HMTL Recap and Review – Creepshow S1E4
Welcome to Haunted MTL’s ongoing coverage of Shudder’s original series, Creepshow. The last episode was a combination of one of the best installments the show had and one of the weakest, which made for a fairly strong half-hour overall because even a week Creepshow segment is good anyway. This week, however, both installments are pretty great.
“The Companion”
David Bruckner directs and Matt Venne writes an adaptation of a short story. The original short story was written by Joe, Kasey, and Keith Lansdale. It’s a family affair this week. This is Bruckner’s sixth segment of the show thus far. His highlight, however, is still “The House of the Head,” but he also directed the fantastic “The Man in the Suitcase.” Venne has written for Masters of Horror, Bag of Bones, and the 2013 sequel to Fright Night.
“The Companion” is a lean little tale that stars Logan Allen, Dylan Gage, Voltaire Council, and Afemo Omiliani. The impressive, sinister scarecrow is performed by Carey Jones, a veteran make-up and SFX talent who has had quite the resume.
The story has that certain quality that I felt was missing from last week’s “All Hallow’s Eve,” and that quality is a certain sort of meanness. The story follows a kid, Harold, on the run from his bully, who just happens to be his older brother, Billy. During his escape, Harold stumbles onto an abandoned farm and awakens a vengeful scarecrow. He later finds the corpse of the farmer, face blown off in gruesome detail, who has left behind a note telling a sad tale. It’s very much a play on that Frankenstein story of the unintended consequences of creating life, and for the most part, it works. What really sells the episode, though, is the fact that Harold learns absolutely nothing from his traumatic experience. Instead, he buys in and uses the scarecrow for vengeance.
Bottom Line
“The Companion” is pretty great. There are some choices that feel like they could have been reconsidered. The kindness of the character of Smitty, for example, feels a little wasted. He shows up, ends up being a cool kid, but then leaves and has no real effect on the story.
That being said, the usage of the comic panels to show the passage of time in the farmer’s narrative is inspired and one of the more interesting ways the comic trappings have inserted themselves into the episodes.
Plus, that scarecrow was really cool. Good stuff.
(4 / 5)
“Lydia Lane’s Better Half”
The second segment of the evening is directed by Roxanne Benjamin. John Harrison handled the teleplay of the story which was developed by Greg Nicotero and Harrison. Roxanne Benjamin has a solid list of production credits, such as with the V/H/S franchise. Most of Benjamin’s directorial credits revolve around short-horror such as Southbound and XX, making her a great fit for Creepshow. Harrison and Nicotero, of course, are horror veterans who need no further introduction.
The episode, which plays out like the most messed up take on Weekend at Bernie’s ever, is anchored by the incomparable Tricia Helfer as the titular Lydia Layne. Helfer holds her own in what is, in many ways, a one-woman morality play with Danielle Lyn spending the majority of her appearance as a vengeful corpse.
“Lydia Lane’s Better Half” is wonderfully dark and grimy in tone, not texture. Visually there is a wonderful cinematic polish to the episode. Neither Lydia or the soon-to-be-dead Celia are good people and the episode is a series of escalations and terrible ideas that play out as you would expect. Creepshow segments are at their best on a small scale, and “Lydia Lane’s Better Half” is a prime example of this. Most of the story takes place in an elevator, stuck in the aftermath of an earthquake. It’s wonderfully screwed up, forcing Lydia to directly confront her actions. Meanwhile, Danielle Lynn, as the corpse of Celia, proves to be a powerful performer with just dead-body language and accusatory stares alone.
The show also has an absolutely fantastic head injury. One for the ages.
Bottom Line
“Lydia Lane’s Better Half” is a strong contender for an iconic segment in this series so far. It’s just mean, mean, mean, and filled with terrible decisions that play out about as well as you’d expect. It also feels the most thoroughly modern of the segments thus far, dealing with themes of finances, same-sex relationships, and even a completely unintentional but timely Hong Kong mention. Some of the segments have clearly been contemporary, but this one just feels a little more timely than those.
(4 / 5)
The Creep Factor
We don’t get to spend a whole lot of time with the Creep this week. But we do get a rather infectious laugh from the Creep as they read a magazine.
Actually, what gender is the Creep, anyway?
We do get a neat little bonus in “The Companion” as a Creepshow comic works its way into the frame, and the Creep also finds a way to observe the ending of that same segment, first-hand, lurking right outside the window.
We hope that you enjoyed our coverage of the first installment of Shudder’s Creepshow. Creepshow will air on Thursdays around 9 PM EST on Shudder. Haunted MTL will be covering the whole 6 episodes of the first season.
