Tag: Creepshow Commentaries

Creepshow Commentaries Season Three – Episode Six: Drug Traffic/A Dead Girl Named Sue

~ matthewkirshenblatt ~ Leave a comment

Warning: Potential Spoilers for Episode 6: Drug Traffic/ A Dead Girl Named Sue 

So, despite my reservations from my look at Episode Five being equaled or topped by this  Season Three Finale, Creepshow delivered. And it delivered with power.

Literally.

There is a bit to unpack here, thematics aside, and I can’t promise that I will be able to talk about everything. These Commentaries, like most of what I write, focus on what truly stands out to me. Certainly, many other articles and commentators will examine exactly the elements that I want to look at here, and I feel like — at best — I will just look at the impact that it has on me as a viewer, and a student of horror. That is the best you will get here, and all that I am willing to promise. 

First, we have “Drug Traffic”: a story by Mattie Do and Christopher Larsen, with the teleplay written by Larsen, and the entire segment directed by Greg Nicotero. I just want to talk about the monsters here, to be frank with you, but the only way I can do that is to go a bit into the context: into the situation with which we are presented.

An American politician is riding what seems to be a Greyhound bus with various people, many of them ill, across the border to Canada so that they can get proper medical treatment. This fact, in and of itself, is a commentary on America’s terrible medical care system for those who are not upper-middle class, or generally privileged ethnically or racially as well as a look at how people will use this issue — under the guise of moral outrage — to gain power, or reinforce their own sense of moral superiority while not giving a single damn of the people truly affected by these forces. 

The politician, and the border guard symbolize both of these aspects. The politician running for higher office wants everything recorded, including him making a show of using his power to challenge this guard and his systemic discrimination. But the guard is intelligent and has his own left-of-centre views: calling the politician out on quoting Karl Marx, and blaming his posting on this outward border on his own views. Further, he does perform his job to the letter of the same system in which the politician wants to elevate himself, and he will detain and go so far as to handcuff someone in order to prove a point: whether someone else’s life is at stake, or not.

I am not sure which one of these people I dislike more: the politician is at least honest or transparent that the ordinary people he is escorting to the border to make a point about the terrible condition of the States’ medical program that they have to leave the country — claiming to want to make reform should he get his votes — are tools to that end. The border guard goes out of his way to say he is an ordinary man, and has the audacity to moralize to a woman he handcuffs and denies her daughter seemingly life-saving medication: claiming she is carrying more than the allotted amount of unknown drugs out of the country to another, and that her taking her daughter to another country for treatment is just a short-sighted solution for the greater problem that is America.

Meanwhile, that Asian-American woman is giving her visibly and chronically ill daughter Mai pills to keep her stable. And by stable, I mean in her body, and not detaching her head and neck to hover, and feed off the flesh of human beings.

And that was when I realized, I’d seen this before. The Far East Asian woman with the head that either elongates, or detaches all together is something you would see in, at least within Japanese folklore, as a member of the yokai or youkai: specifically a Nukekubi. Yet I also wondered, when I saw this, especially when I realized the medication the mother was giving Mai had information in a Chinese dialect. And this made me look up more information: to see if these beings existed in other places aside from Japanese mythology. And, as it turns out, there are beings called hitōban, or rakutō: though the former already has a line around its neck, and the latter’s body remains resting in its bed while its head roams. They feed off of blood and human flesh, but they also need to ingest vermin and lamp oil of all things. There are many different depictions of these beings in Far East Asia, and South-East Asia, but one interpretation states that if you move their bodies, their heads can’t reunite with them, and they will die accordingly. 

Mai seems to be, based on her entrails remaining under her hovering neck, a Laotian variant of this kind of being: a Phi Kasu: at least according to Ryan Thao Worra’s article Japanese yokai: The Rokurokubi on his Blog On the Other Side of the Eye. She doesn’t have to sleep for the condition to manifest either, but she does require feeding or a bloodbath will happen. 

My personal thought is that those pills Mai’s mother was feeding her, to suppress her hunger for human flesh and blood, contained specialized animal matter, or even something like lamp oil though there are issues with this concept because neither of these are illegal, or potentially illegal substances. There is also the possibility that it is brine in those pills, which is used apparently to reduce swelling in the organs so that their heads can safely return to their bodies, again according to Worra in his article The Phi Kasu: Supernatural entities of Laos on the above Blog. Certainly, Mai doesn’t need sleep for this condition to happen, though it tends to manifest at night: which seems to occur as she and the other passengers are detained by customs, and her body expels her — or her head leaves it — explosively, with only gore behind. 

I am not a cultural expert in this field, though it fascinates me to no end, but there is a folkloric antecedent for the brilliant practical effects rendition of the being that is Mai, this cross-cultural counter on a border between the East and the West, but there is an even greater precedent for how she, and her mother are being treated in this story: especially with regards to American land border crossing. I’ve taken Greyhound Buses before, and there have been a few instances where families or groups, usually non-white, are detained for a while as customs officials question them: delaying the bus from going further. Profiling exists in the system. Mai’s mother is Far East Asian, perhaps Laotian, but neither the politician nor the border official seem to bother to want to make these distinctions. Certainly, she has every right to take offense when she’s asked to read the Chinese on the packages of the medication involved that even she doesn’t know the contents of: as if just by being Far East Asian, even Asian American, she should automatically know the language. 

It’s true that Mai does look suspiciously sick — perhaps in withdrawal, or overdosed — and her mother is carrying a lot of drugs beyond the allowed amount, but I suppose I thought that the politician’s campaign was more publicized, and there was this implication that Mai was chronically, or terminally-ill. But the system is a failure: there are no Asian-American representatives at the border facility, no medical experts or even First Aid apparatuses. The guard is the only personnel there that day, and there is some obvious understaffing and underfunding going on despite the really fine waiting room everyone else sits in which I have never seen at a border station before. And, as i said, the official immediately wants to make an example of Mai’s mother just to spit in the politician’s eye. 

It could have been a completely avoidable situation, but instead it escalates, everyone else dies, and the politician and border official end up hacking Mai’s body up with an axe while her mother screams out for her, chained to a table, helplessly. And the sad thing is: Mai isn’t a terrible being. She doesn’t immediately try to feed on someone. She isn’t mindless. She is willingly taking the medication, and she almost loses her inhibition only when her mother is taken from her: and even then, one of the politician’s guards scares her away. She then tries to get candy from the vending machine, and looks in the official’s fridge to find food of any kind, and fails. 

Mai can’t help her hunger. I have no idea what kind of aid she expected to find in Canada compared to America for her condition, which is what it is in folklore: she isn’t part of another species, but rather it is an affliction, or a curse … or at least another state of being. Maybe her mother wanted to get her better medication that she doesn’t throw up, or a food she can safely ingest. We will never really know, unfortunately, as her mother cuts off her own head with glass so that Mai can take a new body.

And what happens at the end? What happens when the official destroys Mai’s body “for her own good,” and the politician admits he isn’t going to change the system, says racist shite about immigrants, and callously doesn’t seem to even care about his dead and eaten wife as they both drink some beers? Does Mai kill them?

No. Mai takes her mother’s broken body and staggers back to the bus … to be let on by the Creep. He does this sometimes, in some of the segments. He will interject himself at the end of stories, and break that fourth wall, and in this case — despite the animated skit of him holding her head joyfully out of the window — he is actually the good guy here. Mai is given the chance to live. She chooses to live despite everything that happened to her, and her mother, and the Creep takes her out of a narrative where she is doomed to make other minorities and sick travelers from the States suffer, to hopefully a better one with no further loss, and perhaps somewhere where she can get help, and be accepted. 

It’s like what they say about Frankenstein: the Monster isn’t Frankenstein, but Victor Frankenstein is the monster. And the Monster isn’t a monster, but the Creature. And Mai is only a monster in a system that hates sick people that can’t pay for their right to live, and placed in a system that is actively hostile towards her in a kyriarchal manner: for being disabled, female, and Far East Asian. At best, she is like what I’ve read of the rokurokubi magic tricks in Japan: where she is a minority token of exoticism to prop up a white American male politician’s career, and at worst a foreign abomination that needs to be exterminated, and an example of what “not to let into the country.” And I find it fitting that while the politician barely mourns the wife that Mai killed, she grieves for the mother who sacrifices her life so that she might live: an exchange of heads, of glances, on the floor of sterile governmental bureaucratic brutality in a parody of that Japanese magic trick that allows her to live, and flee the land of the free and the home of the brave that claims to want the tired, the poor, the huddled masses yearning to breathe free, and the wretched refuse of another’s teeming shore. 

I intimated that the politician and the border official are cynical and exploitive, and well-meaning and self-sanctimonious monsters respectively but they are just symptoms of a greater social justice system twisted and horribly wrong: creating disasters. And it is a theme that continues into “A Dead Girl Named Sue.” 

It is a black and white production, with a few exceptions. At first, I thought what we would be seeing is a homage to Serling’s Twilight Zone, or Hitchcock’s Psycho. But the clues are there. It is all black and white, and the date is 1968 during a time of upheaval. “A Dead Girl Named Sue” is written by Heather Anne Campbell, and directed by John Harrison. A small town police officer is confronted by a group of citizens, Black and white, who want to find a young man who has been committing atrocities, the son of their Mayor who has been escaping justice, and take the law into their own hands.

The segment has a slow creeping reveal of events worthy of George A. Romero’s ghouls. And at first, I wondered: were they really going to go there?

And they do.

By god, they do.

In the background, we hear about attacks. And it’s clever. At first, you think it might be Race Riots. Certainly, the timeline as when Romero’s creation was released, would line up with that. But then you hear reports of half-eaten victims, and news reports. And then went there. By god, they go to that place. I recall being disappointed by “Skeletons in the Closet” and wishing that Sentinel from the previews would be used in a story that was an outlier set in the dreamscape of Phantasm, just as the Deadites and the Necronomicon were flat-out introduced in “Public Television of the Dead.” Certainly, Night of the Living Dead” was also referenced towards the end of the Creepshow Season Two finale segment “Night of the Living Late Show.” I never even considered it. 

Yet here we were. Here we are, for that matter. We have basically something like a “Times is Tough in Musky Holler” situation, but I would argue it is more immaculate as you aren’t sure at first where it will go. The officer denies vigilante justice, even as they claim “the law won’t matter tomorrow” which is another clue as to what is going on. He instead goes to find the young man who has been committing these crimes, and arrest him again. This is where, at his place, he finds an old woman with parts of her gnawed off and the back of her head blown off as well. 

At first, you might think that the officer and the criminal have to band together and fight off the legions of the undead in this isolated place. But this officer isn’t Ben, and he sees something on the floor: a blue ribbon in this black and white world. He also notes the bed and the chains and the blood stains around them, which the criminal claims to be from “breaking his dogs in.”

What we see is something truly beautiful. 

The officer arrests the criminal. The young man is belligerent. He thinks that his father will just bail him out again, that he will just escape another trial, and the officer will be punished. It is methodical, much like Romero’s ghouls using tools to bring into a house, or slowly take some bodies apart from which to feed. The police station is still whole. The officer’s subordinate is still there. The townspeople are alive as well.

