A solid vehicle for the preternaturally charming Bacon, getting its goofy-gory job done with the same sort of efficiency and ramshackle energy that its hero brings to his Faustian gig.

I had a few issues with the show during the first half of the season, but as we started to delve deeper into the characters and saw more of Hub's family, I felt like the final four episodes really helped sell the show's vision to me to the point that I would love to see more of them.

There is nothing very new to see in The Bondsman. How much you enjoy it will depend on how much you enjoy Kevin Bacon (laconic, hard-bitten Kevin Bacon, not Tremors Kevin Bacon and not Footloose Kevin Bacon), how much you enjoy tales of demonic possession in a small town in southern America and how much you enjoy the sound of partly severed heads, blown-out tracheas and bloodied fingers.

There is a smattering of Appalachian lore, a barely-bothered with throughline about condemned souls and redemption, some quite good jokes and an awful lot of Bacon killing things. Something for everyone, then – if quite a lot for no one too.

“The Bondsman” starts strong, but before long, Hub’s vintage truck has run out of gas.

“The Bondsman” struggles to figure out what it even is. The obvious comparison would be something like “Buffy the Vampire Slayer,” but the show takes a long and winding road to nowhere instead. It’s a problem inherent to the ultra-short streaming seasons. The show’s genre and its episode order are at odds.

Hideously shot through with CGI that would have looked dated two decades ago, filmed with almost no sense of atmosphere whatsoever, and ground down by dialogue that rarely sounds like it’s being said by an actual human being, The Bondsman serves no purpose other than to add a few new deep cuts to the next round of “Six Degrees Of Kevin Bacon.”