Last night’s episode of American Horror Story Delicate was wild. From its star-studded start to its powerfully quiet finish, I was enthralled through every moment.
Let’s discuss.
The story
We begin this episode at the funeral of Dex’s mom. While he’s giving a eulogy, which was very nice, Ms. Preecher walks in. She shouts to the room that Virginia didn’t commit suicide, she was murdered. She also tells Dex to listen to his wife.
What a concept!
Touched by this, or maybe just curious, Anna goes to the hospital to check on Preecher. She falls asleep at the hospital. When she wakes up, Preecher is gone. A nurse says that she was discharged to a group of women.
While at the hospital, Anna also discovers that she’s been nominated for best actress.
At a publicity event for the awards, Anna runs into Cora. And she sees the coat she remembers from her late-night visit near the start of her pregnancy.
With the slightest amount of pressure, Cora spills it all. She and Dex have been having an affair, and Cora was trying to sabotage Anna’s pregnancy. So Anna, channeling her inner Madison Montgomery, kicks him out and heads to the awards ceremony with Siobhan.
There, Siobhan asks her if she wants an Oscar more than anything. If she’d be willing to give up anything for it.
And Anna says yes.
The bargain is then sealed with a kiss.
What worked
I’d like to begin, paradoxically, at the end of the episode. We’ve seen Anna have some terrible, loud, frightening hallucinations in this season. At least, we assume they’re hallucinations. But this one wasn’t loud. It was, in fact, very quiet. Anna is led off stage, without a word, leaving nothing but a puddle of blood behind.
In horror, like in all art, the notes you don’t play are as important as the ones you do. And the notes that weren’t played her rang like a bell.
I also appreciated that this episode describes why being a celebrity would be a huge pain in the ass. Imagine going to an event where the whole purpose is for people to take pictures of you while holding their product. Imagine if they invaded your personal space, sprayed things on you, put things over your eyes, and you were expected to smile and pose.
I don’t know what it is about being a celebrity that makes others feel entitled to a person. To talk with them, take their time, and share in their moments. To touch them without consent. Yes, there are way worse things happening to people. But this isn’t a great way to live. It’s no wonder so many of them go nuts. This is most clearly shown in the scene when Anna is sitting next to Preecher’s bed. She wakes up to find the older woman gone. But all anyone wants to talk about is how she was just nominated for an Oscar. At that moment, she doesn’t give a damn. She cares about this kind woman, and where she’s gone. Just like any other person.
Finally, I appreciated that this season didn’t do what so many AHS seasons do. Which is to say that this episode didn’t feel like the last episode. It felt like the penultimate episode. It felt like there was still more story to tell, not just loose ends to be wrapped up. I appreciate that the writers have finally learned that lesson.
For this season, at least.
What didn’t work
The first thing that bothered me in this episode was Cora’s confession. I said something about this during our live-watch event on Threads. (Join us next week for the finale. Bring popcorn and wine.)
I don’t believe Cora’s confession. I further don’t believe that she just dumped all of this incriminating info on Anna with no more prompting than a wide-eyed look. There was just no reason for it. So, Anna saw her coat? Lots of people have similar coats. This feels fake, and she brought no receipts.
I also found Siobhan’s behavior confusing. At times she seems genuinely concerned for Anna’s wellbeing. At other times, she is more than willing to let her suffer and risk her pregnancy.
While this has been going on all season, it was happening every few minutes in this one. Either Siobhan cares about the welfare of that fetus, or she doesn’t. But she needs to pick a lane.
All in all, I don’t know what to expect from next week’s season finale. Anna has her Oscar, but now she might lose her baby. She might also get sucked into some horrible cult and experience a bad death. We won’t know until next week.
See you then.
(4 / 5)
Episode two of Amazon Prime’s Fallout was equal parts funny and bloody. This almost always leads to a good time.
The story
We begin this episode with the birth of some puppies that look like they’ve had a rough start to life. Each one is weighed, with the ones who fall short being incinerated.
One pup who is just below the correct weight gets a bit of a thumb on their scale. The scientist weighing them, Wilzig, writes down the proper weight. He later takes the puppy home to raise instead of putting them into what looks like an unforgiving training program.
Eventually, we see Wilzig put some blue glowing thing into his neck. When a soldier comes for him, Dog attacks the soldier, and the two escape.
We go from there to the wilderness, where Lucy is recovering from the last episode and enjoying a campfire at night. Wilzig and Dog come out of the shadows, saving Lucy from a bug monster. Wilzig tells Lucy she should go home. And if she’s not going to go home, she needs to evolve.
