What has made Channel Zero so consistently appealing as a horror television show is that it represents a nexus in horror, a crossroads between horror past, present, and, arguably, future. It unites subgenres of horror like science-fiction horror (seasons two and four especially), with aspects of ghost stories, slasher films, surreal Lynchian horror, and psychological horror. Indeed, Channel Zero pulls all these subgenres into one strange package that would seem scattershot if not for its consistent visual aesthetic and commitment to exploring tricky emotional territory. For every moment that courts the bizarre, there’s a moment that refuses to shy away from the difficult edges of guilt, trust, or grief that defines that human element of the show. And in season four, subtitled Dream Door, the show doubles down on both of those aforementioned aspects: the plotline is the series’ most bizarre yet, revolving around a pair of newlyweds, Jillian and Tom, dealing with a killer contortionist clown who arrives soon after a rift opens up in their marriage. It is also the most emotionally driven season of Channel Zero. And it may well be the best.

Channel Zero’s first three episodes, in particular, constitute not only the most surreal slasher to have come along in years but probably the best as well. Though the pace still veers towards the slow-burn of prior seasons (the first act of violence doesn’t come until the very end of the first episode), episodes two and three maintain a wonderful sense of tension throughout, as the murderous Pretzel Jack (played by contortionist Troy James) comes after Tom and whoever else sets off Jillian’s emotions. That the psychic connection Jillian shares with Pretzel Jack slowly becomes obvious doesn’t lessen the impact of the impeccably crafted set pieces in the season, especially those in those first three episodes. A chase through a gym in episode three, in particular, may be the best set piece in the entire series run thus far. It certainly helps that Pretzel Jack is one of the best horror villains to come along in some time, recalling everything from Michael Myers to the Xenomorph to Pennywise. At the end of the day, though, he is remarkably distinct in a way that seems new even with all the aforementioned precedents. Read more