In “Mending Wall,” Robert Frost wrote: “good fences make good neighbors,” but it is unclear whether the poet laureate truly agreed with the sentiment. For the Chenoweth Family and their neighbors, the border a gasmask-clad man draws around and through their properties represents a deadly sinister invisible barrier. The mystery man certainly looks creepy—presumably that is why he is featured on the series key-art. However, a far greater threat lurks within their side of the line througout creator-writer Ian McCulloch’s eight-episode Teacup, based on Robert McCammon’s novel Stinger, which premieres today on Peacock.

The Chenoweth household is deceptively calm, but the disheveled woman wandering through the surrounding forest with her hands zip-tied clearly represents an ill omen. The animals are also restless, which never bodes well. That night, the Shanley family arrives unannounced, desperately seeking Maggie Chenoweth’s veterinarian services for their horse, who injured himself while having violent fits in his stall.

 

Soon thereafter, eight-year-old-ish Arlo Chenoweth disappears into the woods. As Chenoweth cares for her patient, her husband James and the Shanleys search the forest for Arlo. For the Shanleys’ son Nicholas, this represents a potential opportunity, because he still carries a torch for the Chenoweths’ teen daughter Meryl. However, it is quite awkward for James, because his wife knows he briefly carried on an affair with Nicholas’s mother, Valeria Shanley.

Several hours later, Donald and Claire Kelly also arrive at the Chenoweth farm, searching for their runaway dog. Since this is rural Georgia, Mr. Kelly travels with several large firearms. James initially resents what he considers Kelly’s gun-nut paranoia, but they prove useful when all three families find themselves cordoned off together, facing a mysterious threat. James’ mother Ellen tries to be a reassuring influence, but tempers flare as they all deal with the stress of their bizarre quarantine.

Initially, it is unclear how the man who will be known as McNab knew where to draw the blue demarcation line. However, the gory consequences of crossing it unprotected soon become spectacularly clear. Unfortunately, McNab is not the one they need to worry about. Something sinister is stalking Arlo, which will kill anyone who gets in its way. Again, McNab has an ominous but sage piece of advice: “don’t trust anyone.”

Frankly, it would be spoilery to explain the title, even though its meaning is clearly foreshadowed in the very first scene of the initial episode. Regardless, the title probably needed to change from McCammon’s Stinger, because McCulloch and “staff writer” Zoe Cooper never use the term “Stinger” as it appears in the novel.

Regardless, Teacup is the sort of series that hopes to keep its secrets closely guarded. Perhaps that is for the best, because it uses many plot devices associated with science fiction to serve horror functions, but they might sound misleading out of context. Of course, it is no accident the final two episodes will drop on Halloween. The series boasts a good deal of eerie and sometimes grotesque imagery, as well as a steadily escalating tension. This certainly reflects the skillsets of three of its four directors, notably E.L. Katz (Azrael, ABC’s of Death 2), John Hyams (Sick, Alone), and Chloe Okuno (Watcher), who have reputations in the horror genre. Of course, this is especially true for executive producer James Wan. Regardless, the sensation of claustrophobic confinement and the baffling nature of the perils confronting the three families quickly pulls the audience in.

Yet, Teacup also connects very directly as a family drama, albeit one involving extreme, otherworldly circumstances. Yvonne Strahovski earns a great deal of credit for its success in that respect. Her portrayal of Chenoweth, the spurned tiger-mom grabs viewers on a fiercely emotional level, but in a credibly grounded way. Arguably, Scott Speedman’s performance approach as James Chenoweth is more laidback, perhaps to a fault, but when they finally start to really communicate late in the series (rather than merely talk at each other), their shared scenes hold great resonance.

Rob Morgan is appropriately twitchy and off-kilter as the unstable McNab. Likewise, Caleb Dolden is suitably odd and awkward as troublesome Arlo. Kathy Baker also makes the most of her opportunities to take her reassuring grandmother role in some strange and scary directions. Chaske Spencer broods like burning hot coals as Ruben Shanley, the betrayed husband and neighbor, while Boris McIver perhaps most subtly subverts audience assumptions as Donald Kelly, elevating the well-armed character above and beyond unflattering stereotypes of rural Georgia.

Based on McCulloch’s adaptation, it is easy to imagine how McCammon’s publisher might have positioned Stinger as his equivalent to The Stand. The horrors unleashed hold large-scale implications, but they are presented from a very relatable human perspective. McCulloch’s Teacup captures that human element, which makes it quite compelling and often nerve-wracking. Recommended for fans of McCammon and horror that crosses over into science fiction terrain, Teacup premieres today (10/10) on Peacock.

Grade: B+

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Here’s the trailer of the series.