Lovecraft Country: S1E6
Lovecraft Country delivers a season-best episode in its sixth outing, “Meet Me in Daegu.” It’s not only the best episode of Lovecraft Country yet, but great horror TV in general and quite the feather in the cap of the series.
The story so far…
Ji-Ah makes her full debut in “Meet Me in Daegu.” Atticus’ overseas lover has been heard from, fought in a magic-induced vision, and given the form of the Princess of Mars in the series’ opening dream sequence, but they never indicated the potential depth of the actual person. Her first appearance delivers, though, greatly expanding the world of Lovecraft Country and slowing down the series to create a morally complex and ultimately human portrait of a technically inhuman woman in inhuman times.
The episode opens with an exuberant Ji-Ah watching Meet Me in St. Louis and begins to dance and sing in the empty theater until it is revealed she has merely imagined letting loose. She continues to watch her idol Judy Garland, reserved and alone in the darkened theater.
The series chronicles close to a year of Ji-Ah’s life, opening in 1949. She and her mother, Soon-Hee, discuss their misfortune and Soon-Hee pushes for Ji-Ah to bring home a man. At first, this suggestion seems like the annoying but ultimately supportive needling of a mother to a daughter. Ji-Ah goes on a disappointing speed-dating experience when she gets out of her nursing school, and ultimately ends up bringing home a man from a night club. They have sex until furry tentacles emerge from nearly every hole in Ji-Ah’s body, penetrating the man, absorbing his soul, and ultimately ripping him apart into a spectacular shower of gore.
We learn, then, that this is expected of her. Ji-Ah needs to find ten more men, to meet the necessary 100 souls she needs in exchange for the magic that summoned her. Ji-Ah is a kumiho, a Korean fox spirit that is said to punish wicked men.
So, Ji-Ah continues to work as a nurse and seduce men and consume souls as the war rages on, moving into the 1950s. She spends what free moments she has watched movies as well, mostly what seems to be Judy Garland films. She also connects to her friend and co-worker Young-Ja and perhaps desires more, feeling a connection that she feels is absent in her life of seduction and murder. Tragically, the nurse shift is driven to a remote area and interrogated by US soldiers who proceed to execute two of the nurses, trying to flush out a “communist sympathizer.” One of these soldiers is Atticus Freeman who callously executes one of the two nurses. Young-Ja reveals herself to be the woman the army is after, and she is dragged off to her inevitable demise.
Time marches on, the hospital is filled with wounded and the movie theater, her only refuge, is shut down due to the apparent activities of a communist sympathizer. As things look their most bleak, Ji-Ah is given a new purpose: she has one soul left to claim and Atticus Freeman is one of the patients.
Ji-Ah begins to interact with a traumatized Atticus and over a series of genial interactions they begin to strike up a relationship, bonding over The Count of Monte Christo and the mutual commiseration over their outsider status among their respective nations. Ji-Ah and Atticus fall in some kind of love, as Ji-Ah’s understanding of the concept may be skewed by the tragedy of her origins. Soon-Hee’s already tense relationship with her “daughter” is further strained by Ji-Ah’s reluctance to claim Atticus’ soul.
Soon-Hee’s anxiety is that Ji-Ah is only the physical form of her daughter, her spirit is that of the kumiho. It turns out the Soon-Hee gave birth out of wedlock, resulting in her being an ostracized woman. She later marries a man who turns out to be a pedophile who raped the young Ji-Ha. Soon-Hee visits a shaman for revenge and the price of this was the replacement of her daughter’s spirit for the kumiho’s and the need to claim the souls of 100 men. Ji-Ah only carries the barest traces of Soon-Hee’s daughter’s spirit and also contains the memories of every man killed. Soon-Hee wants her daughter back, but Ji-Ha, the soul-stealer, just wants to find acceptance.
Believing she may have found that acceptance and love with Atticus, Ji-Ah is pressured into revealing her nature to him as a final test. Before this can happen, Atticus reveals he has enough points to ship out to the US again. The pair begin to have sex but the kumiho tails emerge, despite Ji-Ah’s desperate bit to refract them as spare Atticus. The coupling results in a mind-meld of sorts, where Ji-Ah experiences Atticus’ past and future, and Atticus experiences visions as well.
They break the coupling and traumatized Atticus flees into the night as Ji-Ah cries out that he will die if he returns to the states. Sometime later, still concerned about Atticus, Ji-Ah visits the shaman, accompanied by Soon-Hee. We finally get a sense of the larger cosmic awareness that has been missing from the series; the shaman informs Ji-Ah that her moral concerns are pointless, she has no mother and Atticus’ potential death is just one of a tide of inevitable deaths.
