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Written by Noah Hawley with Bob DeLaurentis and directed by Dana Gonzales, "Metamorphosis" dazzles visually but falters in execution. Blade Runner vibes are ingrained throughout. The production values and FX are consistently first-rate, offering grotesque body horror and striking new creature work that deepen the mythology.

Sydney Chandler continues to bring layered intensity, while Babou Ceesay grounds the synth subplots with conviction. But it's Timothy Olyphant who stands out as the series' saving grace, his steady, humanizing presence anchoring an episode that often feels uneven.

New arrivals Slightly (Adarsh Gourav) and Smee (Jonathan Ajayi) add levity, but their jovial banter sometimes jars against the darker atmosphere, tipping tension into tonal whiplash. And once again, the editing proves a major stumbling block - jarring cuts and awkward transitions fracture immersion, while the misplaced score, musical cues undercut moments that should build suspense.

Still, beneath the flaws lies a compelling chapter: Chandler's hybrid transformation escalates, corporate intrigue deepens, and the alien threat continues to mutate in unexpected, terrifying ways. High-caliber visuals and creature design keep the world alive, even when the mechanics stumble.

"Metamorphosis" is messy, unsettling, and ambitious - a flawed but fascinating piece of the unfolding Alien tapestry.

Written by Noah Hawley and directed by Dana Gonzales, "Mr. October" keeps the series' momentum burning with high production values, inventive set pieces, and a deft balance of spectacle and suspense. Tensions rise between rival corporations, a reunion unfolds, and a long-kept secret comes to light - all against the backdrop of a world tipping deeper into chaos.

The sumptuous Georgian-style party is a visual feast: powdered wigs, heavy makeup, candlelit halls, and refined etiquette brought vividly to life. When the alien threat intrudes, the elegance shatters, and we're left with an arresting collision of high society and visceral horror. The body count climbs swiftly, and while some of the violence is graphically on the nose, other moments are wisely left to the imagination, letting dread breathe in the shadows.

Sydney Chandler, Timothy Olyphant, and Babou Ceesay once again anchor the drama with grounded, magnetic performances, selling both the quiet human beats and the moments of sheer terror. Ceesay's Morrow, gets some more interesting moments, and Lily Newmark's shocked Nibs is memorable. The episode also treats us to an array of new creatures - each distinct, unnerving, and rendered with impressive FX work that expands the franchise's bestiary without feeling too gimmicky.

Yet, as with the premiere, the editing lets the episode down. There are moments where the flow stutters, and gaps of darkness linger - possibly placeholders for ad breaks - evoking the old days of watching syndicated TV. While it may be an intentional broadcast-style choice, it occasionally pulls the viewer out of the immersive atmosphere, as do some of the more heavy-handed (perhaps intentionally different) editing choices.

As the sister scours the chaos for her brother, and he navigates a perilous path toward safety, the story tightens its grip. Gonzales' direction makes the most of both the intimate character moments and the sprawling set pieces, delivering a world that feels at once lived-in and on the brink of collapse.

"Mr. October" doesn't just move the plot forward - it enriches the series' texture, marrying lavish period-style opulence with the cold bite of Alien horror. The result is unsettling, thrilling, and visually captivating, even if the editorial rhythm needs sharpening.

Director writer Mike P. Nelson' offers just over fifteen minutes, The Jason Universe: Sweet Revenge wastes no time delivering carnage with stunning efficiency. The practical gore and effects are executed with impressive flair, making the most of a tight budget to deliver visceral, blood-drenched thrills that fans of the slasher genre will appreciate.

Lead actress Ally Ioannides (as Eve) brings compelling strength and presence to the screen, guiding the chaos with control and charisma. She anchors the short with a proactive, emotional core that elevates the body count with real stakes.

Stepping into the hockey mask is Schuyler White, who delivers the kind of physicality and menace worthy of the franchise's legacy. His movements have the weight and deliberation of classic Jason, making him a fitting heir to the role's long tradition. Incidentally, Chris Carlson's Harold oddly gives Robert Englund vibes.

While the short doesn't have the gritty VHS feel, or film grain, it harnesses that original Jason ambiance with purposeful pacing, shadowy menace, and well-timed scares. There's a modern polish-akin to the 2009 Friday reimagining-but the spirit of the early films pulses just beneath the surface.

Nods to the franchise are peppered throughout-from familiar kill setups to sly narrative references-enough to feel like a loving wink to long-time fans. Add in a couple of clever twists, and you get a sharp little narrative that still manages to build momentum.

The finale hits you with a cliffhanger of sorts, leaving plenty of room for speculation and appetite for more. And then-the end credits roll to Sugar and Spice's 'I've Changed' an ironic and fittingly twisted choice that underlines the film's playful tone.

For fans of Crystal Lake carnage, Sweet Revenge is a brisk, blood-soaked treat - a short that understands the rules of its universe and plays with them just enough to keep you hooked. Well worth checking out.