In a fever-dream crossover of cult horror, Maggie Evans wanders out of the fog of Dark Shadows and into a candlelit room where the Devil waits—not as a horned beast, but as a soft-spoken tempter who offers her truth at the cost of identity, whispering that faith is only another locked room. That bargain curdles into the cold, clinical terror of Rabid, where secret private research hides behind hospital walls, bodies become test subjects, and progress spreads like an infection no one can quarantine. The same exploitation echoes in the brutal futurism of Deathsport 2000, where Claudia Jennings’ feral grace cuts through a world that treats death as spectacle and women as expendable assets. Together, these visions braid temptation, science, and spectacle into one nightmare: evil isn’t summoned—it’s funded, patented, televised, and sold back to us as salvation.