By the time a large, silent group of people walk down into the cell where the criminal is being held, you almost think they are — if you will pardon the reference to a spiritual descendant — the Walking Dead. But they are not. They are all the townspeople that this man wronged: everyone who lost someone they loved to this madman who has Daddy protecting him.

He is given a chance to admit to his wrongs, but he refuses. This is when the sack is brought downstairs: the squirming, shrieking sack. You see, there was a girl named Sue who had gone missing, and had been killed. This terrible person did it, but the coroner who could have done forensics on her body conveniently went on an all-expenses paid vacation to a resort courtesy of the criminal’s Mayor father. The problem is that standard procedure was to remove the brain, and put it in a jar: something that didn’t happen as the coroner was already gone. Sue reanimated, and well …

Sue and the criminal are reunited. You see a brief flashback, as you look at her very red ruby ring as she crawls towards him in that cell, of how he lured her to him, chained her … and let’s just say, I strongly suspect that her viciousness towards him, biting chunks out of him was more than just the ghoul need for flesh. 

By the time it is over, the officer admits to everyone as they ask him why he changed his mind, why he gave into vigilante justice, that if these are the End Times, where the dead are rising to plague the living, they probably deserved it. I would had him say something along the lines of:

“If these are the End Times, then let this be Judgment Day.”

The story ends with the officer and the others going to get the Mayor, to let him join in his son’s fate as society crumbles all around them. So fucking satisfying.

As I finish this write up of the Season Three of Creepshow, I have to note the following. The finale comes almost right before not only Halloween weekend, but Joe Bob Briggs’ Last Drive-In Walking Dead Special on Shudder, and it couldn’t have been timed better. We live in uncertain times of socio-political unrest, of chaos, and this episode hits harder than a double-tap to a zombified skull. And I am all for it.

Perhaps Season Three started out ambling, but it finished off strong: with the power of a broken system that needs destroying. And yet, that is the question: when this is done, what will we see after it? The Horror Doctor doesn’t know. But we will continue to find out. We will continue to write about it, and with both dread and anticipation, I intend to do so. And I need to watch more of Romero’s ghoul movies. All of them. 

Creepshow Commentaries Season Three: Episode 5 – Time Out/The Things in Oakwood’s Past

~ matthewkirshenblatt ~ Leave a comment

Warning: Potential Spoilers for Episode 5: Time Out/The Things in Oakwood’s Past

To be honest with you, I wasn’t sure if I was going to write this Commentary this early morning during my nocturnal hours. I finished most of the films of the Toronto After Dark Film Festival, even as my grandmother was fading from almost a century on this Earth. Frankly, I just didn’t know if I had time.

Time.

If there is one thing this episode of Creepshow has in common it is literally the theme of time. Remember when I left off my last entry wondering what surprises this show would have for us next week? Well, they weren’t exactly surprises. When you study a literary or cinematic trope for a while you identify beats and patterns. You can generally see where the story is going when you are practiced enough, or you’ve seen a fair bit. 

It’s like knowing people are born, they live, and they die: just as you have, you are, and you will — or that there are cycles to events that will always come around again. Sometimes you might forget the particulars, or lose yourself in the moments — and those are the places and situations that stand out from what is otherwise a predictable existential framework. 

“Time Out” is a story written by Barrington Smith, and Paul Seetachitt, and directed by Jeffrey F. January. A young man named Tim gains an inheritance from his grandmother Catherine, who recently passed away. I can’t begin to tell you how that hits close to home due to the fact that as of this writing two or three days ago my grandmother also passed. But unlike The Complete Works of Shakespeare that I was given, Tim gets a wardrobe that his grandfather — a World War II veteran who also apparently had a monkey’s paw (and thank fuck it wasn’t going to be a repeat of that episode, or the story from which it was derived) — got in Germany. Tim had also been at his funeral when the segment starts, and his grandmother warns him away from the wardrobe before he can go in there with the key he discovers in the drawer.

That wardrobe is no gateway to Narnia, however, and the key is no Silver Key back to some halcyon childhood, or dreams, or other planes of existence. Instead it contains a pocket of time outside of the main flow of linear time. And Tim takes advantage of it. He does much of his academic and legal work, spending hours in that wardrobe getting it all done just come out without even a second of external time passing. I’m not going to lie: as a writer, and creator I would have abused the hell out of this artifact. Imagine how many works I could create in there: though whether or not I’d be able to get a wifi signal based on the different flows of time is a whole other matter.

No, the wardrobe has two drawbacks: the first is that time does pass for you, and you will age more quickly. The second is that you must keep that key on you. Otherwise, the doors automatically close, and they will not open.

Tim is a man that wants to make up for the lost time of his father who died prematurely in a car accident before he could finish law school, or spend time with him. The poetic cruelty is that while he accomplishes tremendous amounts of work in shorter periods of time — relatively speaking — he accelerates his own physical decline, and doesn’t spend time with the family he’s making. The man even has a mini-stroke at a younger age: with the doctor going as far as to say he has the health of a man ten years older than he should be. 

It’s the same challenges someone would have in a high-pressure job, and having a family: in the workload always being on you, and the people you love wanting to spend time with you whether you are in your own mind a success, or not. But as Tim’s grandmother Catherine puts it, “you can’t cheat time.”

Tim almost backs off. He almost listens to his wife in saying that she doesn’t care about his position, but that she just wants him to be with her and his son. He should have listened, right? But Creepshow is about more than retribution, but also morality tales. In the end, he goes into the wardrobe one last time, and his key falls out of his pocket: outside. We already saw what happened to the cat at the beginning of the segment, and poor Kitty didn’t make it to Ulthar. And what makes it worse is after Tim turns into dust, his son goes into the closet — too — and the door shuts. That is how the story ends.

Tim’s grandfather had done the same thing. His father died in a car crash. And both Tim and, presumably, his son will follow them. There is always just that one more thing, you know? That one more task. Then you can rest, right? Then you can replenish yourself, or heal. But it’s always that one more thing, that becomes many more, and even when you see it coming the pressure, and the expectations on yourself keep accumulating … until it is inevitable. Until it’s too late.

This story hit me hard, and it would have done so even before the events of this week as I write this Commentary. Even now, I’m writing this extremely late when I should be sleeping, when I’m mindful of the habits that I kept when I was younger not necessarily serving me now that I am getting older. Imagine if Tim had pre-existing medical conditions, and he used that wardrobe. It’s grim, either way you look at it. But damn, did that story deliver. Damn, did I want Tim to make other choices. 

And sometimes, as I said earlier, you don’t see it coming: though there is this nagging feeling that you should. History repeats itself, or at least human arrogance dooms us to a cycle of events. In “The Things in Oakwood’s Past” we find ourselves in a glorious animated feature as directed by Enol and Luis Junquera, written by Daniel Kraus and Greg Nicotero, and directed by Nictero and Dave Newberg. Unholy hell a lot of work went into this production. And Mark Hamill is a voice actor in it too: playing Oakwood’s self-serving Mayor Wrightson.

The story begins in a news segment obliquely referencing a Carpenter Arctic Expedition Collection: a reference to John Carpenter’s classic 1982 horror film The Thing, and perhaps even Lovecraft’s novella  At the Mountains of Madness.

But then we have the actual story. Two hundred years ago, the people of Oakwood disappeared and left that mystery behind them. Now Marnie, the town librarian, found the journal entries of the previous librarian even as the town has discovered a time capsule in the form of a chest that doesn’t look ominous at all.

Apparently, the cycle of disappearances is older than merely 1821. They occurred in 1621, and even 1421 with the Mi’kmaq First Nation. Marnie discovers all of this in the journals, and the realization that the people weren’t killed by plague or war, but by a demonic monstrosity that slaughtered them. And, fairly soon, this iteration of Oakwood will be having its two hundredth anniversary. Marnie wants to stop this from happening, and according to the journal, the original townsfolk believed that the key to preventing their destruction is in the capsule: which, conveniently, has the date “1821” on it. It is also found under a particularly friendly tree that has the same markings in the journal and chest of not a Jack-o-lantern from hell. She and Mac, the news reporter interviewing her, have a great and wholesome attraction as they seek to solve this mystery: especially after the terrifying slides of villagers being massacred and flayed alive.

But Marnie’s father, the Mayor, has them stopped and they can’t open the box prematurely. You can already see where this is going, of course. It turns out, the chest contains the evil that they desperately seek to stop. It’s Pandora all over again. An added twist to it is that the historian Marnie is reading lies about the chest containing the salvation of the town: that an elder killed his daughter, and was then exonerated, and he told the people about the chest to make them open it, and slaughter everyone.

The monsters are grotesque and Lovecraftian. I thought there would only be one, but Hell is generous. We watch as the Oakwood people of 2021 are flayed open, cut in half, amputated, and murdered. Marnie barely escapes, with her father charging the sheriff in getting her — barely — out of town. A demon has a camera strapped to it as they all return into the chest, probably to wait another two hundred years. Why they do this, I don’t know: and it almost doesn’t matter. Demons always have rules, which I’m sure they hate but they will do whatever they can in the meantime within them to get their full of flesh and blood. No one else survives.

It’s sad as you see that these people had lives, and even the historian from two hundred years ago had his very human reasons to make that lie. We see what hell looks like as the demons not only don’t care, but they revel in showing it to viewers. The newspeople attempt to shrug it off and mention something about Rider’s Lake, and I don’t know if that is a reference to anything else. No one really learned a thing about history. The story will live on. It will continue on.

Creepshow outdid itself with this episode. Time comes for everyone involved. And seriously? If this were the last episode of the season, I would be all right with that given its strengths in making us relate to the characters, have empathy for them, dealing with the consequences of hubris and greed, and also telling some good stories, and creating even better art all around. But there is another episode, and I have to say: this one will be harder to live up to … or die for.

Creepshow Commentaries Season Three: Episode 4 – Stranger Sings/Meter Reader

~ matthewkirshenblatt ~ Leave a comment

Warning: Potential Spoilers for Episode 4: Stranger Sings / Meter Reader

I’ve been busy, watching the return of the Toronto After Dark Film Festival and a whole slew of Canadian and International Shorts. After watching these short films, this time on a laptop screen as opposed to the larger theatrical view, and also being away for a day or so having attempted actual sleep during the night, returning to Creepshow is something of a breath of fresh air, or at least a sea breeze.

“Stranger Sings,” directed by Axelle Carolyn and written by Jordana Arkin, has a cute title which is a play off a popular Netflix nostalgia horror series that has nothing to do with this story whatsoever. Right, so the conceit of the story is that a recently divorced gynecologist named Barry meets with a seemingly equally awkward woman named Sara at a bookshop, and she invites him back to her place … where he finds out that her roommate Miranda is a man-eating Siren. Literally. Now, they don’t want to get him in order to devour him, in the ways he does not want. No, Miranda is tired of being an immortal being luring men to their deaths to fulfill her dietary habits, and Sara wants the Siren’s voice to attract, control, and kill any man she wants.

