Could there be a more fitting show to debut just before Halloween? Yaga, a dark, witch-infused delight, is a pure Canadian production through and through. It was on my radar thanks to Heated Rivalry breakout Hudson Williams, but the pedigree of talent involved is staggering. Hunky heartthrob Noah Reid—David’s love interest in Schitt’s Creek—and femme fatale vixen Carrie-Anne Moss (The Matrix, Jessica Jones) also star, and playwright Kat Sandler steps in to write, executive produce, and showrun this series adaptation of her work. An erotic horror thriller charged by an enticing cast and a charismatic lead performance from Reid, Yaga is a bewitching journey told through the lens of its sassy private investigator.
In an immaculate setup that feels plucked from the pages of a pulpy novel, a creepy woman’s voice sets up the legend of Baba Yaga, an ancient witch that supposedly feeds on the bones of children. Though this woman will bookend every episode of the series, she is actually not our central focus, nor do we know her identity by the close of episode 7, the final one provided for critics ahead of the premiere. Private investigator Charlie Rapp (Reid) arrives at a sprawling mansion, tripping his way off the family helicopter as he arrives to investigate the mysterious disappearance of billionaire heir, Henry (Hudson Williams). The local police department promises Rapp full cooperation, offering up detective Carson (Clark Backo) to assist him on the case. In a typical polar opposite pairing, Rapp and Carson clash, as she is overly confident that Henry is merely a rich kid on a joy ride rather than genuinely missing.
The case immediately compels, and feels specific enough to set it apart from similar detective shows. For one, Henry’s roommate, Logan (also Williams), looks exactly like him in every way, save for a prosthetic nose and a clunky set of chompers. The double dose of Williams makes his two shady characters stand in stark contrast to one another as their appearances are peppered throughout the eight episodes. Another rather odd detail about Henry’s apparent vanishing: someone appears to be tipping off Rapp as he inches closer to the answers, plagued by strange visions, garish masks, and cult-like overtones. College professor Katherine (Moss) adds another layer of intrigue as a seductive bone/sex expert with a taste for the wilder flavors of life. The town is filled with a bevy of strange characters and Twin Peaks-esque players, adding further texture to Rapp’s journey and his time spent within.
In just half-hour bursts, Yaga never overstays its welcome, flipping between flirtatious Rapp moments, disturbing horror, and sexually explicit intrigue with almost equal weight given to each facet. As the investigation widens, the eroticism level cranks up in tandem. When the body count rises and the strange, witchy spells and creepy rituals take hold, there’s no telling the direction the show will head. Though the finale was not screened for critics ahead of release, I have no doubt it holds the answers to many of the longing questions. There is plenty to admire, but also a few frustrations emerge. I would love to have seen even more ritualistic horror, but focusing strictly on Rapp’s perspective puts a kibosh on that angle. Similarly, a couple elements of the plot feel like they are not fully realized, though the short length in episodes actually results in them lacking filler. Each moment feels necessary, despite lacking a true payoff. Where the formula begins to grow slightly little repetitive is mostly in terms of Rapp’s visions, and their disturbing, haunting nature. A few complaints may actually be remedied with the finale, so the jury’s out there. But even if this isn’t a perfect show, it’s absolutely an entertaining and gripping one.
As for the performances, they always elevate the scripts, and wonderfully compliment the often eerie atmosphere. Rapp’s nature is incredibly charming, so it’s no wonder he attracts the women he does during the course of the show. This is all thanks to Reid’s unending charisma. I had never seen him in a major role such as this outside of Schitt‘s Creek, and he does a terrific job. Backo’s Carson makes a great opposite to Reid, as she struggles with the smalltown side of things and especially with Rapp’s techniques. He certainly approaches the investigation a bit… out of the box, to put it mildly. Though her role is a little smaller, Moss eats up the scenery, and has a tantalizing part to play in the proceedings. Likewise, Williams actually acts as a sort of lynchpin to the plot. Both his characters are central to the unfolding strangeness, and his every appearance is charged with a strange energy.
Canada knows how to deliver shortform entertainment in potent doses without overstretching the material. If anyone understands exactly what they’re doing, it’s showrunner Sandler, also the playwright of the play of the same name. While seemingly unclear if an intention exists to continue the series on past this enthralling debut, there’s enough stylistic sharpness and depth to both the characters and the setting that I would be open to seeing more Yaga in the future. Dial up the witchiness and the horror, and it would transform a good show into a great one. Yaga still becomes a fun series that ultimately could benefit from a little more depth. Yet, like Rapp’s internal struggles, its mesmerizing visuals and oddball characters may linger long afterward.
Yaga conjures up a two-episode premiere on Friday, October 23, exclusively in the U.S. on AMC+. New episodes debut Fridays, with a two-episode finale set for Friday, November 27.
