To attempt to sum up what Doomsday does well may be an impossible task because it does so many things well. Writer/director/actress Sonja O’Hara has crafted not only an extremely compelling examination of the dynamics of the cult, but she also employs those dynamics to explore themes of feminism, sexuality, and the thin line between idealism and extremism in detailed, thought-provoking ways.

Doomsday is a Canadian-produced limited series about a cult somewhere deep in the woods of the Catskills in upstate New York. The story revolves around the day-to-day activities and conflicts of the Yesterday’s Promise cult, and their alternately terrifying and hypocritical leader Dagny (Karin Agstam). The days of the members consist mostly of working the land and occasionally being sent to recruit new members. Especially skilled at recruiting members is Camden (O’Hara herself), who employs seduction techniques to lure men to the compound. Cracks have begun to show in the loyalty the members have to Dagny, after the murder of one of their own during a baptism ceremony. It’s this event, coupled with others that could potentially lead to the implosion of the group.

In a short amount of time (two episodes plus a bonus short) O’Hara brings to life vivid, interesting characters. Amongst them is the ethereal leader Dagny, the willful and sometimes vengeance-minded Camden, the free-spirited and pure Annie River (Ellen Toland), and the fanatical right hand of Dagny, Joshua (Jaspal Binning). O’Hara structures the story in a way that Yesterday’s Promise always seems to be teetering just on the brink of destruction. She has multiple external dangers as well as internal, so you’re never quite sure where the true danger lies. It keeps you off balance in the most wonderful way possible. Accomplishing this narrative high wire act in such an assured way is one of the more admirable accomplishments for O’Hara. 

Not only does O’Hara display superb writing skills, but her performance as Camden is top tier as well. She is at turns sexy and willful and petty. There are moments where her eyes convey a cold iciness as she appears to view some of the other members as beneath her, unworthy of her presence or skills. Karin Agstam, as Dagny, is equally as memorable. Dagny doesn’t seem human, more so than an entity that seemingly emerged from the forest. What makes her a truly memorable character, however, is how quickly she can turn on a dime. Dagny offers the nurturing and loving nature of a mother, but when displeased or crossed, reveals a side that is horrifyingly callous and violent. She is willing to do whatever is necessary to keep hold of power and what she has built intact. 

There is so much that could be discussed, but Doomsday is something that should be experienced rather than explained. Its assured writing and confident directing (there are wonderful visuals present throughout) make it apparent very quickly that the audience is in very capable hands. While Agstam and O’Hara are the stand-out performers, the cast as a whole is strong and convincing in their roles. It’s a story that different people will take away different things from, and that is another one of its amazing accomplishments.

9.5 out of 10