Basically, Miranda and Sara want Barry to switch their voice boxes: rendering the former mortal and human, and the latter immortal and supernaturally powerful. There is a little riff on the Siren mythos in this segment. Sirens technically are bird-legged, perhaps even bodied women that lure sailors to their deaths with their songs. Mermaids are a different form of mythological being preying on male sailors, but in this episode both are called Sirens: they just have different animal parts. So think about the Sirens of Homer’s Odyssey: they aren’t mermaids, but these bird women instead.

You got it? Good. A lot of that isn’t really important to the story. But it’s clear Miranda’s voice has absolute power over a man, and can make him stab his own eyes out, or worse. The eye-rolling practical effects we see when Barry gets affected are impressive. As for the plan though? Well, it is fairly risky for both women to attempt this. For example, they want Barry — who has no medical background or experience to do this procedure — to put one of them under while the other watches: so that there will be no funny business. And Miranda goes first.

I mean, if Miranda is knocked out, Barry could overpower Sara, kill her, and then slit Miranda’s throat. Or, he wouldn’t even need to do that. Think about it: Barry doesn’t have the background to transplant voice boxes or vocal cords. All Barry has to do is fuck up the vocal cords, Miranda is helpless. But Barry is a relatively bumbling, and well-meaning man: who in the beginning of the story says he should be lucky that Sara likes “weird things.” Like him. He just doesn’t have the nerve to do anything of that kind, even the surgery without being threatened. I suppose I can also see why Miranda just doesn’t take over his mind, and make him do the surgery: as she would have to be quiet in order to have that power taken from her, and a man only remains ensorcelled by the Siren’s song if she is singing. It won’t last if she stops. 

It’s an interesting dichotomy looking at Sara and Miranda’s dynamics. Miranda is ancient, at least five hundred years old, young looking and beautiful with the power of her song. But from my understanding, she has difficulty pretending to look innocent, or not-threatening, and this is why Sara is used as a lure to bring ease to men, pretend to need help — such as books and coffee carrying, and door-opening — so that Miranda can do whatever she wants to them, and even feed off them. What’s also fascinating is that Miranda started off as a Siren, and was getting tired of eternity and feeding on human flesh. She couldn’t, as she mentions later, help what she was: which is why she needed someone to “help her die,” and free her from an existence that’s become a burden to her. But Sara is different. Despite her seemingly innocent and awkward mien, she is vain, petty, and cruel. She thinks that a lifetime of being passed over as “the fat or dumpy woman” by men gives her the right to take away people’s freewill, and therefore entitle her to their lives. She makes no bones about wanting to kill Barry once he’s done, and even makes fun of the fact that his ex-wife found him worthless in complete contrast to their sympathy from earlier.

The thing is, Miranda might be a monster but Sara is a genuinely terrible person. In the end, however, as Sara gains Miranda’s voice box and is about to kill Barry, Miranda murders her with a blade bathed in the blood of her last human victim: which can actually kill immortal Sirens as it so turns out. I’m not sure why she killed Sara. Perhaps Sara had always been just a means to end: to allow her mortality. Maybe she didn’t want Sara to potentially kill her one day, or she knew too much about what she used to be. Or perhaps Sara was just that unpleasant a person that even an inhuman being like a Siren couldn’t stand her. Or perhaps, to make another Odyssey reference, Miranda is to Scylla as Sara is to Charybdis.

Or it may be even more banal, as Miranda seems to have a thing for Barry herself. And, after all, she said she “might” let him live if he did as she asked. Certainly, she gave him way more chances to obey her without hurting him too much. Meg Shields, in her Film School Rejects review of the story, examines a lot of its narrative flaws, including the Karmic Houdini aspect of Miranda getting what, and who, she wants despite centuries if not millennia of consuming men. I don’t know. Personally, I was more confounded that Sara wasn’t already a Siren, and I believed there might be a third one as per the mythological trope of mystical, monstrous women. Really, though, I’m glad nothing bad happened to Barry — who seems like a genuinely good person with terrible luck in relationships — and that Sara pretty much got what she deserved. As for Miranda, well can you judge a monster by human standards, and when a monster becomes human and wants to be better — even killing another monster, albeit by their own design — can they be judged by what they once were? Or am I just overthinking this, and would I have made another story with some more depth that Creepshow episodes don’t always allow time for? I like the ending, for what it is, so I will take it. Besides, I absolutely loved the Siren’s lair — their home I mean — and their costume was so ancient Achaian.

But speaking of a lack of consensual control, and a title’s poetic rhythm we have “Meter Reader” to consider. “Meter Reader” is a segment written by John Esposito and directed by Joe Lynch. So imagine The Exorcist: except instead of it just being Pazazu possessing a prepubescent girl to destroy humanity’s belief in a benevolent Creator and Creation, think of a whole slew of demons taking control of millions, if not billions of humans all over the world. There is debate as to whether it is an infernalist attack, or a plague. The episode is narrated by a periodic voice-over from Therese, played by Abigail Dolan, as she explains that less than 10% of the human population is unaffected by the contagion, and of that number a few have created green crystalline wands called meters that can detect possession: and that the people who go out to deal with demonic infestations are called “meter readers.” I absolutely adore the rhyme.

The story, at first, seems to be about a meter reader named Dalton: who visits a mother whose daughter is affected by the plague. Apparently, in this world there is a point where a victim can still be saved if you intervene fast enough, but barring that the only known way to stop a possession is to kill the victim: usually by decapitation. This fact is why there are garbage trucks that come along to pick up heads, and burn them. Also, if someone comes back from the worst demonically-affected territories after three days, they are to be considered infected and quarantined until a doctor can test them. To get it out of the way, the COVID-19 parallels are incredibly on the nose in this story except, I would argue, for one thing.

There are people with natural immunity to this infection. Not so much in our world, and this doesn’t count vaccines: of which this world does not seem to have the equivalent.

When you are first introduced to Dalton, he seems like a lone demon hunter: intervening in the worst places he can. He even carries a mirror, and knows he can spot a demon on its victim through it. He also seems to know that they have names, or true names, and that after conferring with the girl he is supposed to help, he doesn’t seem surprised that her tormentor doesn’t share its name willingly.

I did see that twist coming about her mother, or the adult woman claiming to be so. It was well-played, and even more narratively clever when you realize this isn’t Dalton’s story: but that of his oldest daughter Theresa. She and the rest of his family are waiting for him to return, and realize he is past the time of being safely uninfected. He ends up coming back past that time, and they get him to stay in the cellar: with Theresa wanting to kill him, by his own previously standing orders, because she believes it is too late for him, and he is already possessed. It’s a bit confusing: some people have immunity, but through perhaps intentional exposure to the demons, they can get affected. Or perhaps it isn’t immunity that they have, but greater resistance: which would track more with the COVID-19 parallel.

These parallels keep going. You have people wondering if it is a religious reckoning, or a scientific phenomenon: though in the end, it doesn’t seem to matter how it began, just how it is dealt with. Theresa’s mother wants to let her husband back in the house, downplaying his potential possession and the danger he could pose to the rest of the family, as does her younger brother who her mother keeps encouraging. Theresa also has a bad ass colourful and artistic machete, as Meg Shields also points out. And to think I almost believed it was just blood on the blade.

Now, of course, you know the family are going to break for that cellar. And Theresa has nightmares of her father slaughtered their entire family. She had a younger sister named Maddy who had been taken over, and Dalton had been forced to cut her head off. I knew there would be another twist somewhere. See, I wondered if perhaps that 10% of initially unaffected, or resistant people, were the ones that created the plague or summoned the demons. Maybe they were demons, and they tricked humans into hunting down others of their kind. I mean, those readers look like mystical staves or wands: not something scientists, or even conventional monotheist mystics and theologians would forge. I was just imagining Theresa realizing, or remembering, that she is a demon herself as is the rest of her family.

I was kind of right? It turns out her mother and brother were both affected by the plague, and Dalton didn’t get home in time to deal with it based on what happened to him on his last mission. Dalton is dying in that cellar as Theresa is forced to kill her mother and brother. Maybe they had gone out and been exposed to someone else, or it had already affected them and Dalton had a method of keeping their possession at bay — I keep on wanting to say their “assent”: that point where a human and demon soul bond forever, a concept mentioned in Pearry Reginald Teo’s The Assent. Theresa has inherited her father’s immunity or greater resistance, and isn’t affected by demonic possession as others might be. She ends up taking his reader, and going out on her own to continue his work. Basically, as Dalton said on his last mission, he isn’t a priest: most of the reader’s aren’t. Instead, they are just an everyday working Joe or, as Therese says, Josephine. That hoky last comment aside, I how Therese starts off the segment saying how this incident is something “putting humanity on trial,” and it just hits home.

I love the world-building here and, of the two stories, “Meter Reader” with its “Stranger Danger” subversion — the idea that anyone can carry this disease, or be a monster — carries through. Both segments are about monsters in human form, regardless of whether or not they stay resembling the latter, and the little cruelties we can do to each other. And, as such, hopefully we will see what other surprises might be waiting for us in Creepshow. 

Creepshow Commentaries Season Three: Episode 3 – The Last Tsuburaya/Ok I’ll Bite

~ matthewkirshenblatt ~ Leave a comment

Warning: Potential Spoilers for Episode 3: The Last Tsuburaya/Ok I’ll Bite

I was hoping for a stronger episode of Creepshow this week, and after an autumn evening excursion to Stormcrow Manor in which I watched the show the following day, I wasn’t disappointed.

It is beautiful to make something. It’s also satisfying to help something grow. And when it’s arbitrarily destroyed, or ruined, it is equally edifying to see that revisited on the parties that have done it: or seeing from that destruction something newly created. 

“The Last Tsuburaya” is a segment directed by Jeffrey F. January and written by Stephen Langford and Paul Dini. The title itself keeps you guessing for a little bit. At first, you might be thinking that it’s the story about the last descendant of Ishido Tsuburaya receiving the final painting of his ancestor found in a monastery under Mount Fuji.

They make a great deal about Tsuburaya himself: claiming that he was one of the greatest artists of the Meiji Era: namely, the time of the Emperor’s Restoration after the fall of the Shogunate. None of that particularly matters, though, as Tsuburaya — the contemporary of seemingly also fictional luminaries such as Beguwa and Yoshi-Doshi — has a painting style very reminiscent of pre-Meiji Era Japanese art renderings of yokai: of spiritual beings and monsters in folklore. When you see samples of his work in the beginning of the episode, they remind me of something Utagawa Kuniyoshi — a master of ukiyo-e style of woodblock prints and painting — would have made if you’ve ever seen his “Takiyasha the Witch and the Skeleton Spectre” depicting the summoning of a Gashadokuro: a giant skeleton. Combine that with the disturbing and bloody manga work of Ito Junji and the darkness of Francisco Goya, and you seem to get the composite character of Ishido Tsuburaya.