How it worked out…
The episode is suitably horrific, again, mostly based on its exploration of race, with the additional horror of jingoistic war and anti-communist fervor. However, Ji-Ah’s monstrous kumiho form is also quite disturbing and gratifying for fans of body horror. Everything about the episode just seems to click, baring the obvious plothole of Atticus’ own experience with the supernatural prior to his apparent introduction in the pilot. The episode works better as a sort of “stand-alone” horror experience compared to, say, “Holy Ghost,” mostly because it slows down to really live in the moments of horror and evil of the world. Where “Holy Ghost” was limited, it was also a bit too fast. Ji-Ah’s story, in contrast, feels far better paced.
The show also introduces the new wrinkle of Atticus being a killer in what can be seen as a morally indefensible way and how he seems to be perpetuating the vicious cycle of violence seen in Montrose and what we hear about Montrose’s own father. It’s not just the shock of Atticus’ shooting of a defenseless nurse under orders, either, but in his final night with Ji-Ah she sees that Atticus also was involved in the torture (and likely murder) of Young-Ja. It’s a hard thing to reckon with going forward. It’s a darkly complex addition to Atticus’ character that contextualizes his actions and apparent calmness regarding the supernatural in the series; he’s seen the Hell of war, but he’s also seen the unexplained.
Whether he can be redeemed of his sins is another question entirely.
The shining light of the episode, of course, is Jamie Chung who creates a complex, moving, and ultimately tragic figure in Ji-Ah in the span of an hour. Of course, Jamie Chung benefits from the writing, but her performance is a series highlight and an example of how strong the actresses of Lovecraft Country have been. Both Jurnee Smollett and Wunmi Mosaku have absolutely been the rock upon which the show has been erected, but Chung is just as up to the task as seen in this episode. How involved Ji-Ah will be going forward is in question, as she is very much a figure of Atticus’ past, but the show would be wise to keep Jamie Chung on the call-sheet going forward.
The result of this extended flashback is a sign that the weird world of Lovecraft Country could explore far more material than the Lodges and the mostly US-based horror we’ve seen. Considering the show is an adaptation of a novel with no apparent follow-up, the seeds need to be set for the future. Most of Lovecraft Country has left me feeling a bit hollow, but “Meet Me in Daegu” suggests there may be more to the concept, but the ultimate irony of this being that this material is, apparently, unique to the show.
A genuinely traumatic episode that takes far out of Lovecraft Country and into the Korean War, “Meet Me in Daegu” is perhaps the strongest episode of the show yet.
(5 / 5)
Miskatonic Musings
There was a lot to admire about the episode as well as a number of fun references.
- I am by no means an expert on Korean mythology and spirits, so take my explanation of the kumiho with several large grains of salt as my major context for it is Lovecraft Country.
- The concept of the kumiho may be familiar to Nintendo fans though. The Legend of Zelda series featured a nine-tale fox called Keaton, while Pokémon featured the nine-tailed fox pokémon Ninetails, based on the Japanese form of this spirit.
- Judy Garland is obviously all over the episode; she is a tragic figure in many ways and evoking her in Ji-Ah’s story does a lot. The heartbreaking monologue from Garland that comes near the episode underlines the level of callous disregard she, and women in general, faced for putting themselves out there.
- Judy Garland’s monologue in the final scene is taped material that was part of the process of writing her autobiography. You can listen to some of this material right here.
- The first movie we see Ji-Ah watch is 1944’s Meet Me in St. Louis, from which this episode derives its title and some of its themes. The second film is 1950’s Summer Stock with Garland and Gene Kelley.
- Again, The Count of Monte Christo becomes a key text to the events of the show. Tic’s question about why Montrose loves the book is a pretty profound one… is it the revenge that appeals to him, or Alexandre Dumas? Does it need to be exclusively one or the other?
- The show derives a fun little joke about adaptations here, with Ji-Ah dismissing the book’s story based on the film adaptation with Robert Donat she saw first, which changed the ending to the novel. This episode is material that does not seem to be in the Lovecraft Country novel written by Matt Ruff.
- I am not sure I see Ji-Ah as having forgiven Atticus’ actions, but there is a sort of mutual understanding of how the world has broken them both that allows her and him to find love. It’s incredibly messy, dark, and really beautiful in a way, despite the ugliness of the circumstances.
- I admit that my reading of Ji-Ah and Young-Ja’s relationship potentially skewing sapphic is just my own reading. The lingering hand-holding is my biggest evidence, but it could just as easily be Ji-Ah desperate for any sort of positive relationship in her life that puts the emphasis on touch. Either way, it is deeply sad to me.