The next day Lucy finds her way to a town called Filly. As a Pennsylvanian, it hurts me to spell it that way. Lucy is entranced by this town, though clearly put off by the fact that no one is very nice here.
She eventually finds her way to a shop run by a delightful woman named Ma June. Ma doesn’t seem particularly interested in helping Lucy. Or, frankly, having Lucy in her shop.
Or in her town.
Eventually, Wilzig is tracked to this same shop, being tracked by The Ghoul. This is our final primary character. Lucy defends Wilzig, being aided at the last moment by Maximus.
Maximus, by the way, has been having a terrible time. After finally becoming a squire he’s disappointed to find that his knight, Knight Titus, is a terrible person.
Fortunately, Maximus doesn’t have to put up with Titus for long. After Titus gets the bright idea to go hunting, he’s attacked by a mutated bear. Maximus freezes, unable to save him. Then, well, he decides not to save him.
It was Titus’s idea to go hunt the bear, after all.
What worked
The first thing I want to draw attention to is the shootout scene at Filly. This scene checked every box a fight scene should check. It was fun to watch, with great effects. But it also gave us insight into the characters. Lucy is a decent fighter and has a strong moral compass. The Ghoul is callus and desensitized to death. And Maximus continues to be, well, sort of bad at this whole fighting thing. But with enough moral fortitude that we have a hard time blaming him.
Of course, I would be remiss if I didn’t mention the dog. Who’s name, as far as I’ve been able to ascertain, is just Dog. Which is fine. He doesn’t need to have a name to be a very good boy. He’s sweet, loyal, and fearless.
Also, puppies. Puppies are always great.
Finally, I’d like to shine a spotlight on Lucy’s reaction to the world at large. She is both amazed and terrified by everything. And while she certainly doesn’t want to be rude, she also doesn’t want to be taken advantage of. The best example of this is when she stops to ask for directions with a bright smile and a gun.
Once again, I don’t have anything bad to say about this episode. It was funny, dark, and fun to watch. I’m very much looking forward to the rest of the season.
(4 / 5)
Launching with worldwide excitement, Fallout is based on the extremely popular game series of the same name. Fans of the series have waited with anticipation and trepidation to see if the Prime series would live up to the game.
Having now watched the first episode I can say that, so far, it’s successful.
The story
Our story begins with a children’s birthday party. A performer is there with his daughter, giving horse rides and taking pictures with the kids.
As much as the adults try to focus on the party and the kids, it’s impossible to ignore the looming threat of war that’s on everyone’s mind.
Of course, it’s during this party that war comes, and the bombs drop.
We then cut to after the war and into one of the vaults established to protect humankind and the American Way. For future reference, this is Vault 33. We meet Lucy, our first main character, who’s petitioning to be married to a man from Vault 32 to ensure DNA diversity.
On the wedding night, though, Lucy and the rest of Vault 33 are met with a horrible surprise. The group they let in is not in fact from Vault 32, but is instead a team of raiders from the surface. The raiders kill a lot of the vault dwellers and kidnap Lucy’s father.
We are then introduced to our second main character, Maximus. He is in training to become a Knight in the Brotherhood of Steel. And, well, he’s not doing great.
Things get worse when his best friend Dane becomes a squire before him. But when Dane is hurt, Maximus gets their spot.
We then go back to Lucy, who has decided to leave the vault and find her dad. Of course, the council of her vault doesn’t want her to go. So she is aided by her brother Norm and cousin Chet in a wild escape.
What worked
The first thing that deserves attention is the exceptional character work. Our three main characters are fleshed out and relatable right away. We feel sympathetic for The Ghoul before he’s even introduced as such. We love Lucy’s nativity and selflessness. And we love Maximus for his honesty and passion for his cause.
While these characters are their own people, they also exhibit the three responses we might expect to see in a post-apocalyptic world. We have the hopeful optimist who doesn’t understand how bad things are. We have the aspiring hero who wants to make the world better by force. And we have the self-serving individual who’s given up on the rest of humanity and is only focused on surviving.
Another thing I enjoyed about this episode was the balance of humor and gore. Because there was certainly enough blood and guts for even the most hardcore horror lover. We had a violent sabotage, a brawl with raiders, and even several nuclear bombs.
But there were a lot of funny moments as well. Usually from Lucy. Her overall goodwill and fearless gumption are absolutely hilarious, especially given the horrors she’s facing. It never ceases to amuse me.
Both of these aspects are done perfectly. The jokes land and the bloody scenes pull no punches. It was delightful.
All in all, this was an exciting start to a much-anticipated series. Here’s hoping they’re able to stick the landing.
For more tv shows based on video games, check out my review of Witcher.
(4 / 5)