Basically, before we can even look at the man’s descendant, or look at more the yokai that the man painted, or even hear about the “notorious art collector in Moscow” that the lawyer says is fascinated with this lost piece (who may actually be real-life collector and artist Alexander Ivanov), along comes in the aspiring Elon Musk known as Wade Cruise. This particular billionaire gets his jollies not from buying everything, or collecting art and women, but feeling the power of the destruction: specifically holding it over another person, or thing. He is a terrible human being. At least Tsuburaya, for all of this misanthropy, had been an artist and did something creative with his hatred for humanity. That is inspiring. Cruise is a consumer that finds life cheap, and destroys something unique, or threatens to do so to give his small, petty heart something to feel.

And this is what he does when he hosts a party at his penthouse, just to open the crate and look at the last painting of Ishido Tsuburaya: making sure he is the only one that sees it, so that he can burn it into ashes right in front of everyone. He thinks this illustrates power: his power.

What we end up getting is an inevitable lesson in karma.

Oh, I suppose I am a cheap date when it comes to horror and retribution, because maybe a petty part of me is like Cruise: except I like to see small, arrogant, snobby creatures passing themselves off as human beings get obliterated by their own actions. At first, I thought his artistic girlfriend would reconstruct the painting: that it would memetically take her over. But this isn’t her crime. It’s his.

Only Cruise can see — by his own design and sheer arrogance, his hubris if you’d like — the beautiful creature that very much resembles an oni. At first, you’re led to believe it is just in his mind, and perhaps it only manifests there as he is the only one that can see, and interact with it. It hunts him, stalking him, terrorizing him no matter where he goes. Finally, however, he realizes that not only can it affect him, he can damage it.

Cruise had the site of the painting’s destruction in his private gallery of culturally appropriated Japanese art, adding another layer of sliminess to this detestable man. He uses the weapons he has there, one of which being a sword, and a pistol, and even a bo I believe to eventually kill the demon … which turns out to be our friend Ishido Tsuburaya: whose hatred had transformed him into a monster, and trapped him in his own painting. For all that vision of Cruise’s girlfriend said that he and Tsuburaya would have been best friends, it seems to be the opposite. Tsuburaya may have had a long time to think about his hatred, and the place where it traps him, but as he dies he tells Cruise that while he freed him, his own curse is just beginning.

And, in a sequence that is beautiful, Cruise sees himself changing into the demon and runs himself through on the weapon he used — at least from his perspective — on Tsuburaya. It is so much more satisfying than if he had hallucinated his girlfriend as the demon. Later, we see his dead body — all that wealth and perceived power taken away by fear — and it may be that he had just gone mad: except one of the paintings has changed outside of his death. It looks just like the demon.

If any of the above names of Tsuburaya’s contemporaries are real artists, please feel free to let me know. I absolutely love learning about these elements, and I wonder what would have happened if Tsuburaya’s descendant had actually gotten, and seen the painting himself. I was tempted to think of Tsuburaya as a kind of Japanese Richard Upton Pickman: and though after all of this I suspect that the only ghouls he viewed as references were human beings, he did become a monster just him: though far less accepting of that fate.

I do like creative and innovative figures, but speaking of predators that are hard to see, and those that take advantage of the callousness of the bluster and carelessness of others, let’s talk about the spiders and their keeper Elmer Strick in “Ok I’ll Bite.”

I have to admit that this story, written and directed by John Harrison made me pause by the title alone. It seemed silly. Even the premise reminds of something of a combination between the Bird Man of Alcatraz and Willard. But the karma is dark and heavy, and Fall is an especially excellent time to reap it all.

Elmer is in prison because he committed euthanasia on his cancer-ridden mother. He’s been in the system for a year, and he almost gets parole: until a guard vouches for the fact that he attempted to poison another inmate. You see Elmer — not to be confused for Aylmer from Brain Damage — is something of a lover and expert of arachnids: spiders. He is a fairly gifted chemist, whether professional or amateur initially, that works with the prison’s doctor as an assistant. Before he was put into prison, he was working on a way to synthesize from specialized venom an agent that would kill someone quickly, and without any pain whatsoever.

See, this conceit for a character would be a good story in and of itself. But it doesn’t go there. Instead what we see is a man who is being exploited by a prison guard, who lies about his poisoning, to get him to work on creating opium for his shady side business. Now, you might already think that what this will lead to is Elmer realizing he has nothing left to lose with the loss of his parole and, combined with the guard’s prisoner lackeys making his life a living hell, unleashing a swarm of pet spiders all over the prison system itself: or just for his tormentors.

Yet Elmer doesn’t seem to have the right ingredients yet. I read, not too long ago, a short story by Neil Gaiman called “The Case of Death and Honey”: where we find out just why Sherlock Holmes undertakes beekeeping after supposedly retiring from solving life’s great mysteries. Elmer seems to also be engaging in a form of alchemy with his pet spiders: each one different from the other. He has five official spiders: Min (named after the Egyptian god of fertility), and his “harem” members Grace (for her delicate webs), Azrael (for the angel of death), Izanami (the Japanese goddess of the underworld), and Hecate (the Greek goddess of witchcraft). He also has a larger spider hidden behind the lower part of the wall who I believe he comes to call Sakhmet (after the Egyptian goddess of war and the destroyer of Ra’s enemies as well as a goddess of healing).

Sakhmet is only mentioned after he receives a letter from an Egyptian peer, who respects his work as a fellow scholar and scientific innovator, giving him a hieroglyphic spell that will apparently allow its user to be transformed: to be resurrected into perfection. This research and performance is accelerated after the guard’s criminal lackeys break one of Elmer’s fingers, and kill his beloved Min — a cute, furry spider — right in front of him: crushing him under his foot. Combined with one of the spiders attacking the prisoner trying to kill it too, and forcing the warden to order their destruction that Elmers: sketching glyphs on the ground, letting Grace, Azrael, Izanami, and Hecate pin his limbs as Sakhmet consumes his face.

Yet this isn’t end for Elmer. At least, I don’t believe so. If the spell is what it seems to be, it transforms hm — or transfers him — to Sakhmet: resembling a large spider with the face of the person whose victim fears to drain their life force away. This is what the spider does to the guard who comes into Elmer’s cell with the intention of beating him: only to be trapped by its webs, and consumed by the being wearing perhaps his mother’s face. It is also further implied that this being is still alive, and waiting behind the wall where Elmer had been feeding it initially. It might come across as a little corny, but revenge is juicy enough, in conjunction with the idea of Egyptians believing spiders can provide the means for immortality, to pay it off. Also, one of Elmer’s books, Bugs: The Miserable Philosophy of Billionaire Upson Pratt, is an excellent reference to “They’re Creeping Up On You” segment in the classic 1982 Creepshow. There is just something vintage and EC Comics about this story, complete with an obsessive but sympathetic protagonist, and his lovable spiders that just gets me right here.

I think I had a harder time writing about these stories because I like them a lot. When I do look at works I like, I generally focus on my favourite parts, and want to know or explore more about them. And I just can’t say this enough: you can never get enough karmic retribution, especially from the destruction of art, or a beautiful creature … least of all in the horror genre. 

Creepshow Commentaries Season Three: Episode 2 – Skeletons In the Closet / The Familiar

~ matthewkirshenblatt ~ Leave a comment

Warning: Potential Spoilers for Episode 2: Skeletons in the Closet/ Familiar

Spoiler alert. I … you know how you see a teaser for something, and there is a flashy moment, a scene that you think is really excellent and promising, and you want to see how it plays out? And then it doesn’t?

Yeah.

“Skeletons in the Closet” is a story written by John Esposito, and directed by Greg Nicotero. That title already had a great deal of promise to it, and the whole premise of a film buff opening up a museum display, only to have a rival collector threaten all of his plans, really intrigued me. Were we going to see them try to outbid each other on an auction? Were we going to see some weird, colourful horror collector characters, and a murder mystery amid gory practical effects memorabilia? Hell, were there even going to be some special guest stars?

No. Not really.

The murder weapons were all there. The effects were, well, in effect. We had so many Easter-eggs too, but you can’t make an entire story that is completely made from the bones of other works. My skeleton pun aside, I’m not talking about inspiration, or playing off a trope and finding your voice in it.

There is a homage, and then there is something completely derivative. And being derivative multiple times. It doesn’t even bother to hide it. It is a fairly predictable plot once it gets rolling. The film buff, Lampini, is actually the son of a former magician and movie memorabilia owner, and he is in a feud with a man who almost dated his mother before his father got him.

The collector, Bateman, wants the prop of a zombie from George Romero’s Dawn of the Dead, and is blackmailing him into giving into him as one of his displays is actually a body that the film buff guy had dug up. So when things escalate, his girlfriend — Danielle — kills the man with a shoe that has a knife in it. And this is after she doesn’t believe her film buff boyfriend would dare be a ghoul, and dig up a corpse that was already used as a prop in a film before being returned to that grave.

Yeah. She is a pretty one-dimensional character, in both senses of the word: constantly snotty, a horror elitist, kind of arrogant, and hanging on her boyfriend’s every word until, you know, she finds out he dug up a skeleton. To be fair, the commentary on horror fandom here — art house and grindhouse snobs alike — is so on the nose it’s probably broken some facial bones on impact. And then he preserved his own father’s bones to do them like one of Ray Harryhausen’s Spartoi skeleton warriors. By the way, I love animated skeletons. They are light-weight, agile, they move insanely fast, and if you are a necromancer they are cheap to make. And it is a bonus if they cackle.

I will say this. Bateman’s body, once the dynamic duo stripped him down, and put his remnants into acid, did deliver on the laughing skeleton part. I think one of the things that makes me sad is that we saw, in the preview of Season Three of this show, one of The Tall Man’s spheres — a Silver Sentinel: you know, from Phantasm. And I was hoping, I just hoping Don Coscarelli would write or direct or even have influence over this episode, and make it a tiny one-off Phantasm story even if Angus Scrimm can’t be with us. Hell, they did it with “Public Television of the Dead,” though minus Sam Raimi. Unfortunately, that was not to be, but that prop did get to be Chekhov’s sphere.

And at least Danielle died, which almost made it better except for the fact that it was a clear parody of the Psycho shower scene, and it was perhaps supposed to be funny but it … just fell flat for me. I did like how the film buff’s father’s skeleton, and his rival’s bones got into a fight, and the father won. I think of Lampini as kind of like Lovecraft’s Pickman except his “magic” — as is bandied about in the story — isn’t painting, but collecting props, and when he can’t he makes them from the dead: including from the bodies of everyone he loves. It just comes across as more weird, and silly than anything else. But hey, at least we got a skeleton battle out of the deal, and a Silver Sentinel fulfilling its true purpose. And that callback to the original 1982’s Creep’s model was great. 

I’ll take it, I guess. I agree with Karina Adelgaard of Heaven of Horror when she says this should have been the first episode of Season Three, if it was going to happen in this way. It would have been a great transition from Season Two’s “Night of the Living Late Show.”