- This episode’s musical choice is an obvious one, given there selection was a little limited. It’s “The Trolley Song” from Meet Me in St. Louis.
Can Lovecraft Country deliver another home run like they did this week? We’ll need to keep watching to find out. How did you find “Meet Me in Daegu?” Let us know in the comments.
Episode four of Amazon’s Fallout wasn’t the best-liked. Of course, that’s relative to the rest of the season. While this is the second-to-last-ranked episode, it’s still an 8.1 on IMDB.
So let’s talk about why it might have slipped a bit but was still a great episode of TV.
The story
Let’s start our discussion of this episode with Maximus.
After he and Thaddeus successfully retrieved the head from the Gulper, they’re in high spirits. Together they celebrate around a fire, giving a lovely impression of two people who have been drinking despite not seeing a bottle in sight. Thaddeus even convinces Maximus to brand him.
While having a good time, Maximus’s consciousness gets the better of him. He admits to Thaddeus that he’s not Knight Titus, but he is Thaddeus’s old punching bag.
Rather than responding to this act of honesty with an equal measure of grace and brotherhood, Thaddeus immediately disables Maximus’s suit, taking the power source and the head. He then leaves Maximus trapped in the suit that he wanted so much, doomed to die in it.
Lucy isn’t in a much better place. If you’ll recall, last episode she drank radiated water out of desperate thirst. She’s now suffering from radiation poisoning. Fortunately, before she succumbs to this poison, she finds Maximus. He has the medicine she needs, and she can free him from his suit before he’s eaten by giant cockroaches. It seems like a win/win. If that is, the two of them can trust each other. And haven’t they both learned that trusting other people might be the most dangerous thing in this very dangerous world?
What worked
The first thing I want to draw attention to is the relationship between Lucy and Maximus. A lot has happened since the last time the two saw each other when there were some sparks but no time to do anything about them. Both have been betrayed and hurt. So while they’re instinct is clearly to trust each other, it’s also to be cautious. And that makes sense. They are both good people, driven by the desire to help others. But both are cautious of being hurt again.
This was not only relatable, but it gave a much different feel to a standard will they/won’t they relationship. Will they be able to trust each other enough to let their feelings out is the real question. Which is a lot more interesting, in my opinion.
I also found the giant, mutated bugs to be fantastic. They were the perfect blend of cute and terrifying. At first glance, they seem like a larger version of Hal from Wall-E. Then, you realize how few of them it would take to eat someone trapped in place. And how little time it might take.
And how long it might feel like while it’s happening.
We don’t need to see that happen to feel the terror there. And to feel some concern about the tiny pests that sometimes share our homes.
Of course, the highlight of this episode was the political intrigue surrounding Vault 33, and how its leaders always seem to be from Vault 31. This storyline is quickly becoming my favorite part of the season. It’s a dark and creepy mystery, which is always fantastic. But it’s also fascinating to see the character of Norm blossoming into someone whose life has meaning. Because at the start of the season, he was lacking that.
All in all, while this was a slower episode it was still a good one. And its ending certainly left me excited for what was to come.
(4 / 5)
If you like my work, you can check out my latest science fiction/horror novel, Nova, launching on May 17th. Pre-orders are available now on Amazon.
Movies n TV
Bodies Bodies Bodies (2022), a Film Review
Bodies Bodies Bodies (2022) is a horror comedy directed by Halina Reijn. This R-rated horror film stars Amandla Stenberg and Maria Bakalova.
Bodies Bodies Bodies (2022) is a horror comedy directed by Halina Reijn. This R-rated horror film stars Amandla Stenberg, Maria Bakalova, Myha’la, Rachel Sennott, Chase Sui Wonders, Pete Davidson, Lee Pace, and Conner O’Malley. The film is currently available on fuboTV, Netflix, Hoopla, and Showtime.
Sophie (Amandla Stenberg) brings her girlfriend (Maria Bakalova as Bee) to her friend’s hurricane party. Lasting resentment and toxic relationships infest the group, leaving Bee to witness increasingly uncomfortable situations. Soon after, bodies start dropping.
What I Like about Bodies
The chemistry between these toxic friends gives me anxiety. If toxic friendships aren’t a universal experience, toxic traits certainly make themselves apparent in any friend group, and this film maximizes this experience. It’s not revolutionary, but effective and uncomfortable.
Several subtle clues hint at the relationships of these friends, building up as the story progresses and chaos ensues. I love these moments, though the film doesn’t seem confident that the viewer picks up these clues. This decision hinders execution, an unfortunate point for later.
While the performances are strong throughout, Amandla Stenberg and Maria Bakalova remain the main characters and receive the most opportunities to perform. However, almost every character has a moment, or several, and lives up to those moments once given.
