The Baby, Episode 6 — The Rage Review

The Babywich Cuckoos

By Mark

Mrs. Eaves, Amira Ghazalla (“ Star Wars: Episode VIII — The Last Jedi”, “ Carnival Row (TV ) “), and Nat, Michelle de Swarte (“The Duchess (TV)”), wake on the floor near the fire. It’s morning and everyone is standing around looking at them.

Nat asks Barbera, Sinéad Cusack (“Wrath of the Titans”, “Jekyll and Hyde (TV)”), for the baby, but she refuses. Nat gets more and more irate, swearing a lot, then suddenly the children run-in and snatch the baby.

Nat, Mrs. Eaves and Bobbi, Amber Grappy (“Wrecked (TV)”), find the children in a small barn, all Midwich Cuckoo’s-esq, in a semi-circle around oldest girl Sally, Beau Gadsdon (“The Girl in the Spider’s Web”, “ Rogue One “), all frantically drawing the same picture, of Helen walking into the lake, drowning herself.

Nat wants the baby, Mrs. Eaves wants the baby, the children say he wants his mum. Then they all start performing self-mutilation and Sally legs it with the baby.

Barbera and the rest of the adults find the children at the edge of the lake, the baby in front. But, as they approach, the children start throwing stones at them.

By the time Nat and, a now hobbling, Bobbi arrive at the scene, everyone and everything is a bit mental. Nat gets Bobbi to distract the baby whilst she gets Barbera out of there.

The trio wind up in Barbera’s workshop, hiding from the vicious children. This is where it all comes to a head between them; ugly truths are told, shadows from the past resurrected, no-one wants to hear the painful truth.

Mrs. Eaves meanwhile is busy wandering through the forest. It’s clear now who she is, though this episode makes it abundantly clear, just in case you didn’t get it before. She’s having visions, mostly of dead people (not like that), including one of Helen who tells her Jack is still alive.

A frantic episode of The Baby that borrows heavily from a number of other movies and TV shows. Once again we are lacking much of the dark comedy we have seen previously, favouring a more frenetic push towards an ending, of sorts.

Originally published at



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