But then we have the other story. “Familiar” is a story written by Josh Malerman and directed by Joe Lynch. It is harder to talk about this one. Whereas “Skeletons in the Closet” is mostly made of references and doesn’t have its own character so to speak, “Familiar” has a clearer vibe. One thing both episodes have in common is that the female characters are profoundly dismissive, but whereas the one in the former episode was practically singing her boyfriend’s praises, Fawn in “Familiar” teases Jackson a lot.

They go to a fortune teller named Boone after a night of drinking, to celebrate Jackson’s growing career as a promising lawyer and while the man tells Fawn her fortune, he passes a piece of paper to Jackson telling him that brought “something bad in with him.”

It makes you wonder, especially from the title of the story, if Jackson already knew about whatever this is. I actually thought that he was becoming successful because he had contracted a familiar — binding a demon — to do his bidding, but its presence was becoming intolerable, and soon he would have to pay the piper. That didn’t seem to be the case though, and he tries to dismiss it as if it’s nothing.

But when this creature seems to appear at random times, and then it goes all Brownie-Poltergeist on his office, and the restroom, he confides to his … girlfriend? Wife? He tells his partner Fawn, and she makes fun of him and his fear. She doesn’t see it and worse, when she’s not acting like the stereotypical white character in a horror film thinking something supernatural is cool and should be investigated or purchased for a lark as opposed to avoided like the plague, she is pretending to know it, and ignoring her partner’s obvious discomfort. Nevertheless, she doesn’t seem to mind him looking into it, but … You see, this is an interesting story for a few reasons, and one of which I hadn’t really thought about.

When I finished watching this episode, I looked at other articles to see if I could understand the ending. Yeah. That is never really a good sign, I even watched the ending again: to see I’d missed something.

Of all things, there is a Decider review of the episode by Walter Chaw which is profoundly also self-referential, highly full of itself, and eventually it descends into a kind of contradictory word-salad. I don’t generally get this critical of another piece of writing, but I have to call it as it is. But there is something he says in that article about Jackson being Black, and how the Familiar — the really cool antlered humanoid creature following him around — is subtext for, if you will pardon the borrowing from Forbidden Planet, “a creature of the Id.”

It is telling that the couple brings this thing into a room in which fortunes are told, that this is an unspoken, unseen dark force, a burden that they are unconscious, or subconscious about. Fawn is fairly dismissive of Jackson seeing this creature afterwards, and just goes about making fun of him. And what seems like mutual ribbing becomes a little one-sided. Other articles have said that the geriatric dog, Randolph, is Fawn’s but that was not the impression I got: that Randolph is in fact Jackson’s dog of many years.

These are all details that will be important because, after a while, Jackson goes back to Boone to get help to deal with this Familiar. Now, the story itself says the Familiar is a creature that is bound to someone and will do anything: lying, cheating, stealing, and even killing to stay with the person to which they are bound. The thing is, though, I know that familiars in folklore are summoned by magicians and witches to fulfill bargains, and carry out services. Certainly the book Jackson picks up seems to hint on this, and you’d think a lawyer that constantly prides himself on his knowledge of legal loopholes and the language of the law would be more interested in the symbolism of the magic circle and mage in that book.

How Boone presents this as, however, is that Jackson must take an object of innocence, in a binding circle, and trap the Familiar under a “magical crate.” Because this is, you know, all Loony Toons now, right?

So we can already figure out where this is going to go. It’s the Lambton Worm all over again. He has to take the crate, the magical crate, and dump it into a pond and get away from it as far as possible. So first, taking Boone’s suspect innocence sky pendant made by his sister, he traps the thing: only for it to mimic Randolph. You see, Familiars can actually possess the bodies of the dead and the dying just to masquerade as one’s friends, and stay by you because they are — again — bound to you. But when he lifts the crate, Randolph isn’t there, and the pendant is gone.

So no dog-killing today, just as it didn’t happen in the Lambton Worm story. Those poor, loyal hounds. 

Right. So Jackson realizes he needs a replacement for the not-suspicious amulet … err, pendant. And so he visits his partner, and yes, Fawn is a sculptor. He realizes after talking with her that her gift for him, which is a lamb figurine I believe, represents innocence and love. He uses this to trap the Familiar. It … seems to mimic Fawn’s voice, begging to be let out, but he doesn’t check, and she is not answering her phone.

Then he dumps the crate in the lake, and seems to feel better … even though we hear Boone laughing like a madman in the background.

So, at the end, we find the Familiar with Fawn’s drowned corpse. It fades, and Fawn’s body is reanimated. It croaks to Jackson, as it embraces him, that “I believe you now.”

He does fulfill the Lambton sacrifice. But instead of freeing him, it costs him everything.

See, Chaw in his article takes pains to show that one Black man — Boone — is showing another Black man — Jackson — that his white partner isn’t good for him, or the dynamic isn’t healthy. There is a grain of salt in this that wasn’t actually used in a protection circle, but the idea of a successful Black man or person dealing with an issue that a white woman or partner or friend can’t see, possible gaslighting, the Familiar — in more ways than one — being that resentment, and anger, and the idea too that it might be Boone’s Familiar that he is using to attack Jackson and pass onto him so that he can free himself, and that it takes his dead partner’s form in a creepily Shakespearean Desdemona fashion is something that is intriguing, and disturbing.

But I was really unclear as to what happened. Did Boone trick Jackson all along? Did he have that Familiar follow him because he wanted to be rid of it? Did he resent Jackson’s success? Did he make Jackson aware of the social and cultural inequalities around him? Was Boone just a dick? Is the Familiar in Fawn essentially the dream Jackson always thought he wanted, in a career in law that he didn’t really take seriously, or care for, made manifest?

I went online — specifically on Twitter — to try to find an answer. Luckily Joe Lynch, the director himself, was in a generous and charitable enough mood, and he weighed in on the subject in the following exchange.

So, there you have it. But that matter aside, I feel sometimes I’m not as well versed in the horror genre as I should be, and there are references to other works and pieces that would help me get a better context. I will say that “The Familiar” was far more interesting, if sometimes vague, than “Skeletons in the Closet,” but while the former does have some charming, ridiculous moments, the latter definitely makes you think.

CORRECTION as of January 30, 2022: It was pointed out to me by Mike Smith, under the Twitter handle @bladeoffire1 that what actually was Bateman wanted the original Creep, in exchange for not telling the police that the original Dawn of the Dead skeleton had been dug up illegally by Lampini. It was a mistake on my part as both skeletons had white shrouds, and it was a bit convoluted. Man, if only Bateman knew the extent of Lampini’s ghoulish practices. He was no Pickman, artist or Dreamlander himself, but this observation actually improves “Skeletons in the Closet” a bit more for me.

Creepshow Commentaries Season Three: Episode 1 – Mums/ Queen Bee

~ matthewkirshenblatt ~ Leave a comment

Warning: Potential Spoilers for Episode 1: Mums/ Queen Bee

It’s been a long time since Season Two, and even the Specials, but after the Christmas Special we are now going into autumn, and the grim harvest, and everything that falls from there.

Chrysanthemums. In Japanese culture, they apparently symbolize death, but also immortality. Violet or purple ones also represent the wish to “get well,” while pink are all about “longevity.” I’m not entirely sure, but even if these aren’t the plants, or flowers, that feature in Rusty Cundieff’s “Mums,” the first Creepshow story of Season Three, adapted from a story by Joe Hill, these aspects can definitely be seen.

The story is a variation of what we’ve seen in karma-based stories that were ever-present in EC Comics and its spiritual successors such as Creepshow. A woman is abused by her husband, and a child — Jake — is forced to watch it all happen. His mother is murdered, and she is buried in the flower garden that she loves.

But the details are fascinating. Jake’s mother wants to take him to see his great-grandmother, his Meemaw, which is an interesting term as I didn’t know it was a common one for grandmother, and the rest of her family. She’s taking him away from what turns out to be a man, and his friends, attempting to create a “two-bit terrorist” cell that is both secessionist and Confederate-based. Later, we see them referring to a book called The Pale Horse’s Cookbook: which presumably is a compilation of American terrorist ideologies, and home-made explosive designs — the latter of which they are planning to apply to a building. Whatever the situation, in Creepshow death is always in season.

It is a well crafted cinematic narrative. At first, it almost makes you wonder if Jake’s mother — who plans to run away with him — is actually a good person, and if his father is necessarily a terrible one. There are  a lot of references to how bad his mother’s family was to her, and some “strange ideas.” The fact that Jake’s “Meemaw” is over a hundred years old, perhaps older, made me wonder if they were a family of witches, and his father was actually keeping him — or thinking he was keeping him — safe from them.

Even when his father murders his mother elsewhere, and he discovers the seeds in the packets — in the suitcase she packed for the both of them — and the emphasis on blood, I was thinking that both Jake’s mother and father were terrible people, just one in a supernatural sense and linked to her family, and the other in a more banal, abusive, “red-neck” terrorist one.

I really appreciate, however, the variation of abuser to which Jake’s father is actually depicted. He doesn’t smack his son around, or have incoherent rages. He gaslights his wife. He makes it clear that she is an alcoholic, though according to Jake she quit a while ago. But even if she didn’t, her illness and genuine pain is being used by his father to excuse his actions. He wants to keep Jake as his heir, his property, to indoctrinate into his whole idea of personal sovereign land, and make him read that terrorist cookbook. It’s your basic toxic masculinity with more than a side of guns, and explosives.

But Jake’s father fucks up. He kills Jake’s mother. And then he smoothly lies about it, pretending that she is in a “half-way house” and that she will choose “drugs and booze” over Jake any day. He also buries her in her garden, on his land, thinking the law won’t dare trespass. He is an overall terrible human being, who — as it so happens, and as also transpires — doesn’t know as much about the land as he thought he did.

Jake learns about blood. And when I say that, it’s not that he embraces the legacy of murder that his father sets for him — at least not in the way his father intends. He plants those seeds in his mother’s garden, which he doesn’t know is her grave. It’s your basic Cain and Abel situation of murder all over again, where the ground tells. But it gets told through pretty flowers. I began to wonder if Jake’s maternal family were, again, witches, that used blood magic to create plants that obeyed their will: feeding off life essence to do so.

I had it in my mind that the seeds Jake plants are like “dragon-teeth” as per the ancient Greek custom of Thebes, or in this case, his Meemaw’s teeth. Certainly, the humanoid face that appears from the ground could have been  his mother’s altered corpse, but also his ancient Meemaw who lives in the ground. But the story doesn’t go there, even though Jake and the floral entity he nurtures from his mother’s death, gain retribution on the woman who pretended to be her friend and betrayed her, the man who helped his father kill her, and his father who was ultimately going to kill him. And as Jake drives the van, with four of those plants with tiny skulls in them, to see his Meemaw, I wonder if she will ultimately be proud of the boy, and the kind of man that he can become: perhaps even under her tutelage.

Of course, we can’t talk about flowers without considering the bees that pollinate them. I mean, in the hellscape that we’ve made our world bees are an endangered species, and their extinction will mean our own. The honey they create is a byproduct of what they truly do, as is the growth of the plants that will become fruit and such to keep our ecosystem going. They do, however, prefer human aid in continuing to build more secure colonies, and reproduction is their main goal.