The twist seems obvious, but that doesn’t hinder the viewing experience. While not the biggest fan of the execution, I enjoy the spiraling chaos it creates.
The opening scene shows the two leads making out for viewer engagement. However, I think the contract toward the end gives this scene added context and plot relevance beyond simply sex appeal. While it is unavoidable that so well, many films will go no further. So, added relevance deserves a nod.
Far from the bloodiest film out there, but it doesn’t hesitate to bleed its cast. It uses this blood and limited gore to add weight to the deaths as opposed to haunting or nauseating its audience.
Tropes, Triggers, and Considerations
As previously hinted, toxic relationships remain key points in the plot. Falling in line with this are points of spousal abuse (physically and mentally) that should remain a consideration.
Idiocy to push the plot along certainly plays a role in the plot. In this case, I consider it a feature. However, it’s still a required taste for viewer consideration.
Addiction and recovery drive several characters. I’ll avoid pointing to them so as not to give away plot details. However, usage and relapse deserve a mention in this section.
If any of these are deal breakers, give this film a skip.
What I Dislike, or Food for Thought, about Bodies
Bodies shifts between a mindless and clever horror comedy, never comfortably sticking to one or the other. It pulls off elements of both with expertise, but the tugging and pulling of these different elements limits the execution of either. Because of the above friction, Halina Reijin gives us all the clues to piece everything together and still tells us. Pick an audience and trust them.
As a horror comedy, this film leans on the humor over the horror. The unraveling of characters certainly earns respect but expect a comedy for a better experience. It’s not a particularly scary film, and it doesn’t try to occupy that space.
Final Thoughts
Bodies Bodies Bodies spirals into a chaotic horror comedy, banking on the toxic chemistry of its cast to deliver both. The film never makes a strong stance in either claiming a mindless or clever horror comedy, shifting between both at the expense of the whole. It remains a bumpy but engaging viewing experience, nonetheless.
(3 / 5)
Episode four of Amazon Prime’s Fallout was a great one for character development. It was also great because one of my personal favorite actors was involved.
Let’s discuss.
The story
This episode’s story revolved largely around Lucy and The Ghoul. He’s still dragging her about on a rope, but we aren’t sure why. While she can track the Head, she certainly hasn’t shared that information with the Ghoul.
What he wants her for soon becomes clear, when he barters her for vials of the medication that keeps him from losing himself to the ghoul illness.
At first, Lucy thinks this is a step up. She’s taken by a robot surgeon named Snip Snip to get a new thumb. Since, you know, The Ghoul shot her thumb off.
However, after stitching a new thumb on, Snip Snip takes her to his masters. Who then say they want him to cut her up for her organs.
Lucy manages to escape and even frees the other people trapped by these organ brokers. In doing so, she comes into the possession of many, many of those vials that The Ghoul needs so desperately.
Meanwhile, Norm is starting to suspect that all is not what it should be in Vault 33. While the rest of the vault is preparing to elect a new overseer, he takes Chet and sneaks off to Vault 32. There, they find some horrific sights. Long dead bodies, next to messages scrawled in blood. There are especially bodies around the door that leads to Vault 31, where someone has written We Know What’s in There on the wall.
Of course, we don’t know what’s in there. But I’m sure we’re going to find out.
Norm continues to dig, checking for information on the old Overseer’s computer. And he finds that the door to Vault 32 was opened by a Pip-Boy. To be specific, it was a Pip-Boy owned by Norm and Lucy’s mother.
I’m sure that won’t be relevant later.
What worked
The more I see of this season, the more I like Lucy. She is growing and evolving as a person, just like Wilzig told her she would have to do. She is becoming harder. But her kindness and values haven’t changed yet. She is still a good person. I love that.
I also love the dark, creepy storyline with Norm. I love how serious he is, especially when compared to the rest of his community. I especially love that, even as emotionally disturbed he is by what he’s learning, he seems passionate. And from what we’ve seen of this character, this is possibly the first thing he’s felt passionate about his entire life. I am impressed with the writing and acting that have allowed us to see his lack of passion with minimal focus. He is a fun, well-written character.
Finally, I’d like to shine the spotlight on Matt Berry. He is a delightful actor known for What We Do in the Shadows and IT Crowd. And he is playing the remarkably funny role of Snip Snip, the robot surgeon. His voice lends an extra level of humor to an already funny premise. This was another example of the great casting we’ve seen so far on Fallout.
In the end, this was a great episode from all points. It was fun, heartfelt, and dark. In short, I have no notes. I’m only excited to see what happens in the next episode.
(4 / 5)
