The inverted pentagram carved into Mae’s back is a striking image, one that lingers long after the opening credits of Devil in Ohio fade away. It’s a mark of something sinister, a promise of darkness to come. Yet, as the series unfolds, that initial intrigue dissipates like smoke, leaving behind a familiar blend of suburban dread and cult horror tropes that fail to coalesce into anything truly terrifying or original.

Created by Daria Polatin and based on her novel, Devil in Ohio is a limited series that premiered on Netflix in September 2022. It follows Dr. Suzanne Mathis (Emily Deschanel), a psychiatrist who takes in Mae (Madeleine Arthur), a teenager with ties to a devil-worshipping cult. The premise is ripe with potential—think The Haunting of Hill House meets True Detective—but the execution is disappointingly mundane. Over eight episodes, the series struggles to maintain the tension it so carefully constructs in its opening moments.

What saves Devil in Ohio from complete mediocrity are its performances. Emily Deschanel, known for her role in the long-running forensic drama Bones, brings a grounded intensity to Suzanne. Her portrayal of a woman desperate to protect a stranger while also shielding her own family is compelling. Deschanel’s performance is nuanced, her expressions and body language conveying a range of emotions from determination to fear and guilt.

Madeleine Arthur, as Mae, is equally captivating. Arthur’s stoic demeanor hides layers of trauma and secrets, and she expertly navigates the fine line between victim and potential threat. The supporting cast, including Sam Jaeger as Suzanne’s husband Peter and Xaria Dotson as their daughter Jules, provides solid support. However, their characters often feel underdeveloped, relegated to reacting to Mae’s presence rather than existing as fully realized individuals.

The series’ strongest moments come when it focuses on the psychological unraveling of the Mathis family. A scene where Mae’s presence disrupts a family dinner is particularly effective. The tension is palpable as the cult’s influence begins to seep into their lives, and the sound design amplifies this unease. The silence between characters feels heavy, the air thick with dread.

However, Devil in Ohio often falters when it veers into predictable horror clichés. The cult, for instance, is never as menacing or mysterious as it should be. Instead of a shadowy organization with its own agenda and rules, it’s reduced to a bunch of hooded figures spouting generic satanic rhetoric. The series also struggles with pacing, meandering through subplots that add little to the overall narrative.

One such subplot involves Detective Lopez (Gerardo Celasco), who is investigating Mae’s case. While Celasco brings a certain gravitas to the role, his character’s storyline feels tacked on, a half-hearted attempt to add another layer of intrigue to the series. Similarly, the dynamic between Suzanne and Peter becomes increasingly strained as the series progresses, but their conflicts often feel contrived, designed to create drama rather than stemming from genuine character development.

The cinematography, while technically competent, lacks a distinct visual style. The series relies heavily on dim lighting and shadowy corners to create atmosphere, but it often feels like a crutch for a story that isn’t as engaging as it should be. The direction is functional, but it rarely takes risks or offers a fresh perspective on the material.

Where Devil in Ohio truly stumbles is in its handling of themes. It touches on ideas of family, protection, and the corrupting influence of power, but it never delves deep enough to say anything meaningful about them. The series is content to skate the surface, offering up lurid kicks and jump scares rather than a substantive exploration of its central ideas.

In comparison to other recent entries in the psychological thriller genre, Devil in Ohio feels particularly lacking. Shows like The Haunting of Hill House and True Detective manage to blend suspense with deep character studies and thematic complexity. Devil in Ohio, on the other hand, is content to play it safe, never pushing the boundaries of its premise or its characters.

That being said, Devil in Ohio isn’t without its merits. It’s a watchable series, one that offers enough intrigue and tension to keep viewers engaged. It’s just a shame that it squanders its promising premise with blasé execution. The series is likely to appeal to fans of suburban horror and cult thrillers, but those looking for something truly chilling or original may find it disappointing.

In the end, Devil in Ohio is a missed opportunity. It has the makings of a gripping psychological thriller but settles for a safe, formulaic approach.