilling the task he was trained to do.  He considers that task an oath, as we can see from his self-sacrifice.  

Similarly, Noah retains enough of his humanity to also fulfill his training...as a leader.  In this case, he saves the humans by deceiving the Wirrn into space; to the outside hull of the station.  

Uniquely, Noah has not only fulfilled his compact with the humans, he has also, in a very strange way "led" the Wirrn as well.  Right off a cliff, so-to-speak. It's illuminating to consider that the humans and the Wirrns are both, at times in this four-part serial, led by one man: Noah.  This means, I suppose that once a leader, always a leader, regardless of the species one commands.  Once more, the idea being explored in "The Ark in Space" is training or career preparation as nothing less than destiny.  

"The Ark in Space" diagrams the debate between specialization and multi-tasking quite fully, without ever lecturing or becoming pedantic.  The end point seems to be not that one approach is worlds better than the other, but only that flexibility and expertise are the keys to survival in any Darwinian struggle for survival.  The humans (and the Doctor) do adapt, and fight back against the Wirrn.  The same cannot be said for the bugs.

The Wirrn continue to live by their biological life cycle (eat, absorb, lay eggs, then start again) and in the end that's simply not enough to make them the dominant species. Possessed of a corporate mentality, they cannot, apparently, resist from following Noah (their metaphorical CEO, I suppose...), into disaster. There must be learning and adaptation for survival, this serial implies.

In terms of context, "The Ark in Space" is also fascinating because it reveals Dr. Who, along with Space:1999 (also premiering in 1975) at the spearhead of the movement to re-define space adventuring in darker, more grotesque terms than in previous TV efforts.  

In the late 1960s, Star Trek had beautifully and colorfully presented the idea of the United Nations in Space, with Cold War enemies such as the Klingons and the Federation, and each unaligned planet representing an island across a cosmic ocean, to either join the Federation, or team up with the enemy.  By the late 1970s, the paradigm shifted.  Space, in 1999 and the Hinchcliffe years of Who, no longer existed simply as an extended metaphor for East/West relations here on Earth.  

And at the end of the decade, of course, Ridley Scott's brilliant film Alien (1979) took the concept of outer space horror about as far as it could possibly go, with the riveting, gorgeously visualized tale of a "perfect" (and perfectly hostile) alien parasite.

If one were to gaze at episodes of Space:1999 such as "Dragon's Domain" (with an alien octopus inhabiting a derelict space ship...) and "End of Eternity" (featuring a malevolent alien kicked out an airlock, when there's no way to kill him), as well as "The Ark in Space," which posits a parasite co-opting human bodies for the furtherance of its life-cycle, the "seeds" of Alien are quite evident.   

Today, one scene in "Ark in Space" forecasts Alien especially closely.  Sarah Jane goes into that tight vent shaft, wearing a head-set "two-way radio," while in another chamber crewmen monitor her progress going from "juncture" to "juncture."  

At one point, Sarah encounters the Wirrn, but they are (safely) on the other side of a vent grille.  In Alien, of course, Captain Dallas goes into the Nostromo's air duct, also wearing such a head set, and is monitored closely by Lambert and Parker, moving from "junction" to "junction."  He comes to a much unhappier end, than Sarah-Jane. 

The point of this comparison is not to declare in any way, shape or form that Alien ripped off this TV show or that TV show, only that there was clearly something in the water in the 1970s, so-to-speak, moving space adventure in the direction of more dark, paranoid, chaotic imaginings.  

Perhaps it was the Energy Crisis that made all the difference: a global race for resources during a period of scarcity and market manipulation.  In many of these dramas, from "The Ark in Space" to "Dragon's Domain" to Alien, it is man himself who becomes the ultimate resource for otherworldly beings; to be used up, and rather maliciously so.

"The Ark in Space" sets the dark, ominous tone for much of Tom Baker's early tenure on Doctor Who, and so there's a chilling, unsettling atmosphere to the entire enterprise.  In this story, man is dislodged from his home on Earth and sleeping in the ultimate "dark" -- outer space itself.  And worse, there really are hungry monsters under the bed, just waiting to get him. 

"The Ark in Space" exploits this universal fear well, despite a not-very convincing Wirrn monster costume, and succeeds in being suspenseful largely because it is well-written and well-performed.  The Doctor goes on at length about the idea of being "digested" and "absorbed" by the Wirrn, and his colorful descriptions are more than enough to give those with a strong imagination a lingering case of the creeps.

By 1975, Doctor Who had been around for more than a decade.  

But "The Ark in Space" is worth highlighting because it nearly feels like a pilot for a new series; a purposeful and efficacious re-direction of Who from its more action-oriented, earthbound, James-Bond-like Pertwee phase towards more ominous imaginings about outer space, and man's possible future role in that mysterious and unsafe realm.

Sci Fi Pulse Reviews AF Episode 4: "The Trip" (and link to episode included!)

 Sci-Fi Pulse is out with a positive review of AF's fourth episode, which premieres today! 

Writing about "The Trip," critic Raissa Devereux notes: 

"...As for the comedy, viewers got two marvelous sequences. The first centered around Elvis’ car. The second took place at a B&B. Then, there’s a third sequence that I would classify as dramedy. That involved Mark’s metaphor for his relationship with Season..

...The entire cast remained top notch throughout. For their parts, John Kenneth Muir and Alicia Martin continued as a wonderful comedic double act. Additionally, Kathryn Muir and guest Kim Breeding-Mercer were obviously having fun with their deadpan performances. The standout, however, was Chris Martin, who had to walk a razor thin line...

...Abnormal Fixation, Episode 4: “The Trip” set up the final installments of the season perfectly."

Check out Episode 4 of Abnormal Fixation, "The Trip," below!"