Greg Nicotero is the one that creates the story “Queen Bee.” It feels like that would happen if Are You Afraid of the Dark, or Goosebumps, attempted a … B movie. Three adolescent children want to see their favourite singer, Regina, give birth. She actually goes as far as taking control of an entire hospital floor to have privacy. There are so many references to “not having a father,” the name “Haddonfield,” and pregnancy in a secret place, and even a reference to the end of the world that made me thing: “Oh yes, this is going to be another Anti-Christ.”

It’s not. Instead, what happens is the stupid antics of these three kids reveal as they infiltrate the hospital to invade their idol’s privacy, that Regina is actually a … not even vaguely humanoid giant Queen Bee, who is mind-controlling staff with green eyes to facilitate her transformation into her real form, so that she can give birth. She controls them through the sounds she creates, which makes sense given how she’s also a musician.

Eventually, at the end, one girl betrays her friend — even after they are nearly killed by Regina’s drones, and one of their friends is murdered by her — because she is her “biggest fan” at all costs. The fanatical girl, Debra — as played by Hannah Keple — has an absolutely smackable look on her pouting lips. You seriously wish, at the end of this story, that she and her snooty attitude of fan-worship would be repaid by her becoming a meal for her Queen. Seriously, I didn’t love to hate her. I just hated her, though it is in keeping with some stereotypical teenage — and even some narcissistic adult — selfishness. But this is one story where treachery, and even hypocrisy as it was Debra who had them go into the hospital and knew about the whole situation because her mom was a nurse there, is rewarded. Or, perhaps, it’s safe to say that her loyalty above friends and family to her idol is what is recognized.

It’s funny. Jake’s mother, the gardener, in “Mums” is named Bloom and she tries to save her son’s life: and in an indirect way she succeeds: the archetypically feminine power of flowers consuming blood, making it, and freeing him from patriarchal control. It even helps him realize that Beth, the woman who betrayed his mother for his father, isn’t the matriarchal figure that he wants. Whereas in “Queen Bee,” even though I feel like it is the weaker of the two stories, Regina also cares for her children and kills and controls anyone and everyone to nurture them: while taking those loyal to her under the hive-structure in which she creates: her musical production linked to her own reproduction. These are some fascinating feminine themes either way you look at it: the story about a flower and her seed, and about a queen bee recruiting another drone for her hive.

And as with “Mums” — which as of this writing is misspelled as “Mumms” on Shudder — and “Queen Bee,” the journey will continue deep into the ground, where the dead go and their spirits rise, and covetous, green-eyed fans will continue to do anything to make sure that their stories continue on: and they get their pound of sweet, sticky, bloody things. 

Creepshow Commentaries Season Two: Episode 5 – Night of the Living Late Show

~ matthewkirshenblatt ~ Leave a comment

Warning: Potential Spoilers for Episode 5: Night of the Living Late Show

They always say that the first rule of holes is that you should stop digging. But in horror, what often happens is the protagonist keeps on digging, until they complete their own grave — or, in this case, a coffin. 

I didn’t expect this episode for a variety of reasons. First of all, “Night of the Living Late Show” is just one story as opposed to two, directed by Greg Nicotero and written by Dana Gould. It doesn’t share the billing with another story, and it almost functions as a standalone. The other reason it’s taken me aback is that, as the fifth episode, it is also the last of this season. That surprised me, as the last season had six episodes, though due to the current global circumstances it might make sense: and really, having all of these episodes to watch with their controlled fears on the small screen — or writ large on a television — is one method of escape. 

It’s a different situation from the ending of Season One. While “Skincrawlers” and “By the Silver Water of Lake Champlain” were decent stories, worthy of being Creepshow material for sure and having that undead spirit within them complete with the grim justice inherited from EC Comics mentality, they just didn’t feel like an end cap. Of course, the Animated Special made up for it — in my mind — but I remember thinking as it ended just how Season One started strong, and then kind of ended on an anticlimax, or not even an element of catharsis. “Night of the Living Late Show” still has the ghost of Creepshow within the structure of its machine, and it tries to innovate, and it feels like an end. It also makes me think about other matters as well. 

The homage to Night of the Living Dead — in the VR sequences before, during, and after the story — were nice to see. The introduction raised my expectations for sure. As for the actual virtual reality device that we see Simon having created, complete with camera-mirrors, and looking like a casket — it feels like something from a Black Mirror episode: invention made from the best of intentions, but gone terrifyingly wrong due to the banality of human nature. 

I appreciate how they attempted to splice together vintage horror films such as Horror Express, and Night of the Living Dead into the story, which is a nice thematic callback to the first episode of this Second Season, in particular the story “Model Kid”: which also plays with a youthful and nostalgic imagination for vintage horror. At the same time, I can also see how it interplays with “Public Television of the Dead” with an element of nostalgic horror affecting the minds of those it comes into contact with through technology.

But these are only some of the thematics. I did find myself relating to “Night of the Living Late Show” in some uncomfortable ways. I suspect that Gould and Nicotero wanted us to sympathize with Renee, and believe that her husband Simon gets his just desserts. And I agree: Simon isn’t honest with his wife. He lies to her. There is the implication that he’s married her to get the funding to create his virtual reality pod in order to get his jollies off with a fictional character, and escape from life, that her father was right in that he only cared about her for her money. And it is cringy that he says the title of “Countess” before he goes to sleep, right next to his wife. Also, the man talks through horror films. It’s almost a guaranteed death sentence in at least a movie theatre setting. 

At the same time, I don’t particularly … like Renee. She is fairly ignorant of what Simon actually likes and, deep down, it comes apparent that she’s fairly disdainful of it. She refuses to even test out the very device he’s spent so much time and energy creating, on her own dime no less, and browbeats him for perceived unhappiness in his life instead of actually talking about it with him. While Simon runs away from his problems, and gets addicted to the escapism of being in his favourite horror film and having sex with a fictional character — which is essentially interactive VR porn — Renee only seems to think about herself, is generally passive-aggressive, and while talking about “sacrificing her relationship with her father” doesn’t seem to even acknowledge how much Simon had actually taken the time to get to know him and prove him wrong. It’s one thing to not have the same interests, but in her case she has this almost wilful ignorance of what he likes, and I can just see where that resentment would begin. 

I think we’ve all been there as geeks and nerds, where there is someone special in our life, and we accomplish something, or something good happens and they just … don’t get it. They don’t understand. That can be absolutely soul-killing. I know I’ve been there, where I worked time and again on something, just for others around me to simply … not care, or in a better case scenario it’s just not their area of expertise. It’s easy to side with Renee over what happens, but I keep thinking about how Simon went to her, totally proud of what he’s accomplished, more than willing to show her — to show her father and her friends, and really just her — that he isn’t a loser. That he more than earned his place in the material aspect of their relationship. This is a big deal. This device can simulate reality and it doesn’t need a headset. Simon could exceed any money he married into by billions, easily. But there is nothing. No excitement. No attempt to really engage. Nothing. 

There are other aspects. Simon doesn’t account for claustrophobia, or even the fact that the pod takes up a great deal of space and resources. Miniaturizing the technology is a good step. Even having a screen that would allow someone to watch a partner or friend interact with a simulated film would be a nice touch. Certainly, as a builder of something to be placed in the consumers market, Simon would have needed to present his product in an accessible way. At the same time, it’s as though Simon doesn’t want anyone else to have this technology, and it’s more just about him and his special relationship with it: not just because of the fictional Countess, but also because he can — in his own mind — hobnob with the likes of the late Christopher Lee and Peter Cushing: and no one else. 

Also, isn’t about the money or the virtual porn but the fact that he’s spent more time with it than Renee that builds resentment on her end. And the lying. But I am not convinced Simon began by just wanting to use Renee for her money, but it was a breakdown in communications between them: or a feature if you consider that maybe between their two separate operating systems they just weren’t compatible.

But my inaccurate attempts at technological metaphors or analogies aside, I didn’t feel the payoff on Renee’s revenge. It is just petty and spiteful, just as Simon is cowardly and annoying. I have to admit, when the creature tries to devour Renee’s mind, I almost wish it had succeeded, though it’s fascinating given how Simon says in the beginning of the episode that the “creature isn’t finished yet.” I thought that meant it couldn’t actually do anything, or maybe he meant he didn’t have the “safeties” installed? Maybe he should have had two remotes for both hands instead of one? But let it not be said that Simon is a thoughtful person, which he clearly is not. 

I’m also curious as to why the ghouls in Night of the Living Dead seemed to react to him being there with his thumb cut off in real life, but that is another Hitchcockian fridge question for another night, I feel. 

This episode in particular makes me think about two other things: about Creepshow and horror fandom. I’ve seen fans who aren’t as enthusiastic at the Second Season, seeing an apparent degradation of quality. And I think the issue is that, for some, they don’t understand that Creepshow is modelled after EC Comics: that the stories are often bordering on two-dimensional, and they are supposed to be kind of ridiculous, zany, wacky, and weird. I used to take stories seriously all the time and I didn’t enjoy them for what they were. But often going to the Toronto After Dark, and interacting with The Last Drive-In with its own origins in a horror host who is an expert in grindhouse horror, I can still constructively criticize a piece while seeing its merits, and even enjoy them. As a creator myself, I thought of a few ways I would have made this episode different. For example, Simon uses the device to escape to his fantasy, and the film of his childhood, only to have his wife die and we see the episode repeat over and again as he keeps trying relive seeing his wife — who he knows he neglected — over and again as he is a wasted skeleton in that coffin of glittering electronic glass lenses. 

But that kind of intricate pathos isn’t a part of Creepshow. Creepshow gives you a simple premise or a gimmick and runs with it. I’ve seen somewhere that there are those who think this episode had more resources, and should have had more to develop its concept. And I think so too, but that’s not the nature of this show or what I even recall of the original film from which it all came: or EC Comics favourites like Tales from the Crypt. You have an idea, characters in an exaggerated and even over-the-top situation, and something tips the karma to the bad ones generally — especially between more than one bad one — the good tend to make it out, though there is sometimes collateral damage, but there is always a form of poetic justice. And of course gruesomeness, and sex. These are Creepshow stories, and I feel like while you can have your own opinion, there is something petty about simply dismissing a whole season without constructive criticism to the point of self-entitlement. 

There is also something fairly telling that Simon is a horror fan, or just a fan who almost self-inserts into his favourite narratives, and feels a sense of power in knowing what will happen in those stories — being outside of it, but capable of immersion — at his own will: possessing a power he can never have in reality. Simon is the kind of person that talks through a film, though I’d argue it’s less about showing how intelligent he is, and more from excitement, and even a degree of wanting to point out details one might miss. Of course, he does all this with himself and in a format that is solely his, and whenever he is pleased with Cushing or Lee, or even the Countess, arguably it’s himself and his own tastes with which he is more pleased. He did make all of this after all — and what he didn’t make, he adapted with his own will: while forgetting, perhaps, the resources and labour of others that allows him to enjoy and immerse himself in that entertainment. I feel like there is something of a critique there: especially when you consider the coff — the pod, lined with cameras and mirror-lenses that feed back into the brain, a self-contained universe where you can exist in your own fantasy world. It kind of reminds me of the inverted light cameras that made up the suit in Leigh Whannell’s 2020 film adaptation of The Invisible Man. I feel like, perhaps, Gould and Nicotero are saying something about some elements of fandom in general and, while gaudy as all Creepshow stories, it is fairly subtle and effective. 

