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By: Martin Carr<\/strong><\/p>\n Note: only the first episode of The Devil\u2019s Hour was made available to review<\/i><\/p>\n With the release of this supernatural thriller from executive producer Steven Moffat on 28th October, Prime Video<\/a> invites audiences to ask the question \u2013 what exactly is The Devil\u2019s Hour<\/a>?<\/p>\n With a season premiere which features abstract imagery and a cavalcade of sensory assaults, the series never proves to be an easy watch. Five minutes in, Lucy (Jessica Raine) and Gideon (Peter Capaldi) are captured conversing in a blacked out room. She is pale, bruised and defiant in the face of her interrogator who sits opposite, handcuffed yet commanding. Exposition is limited and other story telling staples are thin on the ground, making this show almost impossible to pin down for audiences seeking context.<\/p>\n Creator Tom Moran (The Feed) throws in elements of The Sixth Sense early on through Lucy\u2019s troubled son Isaac (Benjamin Chivers), whilst establishing her nocturnal existence and sleep deprivation as key elements in this abstract thriller. Every night, her sleep is disturbed at 3:33am, while disturbing visual distortions of future events undermine her grasp of reality. It is this narrative limbo which audiences are asked to embrace early on, as The Devil\u2019s Hour does away with convention.<\/p>\n As a manager for social services, Lucy starts at breaking point and ramps up slowly to psychological implosion as episode one ticks on. Diving daily into the traumatised lives of others, Lucy can see tragedy at every turn as innocent everyday objects foreshadow murderous intent \u2013 a situation which is only exacerbated by the intrusion of dreamlike images into her reality, as walls between these worlds erode.<\/p>