Based on the novel “Stinger” by Robert R. McCammon and adapted for television by Ian McCulloch, Peacock‘s new horror series, “Teacup” begins as a fascinating and frightful narrative before descending into science-fiction madness that fails to stick to the landing. While the show, executive produced by “Saw” and “The Conjuring” filmmaker James Wan, has a haunting element of terror running through its first half, it becomes muddled by the final episodes as the mystery at the center of the series is revealed.
“Teacup” opens in a heavily forested area in present-day rural Georgia. The audience watches as a frantic and bloodied woman struggles to free herself from the zip ties binding her hands. Though she eventually breaks free, it’s immediately apparent something isn’t quite human about her. Elsewhere in town, viewers are welcomed into the Chenoweth home, set on a vast property encompassing a farmhouse, barn and acres of land. Maggie (Yvonne Strahovski), the town’s veterinarian, is seen chatting with her children, teenage Meryl (Émilie Bierre), who takes a great interest in her mother’s work and the much younger Arlo (Caleb Dolden), who seems content with his marbles, dictionary and drawings. Elsewhere in the house, Ellen (Kathy Baker), Maggie’s mother-in-law, prepares dinner for the family, though her multiple sclerosis-induced tremors greatly slow the process.
The Chenoweths’ lives appear picturesque, but there is evident tension here. The electricity continues to flicker, and outside, the family’s animals, especially the horses, seem manic and unsettled. Moreover, when Maggie steps outside and encounters her husband, James (Scott Speedman), it’s clear there is a fracture in their marriage that neither of them seems willing to discuss.
As the night presses on, things get even stranger on the farm. The Chenoweths’ neighbors, the Shanleys, Ruben (Chaske Spencer), Valeria (Diany Rodriguez) and their teenage son Nicholas (Luciano Leroux), arrive in a panic with an injured horse. Another neighboring couple, Donald (Boris McGiver) and Claire (Holly A. Morris) pull up desperately searching for their beloved dog. Amid the chaos, Arlo slips past the adults and walks toward the woods.
From there, “Teacup” gets intense. The electricity completely cuts out, cars won’t start, cell phones no longer have service and radio stations have gone static. Also, a sinister masked figure (Rob Morgan) appears, warning everyone never to cross the blue line he has drawn on the ground. When Arlo finally resurfaces, battered, bruised and very unlike himself, the Chenoweths and their neighbors, newly trapped by the line and horrors that lie beyond, must race to figure out what is happening.
The first five episodes of “Teacup” are excellent. A family in disarray is forced to push their feelings aside and work with people they don’t entirely trust. As night falls, a chilling tone cloaks the series. Episode 2, “My Little Lighthouse,” is particularly effective. Maggie, known for her calm and fearlessness, begins to unravel, and when one person finds themselves beyond the blue line, the grisly gore revealed is one of the most sickening things shown on television recently. The effectiveness of the scene is a testament to “Teacup’s” lead makeup artist, Kimberly Felix and lead special effects artist, Andrew Herrera.
But following Episode 5, “I’m Witness to the Sickness,” which has the most extended runtime at nearly an hour and carefully unpacks the origins of this mysterious threat, the series unravels quickly. Since the puzzle at the center of “Teacup” shifts away from horror and toward sci-fi elements, it suppresses the show’s fear and suspense, making for an unremarkable final three episodes.
Episode 6, “You Don’t Know What It Means to Win,” is incredibly sluggish and feels more like filler than narratively necessary. Additionally, because the big reveal is so bizarrely elaborate, viewers who will likely be drawn to the show week-over-week will likely feel less compelled to see the story through to the end.
“Teacup” has many captivating themes. Family, sacrifice, trust and reliability are paramount here. The show initially does a fantastic job of cultivating the stress and anxiety that permeates horror thrillers. The finale, “This Is Nowhere Part 2,” also has brilliant emotionally charged performances from Speedman and Strahovski that drive the series across the finish line. However, because the science-fiction element is so haphazardly thrown into the show, it loses much of the shock value it created. Instead of the rip-roaring and terrifying thrills the plot promised to deliver, it ends with a pitiful whimper.
The first two episodes of “Teacup” premiere Oct. 10 on Peacock, with new episodes dropping weekly on Thursdays.