I guess you can also see it in the animated sequence at the end of the whole episode, where the Creep — a ghoul himself — uses his own VR set to kill other ghouls, licking his lips as they consume flesh as he might want to, and he ends up getting eaten by another ghoul outside the headset: and doesn’t seem too dismayed by this. We consume our favourite things, and sometimes our favourite things consume us in return. There is a cycle in that process. 

In fact, I think if “Night of the Living Late Show” would have an epitaph on its tombstone, for the hole and grave its protagonist dug, it’d be:

Rest in Pieces Creepshow Season Two

Episode 5

“Night of the Living Late Show”

“May you be devoured by the things that you have consumed.”

Creepshow Commentaries Season Two: Episode 4 – Pipe Screams/Within The Walls of Madness

~ matthewkirshenblatt ~ Leave a comment

Warning: Potential Spoilers for Episode 4: Pipe Screams/Within The Walls of Madness

So let’s get to it. The first story, “Pipe Dreams” is written by Daniel Kraus, and directed by Joe Lynch, where we are introduced to some very … sentient clogs in rusty, ill-maintained apartment building pipes.

It’s so strange seeing Barbara Crampton again, after watching Jakob’s Wife, in a totally new persona. This time, she is a racist, bigoted “Karen” landlady by the name of Victoria Smoot, and it actually gave me a doubletake to see that just by a sleek hairstyle, designer clothes, a necklace, a pink sweater worthy of Dolores Umbridge, and a nasally, unpleasant voice Barbara Crampton transforms herself into this terrible person who talks about her tenants as “animals” and even says things such as how their “hair is different because they come from different places” in the drain. Just like that, I really wanted something bad to happen to this woman, and that is all by design.

This is a person who not only has lead pipes in her terribly run apartment complex, and a general lack of maintenance and open bigotry, but she also hires one Linus Carruthers — a plumber from a company that used to be owned by him and a disreputable brother that is going under — to patch things up, and deal with the clogs in the pipes that shouldn’t legally exist. She knows he won’t report her as one more bad review will bring him under, and it is fairly certain she will try to rip him off of his pay in any case. When Linus talks about his terrible brother, or refers to him, my mind almost wants it to be Harlan King from “Pesticide” and that parallel of what he did to the homeless, though it doesn’t particularly line up, and there are dangers in trying to put things together that shouldn’t be: a lesson that Smoot never took to heart.

He goes to the apartment upstairs, after something devours a cat — and you know Smoot is evil, as she despises cats — to what seems to be the source of a clog that “squeaks” and “chirps” almost like a bird. It skitters in and out of the shadows. You know you’re not going to want to see what this monstrosity is. 
And when you see it, you don’t. It’s … So, a little while back, I was in a Dungeons and Dragons campaign Game Mastered by a friend of mine who really wanted us to confront some rats. So when we saw these rats coming — rats not unlike what Linus kept telling himself they were — we closed the door, only for those rats to bend and twist themselves under the crack beneath the door frame as if they had no bones. One of my friends, during the game, called these creatures — jokingly — octo-rats, and they were bullshit.

This sentient clog, and its kind, are basically octo-rats: malformed, twisted, and they eat flesh. I thought once this thing took the flesh off Linus’ hand, he was going to lose that limb. Then when it got to his face, I thought he was fucked. I thought he’d die, and we would cut to the skittering, bulbous, furry, tentacled clog going after the other tenants in the building, and then Smoot. But likely, it’s coded pretty clearly that Linus is a good man that isn’t just doing the job to save himself, but to protect the children that he knows in his heart is living in the building: the child of the mother that lets him into her apartment, and owned that poor cat that’s eaten.

He survives, gives a good fight, and the mother comes back to actually save him. And this is where, between the two of them, instead of calling the authorities we get some beautiful EC Comics justice in the form of poetic retribution. Oh, it is wonderful. I knew, the moment the tenants, with Linus the plumber, were all down in the basement — and he somehow lured Smoot back — that they weren’t going to simply beat her with tools. No, that is too easy for someone like her. Instead, they lure her to a drain where, as Linus put it as she’s stuffed in there being consumed by the creature, she “is home.” There is something timeless, but timely about this story when you consider the state of landlords and property and tenants during dire times of recessions, and in particular COVID-19. I do feel bad, though, that no one told the girl about her cat, but at least she leaves pretty pictures for her pet by the drain. Oh well, at least the octo-rat might appreciate it.

Speaking of tentacles, and disturbing things, we find ourselves at “Within the Walls of Madness” written by John Esposito and Greg Nicotero, and directed by John Harrison. Imagine William Shatner shouting “There is. Some-thing. On. The. Wing!” from the classic “Terror at 20,000 Feet” in a world created by combining H.P. Lovecraft’s “The Rats in the Walls” with “At the Mountains of Madness,” “Beyond the Wall of Sleep” and in the spirit of The Thing and you might see the resonance of this story.

It starts off with a graduate student named Zeller held at a military prison being interviewed by a lawyer named Tara Cartwright as he is accused of murdering three of his scientific team in — you guessed it — the Antarctic. What happens is something had already dealt with the rest of their expedition, and the survivors ran back to the base. Zeller had apparently been having an affair with a fellow graduate student named Mallory — who was dating their hostile head of security — but when the latter goes to look for their leader, Professor Trollenberg as played by Star Trek Next Generation veteran Denise Crosby — reality ripples around them into a wormhole as the two students are attacked by an entity from a wormhole.

Of course, the Professor and the security head come back to find Zeller with an axe and Mallory in pieces, and seem to think the worst. But there is security footage that would exonerate Zeller. Unfortunately, it becomes clear that the Professor had erased that footage and kept only him attacking the security head who attempted to kill him.

As it so transpires, Professor Trollenberg found the remains of what she calls the Old Ones — yes, Lovecraftian beings not unlike the ones in the Cthulhu Mythos — who apparently gave humanity Earth millennia ago before dying out, only to have humanity misuse it. She saw through a wormhole that she summons with a strange sonic instrument: an organic bonelike flute or ocarina, almost like a Key — and we know from Cthulhu Mythos lore that “The Silver Key” is not only a Lovecraft story, but it is an artifact that can unlock places between dreams and other realities. I see it as an analogue of that, though it uses sound to create wormholes through space-time in this narrative. Anyway, the Professor used it to manipulate time to when the Old Ones still lived, and believed they would punish humanity for destroying the world: that she would help them usher its destruction and return it all to the sea.

Zeller doesn’t want this, or to be framed for murder and when she summons another wormhole, he kills her. Now, this is where things are interesting. The expedition was a secret government one, which claimed to have them work for medical purposes. They know full well they were dealing with extraterrestrial elements, and they want Zeller to take the fall so that this incident will stay underwraps. It also helps that they genuinely don’t believe anything he says. Hell, even the lawyer claims to want to help him plead insanity, but really just wants all the rights and royalties to the book she will publish about his case. By the time we get towards the end of the story, Zeller’s had a lot of time to think about all of this. He is slated to be executed, which the governor or official along with Cartwright even talks to her about the insanity plea she decided not to pursue.

Zeller starts to see that humanity — its society, its hypocrisy, condemned him to this fate — and wasn’t listening to him when he says “they would come through the walls.” This is where it all goes down. For his last request, he asks for the alien instrument: which he blows. Zeller never gets that lethal injection, but everyone else gets grabbed and torn apart by tentacles from another dimension. What we realize is that Professor Trollenberg didn’t look into the past to find the Old Ones, but the future. And we see, as this paradox trope plays itself out — in which her own words “Time is an illusion” — come back to haunt her as she sees Zeller on the table and the Old Ones everywhere. It’s a self-fulfilling prophecy as they both see each other between the past and the present, life and death.

Everyone has betrayed Zeller: from the security head, to the Professor, to the lawyer, to the government, to humankind. And he decides, instead of continuing to warn them, knowing they won’t listen and they will kill him anyway, that if he’s going to die he is going to take them all down with him. His last words are with him cackling, Lovecraft end-sentence style, “They are in the walls! In the walls …” And honestly, this is a story I can get behind, that when you disregard confusing temporal mechanics, it is humanity’s arrogance and abuse of power — and the hatred of one human that supersedes even that of an eldritch otherworldly species’ coming to destroy it all — everyone gets what they deserve. I … love it, frankly, Cartwright’s self-serving book Our Demons, Ourselves says it all.

Creepshow Commentaries Season Two: Episode 3 – The Right Snuff / Sibling Rivalry

~ matthewkirshenblatt ~ Leave a comment

Warning: Potential Spoilers for Episode 3: The Right Snuff / Sibling Rivalry

I keep thinking to myself, that there is no way the writers and directors of Creepshow will outdo themselves. And then you get something like Episode 3. I’m just going to say it, right off the bat that Joe Lynch, Paul Dini, Stephen Langford, and Greg Nicotero’s “The Right Stuff” is yet another reminder that horror can be — and has been — created in space which, given the social media debates of last week, a lifetime ago as space-time goes, bears repeating. 

I love the setting design. The gravity generator that plays such a key role in the story reminds me of something from a vintage science-fiction movie: a device from Doctor Who, or technology extant in Forbidden Planet: the latter of which my mind has been finding itself these days. There is always that age-old genre debate over whether or not something is purely science-fiction if it involves space travel, science, and technology though there are some who forget that multi-genre media does exist: especially when you have something like horror that can cover a whole wide swathe of human endeavours. As such, I got some major EC Comics Weird Science vibes from this tale, though it is so much less about the science and more about the human — the sentient — interactions, and volatile emotions building to that inevitable conclusion.

What does jealousy and resentment and a lust for fame lead you to within the vacuum of space? The answer is in the void around you. Nothing. Nothing good. The characters of the captain Alex Toomey — pilot of their ship the Ocula — and the inventor Ted are fairly one-dimensional and exaggerated as these old style parodies of humans go, but the tale is captivating even as — for the most part — you see where it is going to go. That little quirk where Toomey leaves his coffee cup on Ted’s machine, as a small, petty, and ineffectual way to assert dominance for something he almost had nothing to do with, does speak volumes about where this is going to go even before he hallucinates his father — an astronaut before him — constantly belittling all of his achievements, and how only “being first” matters. 

It may sound weird, but for all of what Toomey does in the narrative — murder out of pure jealousy — I can somewhat sympathize with him. It doesn’t take much to consider what happens when you spend your whole life training to be better, to live up to the example of someone else, to have that person or force constantly sideline you, and then always seem to get slighted every time you accomplish something for someone — or something — else. I think most people can relate to that. But I didn’t hate Ted either, and he tried — he genuinely tries — to make Toomey feel better. 

You know, it’s kind of cool to see how Toomey and Ted work together — even with Toomey’s inferiority complex, or before it truly manifests — and avoid some spatial collisions. At first, when they turned on the gravitational field, I thought they would be stranded or time dilation would put our intrepid protagonists into a science-fictional “Survivor Type” for two situation. Or, maybe, the aliens planning to do something terrible — even indoctrinate or devour — the Earth representative sent to them. But neither of these red herrings happen.

I want to say that I love the overall morality tale of the story, even though what complicates it is one Alfred Hitchcock moment. Basically, we find out that the American government has been in secret contact with aliens — the Gorangi — apparently through the probes that the two astronauts barely avoided, which they thought were asteroids. The Gorangi had been part of a galactic or interstellar alliance attempting to convince their peers that humanity was worth saving and helping, having one of their own — an agent who turns into their ambassador — give them gravity technology to see what would develop from it. That agent is Ted, of course. 

You know, the man Toomey kills out of jealousy and whose place he takes. 

It kind of makes you wonder what would have happened if the government, and even the aliens just told the two men what was going on from the beginning instead of keeping it all a secret. Perhaps their ambassador might have lived. Or maybe an advanced species — who looked amazing and whose effects were reminiscent of Mars Attacks — would be intelligent enough not to judge an entire group of people by the actions of one individual. Of course, Toomey should not have murdered his coworker with his own gravity device, this absolves him of nothing, but I feel that both Gorangi and human dishonesty — seriously, an undercover Gorangi agent being masqueraded as the first human to make contact with “other species” instead getting another human as an actual ambassador — played as much a role in the tragedy in this abortive “first contact” as Toomey’s own inferiority complex, and misplaced ambition. If there is one thing worse than aliens wanting eat, corrupt, or kill you, it’s moralizing hypocritical aliens.

Even so, I admire his punishment. He wants fame and to be first. So the aliens, after they leave, let Earth know that he murdered one of their own … and they don’t bother to save Earth as its own gravitational experiments pull the moon into its crust: destroying the entire human species. The fact that Alex Toomey, who could have asked the aliens not to condemn his world for his own crimes and ask to be punished instead, is left alone on the Ocula — the last human being in all existence — to contemplate what he’s done, with only the shadow of his disapproving father as company is utterly beautiful in its brutal, stark poetry.

There is another conflict in the episode as well, though it is situated in high school. However, this one turns out differently. Rusty Cundieff and Melanie Dale’s story “Sibling Rivalry” begins with the freshman Lola — funnily enough, there is a Hula spring toy on the dashboard of the Ocula in the previous story that I kept calling Lola — telling her guidance counsellor, Mrs. Porter, that she thinks her brother Andrew is planning to kill her. Her story meanders a lot and you can see that Mrs. Porter is definitely not taking it seriously, though we the viewers get little hints of what might be going on. It’s clear that everything isn’t as straightforward as Andrew wanting to murder his sister, and that the “monster” is something, or someone else. 

It didn’t take me too long to realize that whatever this was, whatever made Andrew act this way, what made their family dog terrified, and even the disappearance of their parents isn’t due to Andrew, but the oblivious Lola herself. It turns out her friend Grace, whose brother she’d been oogling with more than a suggestive bit of ice cream in and on her mouth (I mean, come on, she was fantasizing about him pouring milk on himself, can we be any more subtle about this, especially given that Lola’s already asking her teacher if you can pregnant from handjobs, see her meandering story has gotten me off on a bracketed tangent as well), bit her neck while she was sleeping. This is played off as her friend tried to kiss her while she was sleeping, which is a whole other non-consensual boundary issue, but we see that Lola has blocked a lot of what she’s done out of her head.

So Lola is a vampire. She resembles more of a vampire from before the advent of Murnau’s Nosferatu, those that can actually walk out in the sunlight and not die: but she more resembles the terrifying demonic face of Grace Jones’ Katrina from the film Vamp when she feeds, with even more teeth. In the end, her brother is trying to kill her in order to keep her from murdering again: perhaps even protecting himself. But after a confrontation in their kitchen, where they just laugh at the ridiculousness — as horrible as it is — the terrible madness of the whole thing, in a very human moment they realize that they can’t live without each other. They are all they have left.

And yes. As I thought, Andrew plans to kill Grace — who turned her friend and his sister against her will, which resulted in the deaths of their parents — but she stops him as she tells him he isn’t strong enough to deal with Grace on his own. This leads to her … adding him to her new family. A rivalry doesn’t completely destroy a family, but helps to construct a new alliance. And then, Mrs. Porter calls Lola into her office on the suspicion of Grace’s disappearance. At last, it seems as though Lola agreed to “eating” with Grace, but not in the way she intended. It really shows you that Mrs. Porter didn’t take Lola seriously when she was telling what happened, but it was only when Grace goes missing that she immediately suspects her: as a culprit and not a victim.

But then Lola is joined by Andrew, in Mrs. Porter’s office and … well. Mrs. Porter is played by the renowned Molly Ringwald and if there is one thing aside from high school drama that she should be used to now, it’s being made part of a “Breakfast Club.” 

And I have to say, while “The Right Stuff” made for a good meal of grim morality, “Sibling Rivalry” was just the bloody dessert needed to cleanse the palette for the next episode of Creepshow.

Creepshow Commentaries Season Two: Episode 2 – Dead & Breakfast / Pesticide

~ matthewkirshenblatt ~ Leave a comment

Warning: Potential Spoilers for Episode 2: Dead & Breakfast / Pesticide

I love how the beginning of this episode began with an animated bit, with the Creep taking a fly from his eye, and placing it into a spider’s web to eventually … die. There was an old lady, am I right?

And there was. Let’s look at “Dead & Breakfast,” directed by Axelle Carolyn and written by Michael Rousselet and Erik Sandoval. It begins in an old boarding house in 1939 where a guest is killed with an axe by an old woman named, fairly inaccurately, Spinster. For, as it turns out eighty years later, her adult grandchildren now run the house with which she committed her serial killings. 

Unfortunately, for all her granddaughter Pamela’s — the name and obsession of which reminds me of Jason Voorhee’s mother — pretensions to her grandmother having been the greatest American serial killer alive, she and her brother Samuel barely keep the boarding house running as a tourist attraction. And it’s too bad, for even as they encourage an influencer — a young social media personality by the equally pretentious name of Morgue — to stay at their property for free to get more exposure and potentially more bookings, even the Winchester Mansion-labyrinthine characteristics aren’t enough to keep her entertained or engaged, and Pamela decides to take rather drastic measures more out of a sense of twisted pride than common sense. 

I like how this one plays out. Morgue plays with the word “Spinster” as she makes fun of Pamela, as the older woman dresses up as her grandmother to scare her with an axe, only to seriously lose her already tenuous sanity, and kill the young woman after a lengthy chase and fall down the old stairs. And then Samuel, seemingly incompetent, always browbeaten, wanting to give up on the whole scheme altogether, constantly dressing up in a headless costume, kills his sister — revealing that he is just as much a grandchild of Old Lady Spinster as she is — to profit from the amount of social media Views and Likes that their “performance” of killing Morgue would bring. I have to hand it to him: making it look like it was staged, combined with the idea that an influencer can in fact disappear off the grid, or retire out of publicity reasons and making it look like his sister committed suicide really did add to his scheme: as convoluted as it is.

Of course, we find out that Old Lady Spinster had indeed been a successful serial killer. The problem, of course, with being a truly effective killer is that — even with her deathbed confessions — she was just too good at her job: at hiding the bodies. At the end of the day, there had been nothing to even prove that Spinister had even been a killer: that is how good she was, until Samuel goes back to the sealed room with the sewing machine and spindle. It turns out, Old Lady Spinster had a certain liking for either Sleeping Beauty, or Rumplestiltskin in that when he accidentally touched the mechanism of the machine, it opened a trap door for him to fall through: surrounding him with the old bones of his grandmother’s victims. He was pleased by this development too until, in EC Comics karma fashion, the trap door closed in on him: killed by a device his own grandmother installed ages ago. Even as Morgue gets to truly be involved in a serial killing she’s always investigated, as Pamela notes before killing her, Grandma Spinster’s whole line is destroyed by her own murderous legacy beyond the grave. I will say, however, that my only complaint — the only thing that took me, briefly, out of my immersion — was the fact that Morgue reconnected the modem Pamela unplugged that was she was so quick to get her Wifi connection back. That is just unbelievable, but in my mind still forgivable as I was entertained by this twisted circle of life in a story commenting on an America profiting off a history — and a reality — of murder. 

And then, speaking of murder and profitting off countless exterminations of life, we have “Pesticide,” as written by Frank Dietz, and directed by Greg Nicotero. This particular story reminds me of a story in the first Creepshow movie, “They’re Creeping Up On You!” Like that protagonist, we have the exterminator Harlan that calls himself the King — who despises insects, though he also enjoys killing other beings that are considered vermin — and, unlike the callous rich man in that 1982 story, he doesn’t have money until it is offered to him for … undertaking a whole other kind of pest control. 

His guilt, however, does plague him like Upson Pratt — or some kind of supernatural delusional event anyway — and the creature effects are fairly impressive,and gross. I do think that people living on the streets would be able to figure out that there is something off about their stew being poisoned, especially as the King — for all of his expertise in chemicals — isn’t particularly subtle, especially in how he kills that one homeless man with the knife. Street-smarts are a real thing, and the whole story makes me wonder if it truly happened at all, or if the exterminator just lost his mind. It has a whole dream-like quality to it, including another EC Comics karma ending that draws on a Kafkaesque “he found himself transformed into his bed into a monstrous vermin” moment. But The Metamorphosis reference aside, I truly appreciated Keith David as one Mr. Murdoch — the devil in the King’s ear — and that deep, baritone voice filled with casual satisfaction over the exterminations he received. I had some major Goliath from Gargoyles flashbacks hearing him speak again, and him appearing as an exterminator the end brought the whole Creepshow reference to “They’re Creeping Up On You!” full circle, which was the concluding story for the 1982 film as well.

I also enjoyed seeing Ashley Lawrence appear in her role as a psychologist and — just like her work as Kirsty Cotton in Hellraiser — she plays both victim and killer, with fear and disdain — extremely well. If anyone would see a blubbering would-be killer as beneath her, as someone on the other end of the counselling sessions this time, it would be Lawrence, and while the story itself is a bit disjointed at the end it is fitting that she ends King’s pathetic little life, with Murdoch offering to help her with “further pest problems.” 

Two stories, one with the descendants of a killer hoping to profit off of her deaths, and the latter of a killer of insects making the choice, foreshadowed by his uncle in jail for some unspecified crime — who taught him how make poisons, to kill “larger vermin” —  the legacies and actions come back to take them full circle, back to the spider and the fly at the beginning of the episode. And, after all, aren’t these stories just a microcosm of the horror cycle of life. Doesn’t death always come back to death? And isn’t that, ultimately, how these stories will continue, when everything is all said and done? 

Either way you look at it, I look forward to seeing more callbacks and familiar horror faces in the episodes that are still to come.