Connect with us

Published

on

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.

Fewer tentacles, for example, at least in Ji-Ah’s case.

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.

Advertisement

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.

Advertisement

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.

Apparently being handsome is a magical power that lets you get away with murder.

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.

Advertisement

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 out of 5 stars (5 / 5)

Look, the tentacles are not a deal breaker.

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.

David Davis is a writer, cartoonist, and educator in Southern California with an M.A. in literature and writing studies.

Movies n TV

Goosebumps, You Can’t Scare Me

Published

on

Episode eight of Goosebumps felt more like a season finale. Frequently when shows do this, it leads to a lackluster final episode in which it feels like everything has already been said, the monster is already vanquished, and we’re just tidying everything up. But hopefully, the creators remember the number one rule of a horror franchise. The monster is never really dead.

Cover for Goosebumps You Can't Scare Me!

The story

We begin our story with everyone in hot water. Well, at least in a notebook that’s just been damaged by cold puddle water.

After a frankly hilarious battle between Biddle and Bratt for the body, Nathan manages to draw a door in the notebook for the teens to escape. Unfortunately, he is sucked back into the notebook.

Back in the real world, the kids head to Nora’s cabin to save her. But Biddle reaches her first. Possibly because a helpful sheriff tells him right where her cabin is.

Advertisement

ACAB.

Biddle finds Nora before she can hide Slappy somewhere in the deep woods. She takes off but is having a difficult time losing him. He does eventually take Slappy, leaving Nora in a dangerous position.

Luke and Margot manage to find her but lose Isaiah in the process. Isaiah has fallen down a cliff face and is clinging to it for dear life.

And this is where he is when Slappy and Biddle find him.

What worked

Advertisement

The first thing I have to mention is that this was a great episode for parent/child relations. I loved that Harold’s parents knew he wasn’t to blame. I loved that they’d been waiting for him all this time, so they could go into the afterlife together.

Rachael Harris in Goosebumps.

Luke and Nora had a good moment as well. Honestly, it appears that everyone had an honest discussion with their kids or parents at some point because of this.

I also really loved the musical choices in this episode. This has been a bit of an issue this season so far, but this was a great example. I especially enjoyed the instrumental version of Sweet Dreams played during high-conflict moments. Honestly, has there ever been a bad version of that song?

Overall, this was a satisfying episode. Nora was finally vindicated. Nathan finally has his body back, and Harold Biddle is free.

It makes me wonder what they’re going to do with the rest of the season. Or at least it would if the next episode wasn’t titled Night of The Living Dummy Two.

What didn’t work

Advertisement

One thing about this episode did irritate me, though. Once it’s established that Biddle and Nora are in the woods, everyone takes off after them. And for some reason, no one remembered that cell phones existed. We know the teens have their phones, that was made painfully clear in the car scene. Why did no one, not one soul, consider calling Nora instead of running around in the snow yelling for her? And when Isaiah vanished, why didn’t he call someone? Why didn’t they call him?

This would have been an easy fix. There’s a snowstorm. We could have just mentioned that someone tried to call and cell lines were down. Instead, every character seemed to have just forgotten that modern technology exists and we don’t have to run around shouting for people if they get lost in the forest with their phone.

All in all, though, this was a good episode. I’m not sure yet how I feel about there being two episodes left, I’ll admit. But I guess we’ll have to wait and see what happens. This has been a good season so far. Let’s hope they stick the landing.

4 out of 5 stars (4 / 5)

Advertisement

If you’re a fan of my work, please check out my latest story, Nova, on Paper Beats World. New chapters launch every Monday, Wednesday, and Friday.

Continue Reading

Movies n TV

Goosebumps, Give Yourself Goosebumps

Published

on

This episode of Goosebumps is named after the Choose Your Own Adventure spinoff books. Also known as my favorite way to spend an afternoon as a kid.

Cover from Give Yourself Goosebumps

I still have some of these. I can tell you what they smell like. They smell like childhood joy.

It was nice to be reminded of these wonderful times. It was even better that I was reminded in this wild ride of an episode.

The Story

We begin our tale with the revelation that Mr. Bratt is actually Harold Biddle. And to make sure these meddling kids don’t spoil his plan, he’s trapped them inside of his notebook. The notebook looks very much like the living room of the cabin.

Advertisement

There, the teens find the real Mr. Bratt. He’s been trapped in the notebook since Biddle took over his body. And he hasn’t made much headway in escaping.

Meanwhile, Nora is finally being released from the psych ward. And she is not thrilled with Victoria. Seeing as how Victoria has been drugging her, this is understandable.

But Nora is done being passive now. She heads right to her garage and packs Slappy up in a canvas sack. Why Slappy was in her garage, where her child hangs out, is beyond me. But here we are.

As she’s trying to leave, Colin finds her. He’s rightfully looking for some answers. But he’s not going to get it from her. She informs him that she has to handle something, and she cannot explain what’s going on. Then she drives off with Slappy.

Poor Colin, looking for some support, goes to see Isaiah’s dad, Ben. He lays out the whole situation, looking for support.

Advertisement

But Ben hears something else in Colin’s tale of woe. He hears that Slappy is free. And so he takes off, leaving Colin sitting in his living room alone with no answers.

Colin has got to be wondering why he’s still living in this town at this point.

Back in the notebook, Nathan and the teens realize that if Nathan is hurt, he goes back into his own body. This leads to a wonderfully funny scene of the kids taking turns punching him in the face.

Still from Give Yourself Goosebumps.

Eventually, he gets partial control of his body. But Biddle is still there, and still ready to do battle. And when the notebook is tossed out the window and lands in a puddle, the kids find themselves in an even worse situation.

What worked

I want to start by praising a subtle detail that absolutely blew me away. Right before the teens realize they’re no longer in the real world, there’s a color shift. The whole picture becomes a bit browner. Again, it was subtle. But it was such a wonderful transition.

Advertisement

I also want to bring attention to Justin Long, again. His acting in this season has been so laugh-out-loud funny. In this episode, we saw him jumping back and forth between Nathan Bratt and Harold Biddle in the blink of an eye. Or, the time it took Isabella to punch him. The way he flops around, is clearly either not comfortable or not in control of his body. It’s a delight.

Finally, despite the number of grownups who are now involved, the kids are still clearly the heroes. They are the ones working together, sharing information, and trying to fix their situation before they die. They are not waiting for rescue, like Mr. Bratt. They are not ignoring the problem. They are not working with Slappy, as I suspect one of the parents might be. The kids, in this show, are alright. And they are certainly the good guys.

This season just gets better and better. And the best part is that Slappy isn’t even awake yet. We haven’t released the big bad. And the good guys are already overwhelmed. So what are they going to do when Slappy is back?

4 out of 5 stars (4 / 5)

Advertisement

If you’re a fan of my work, please check out my latest story, Nova, on Paper Beats World. New chapters launch every Monday, Wednesday, and Friday.

Continue Reading

Movies n TV

Goosebumps, Night of The Living Dummy

Published

on

After the very alluring ending to the last episode of Goosebumps, this one had a lot to live up to. It is also, of course, named for possibly the best-known Goosebumps book. Night of The Living Dummy is the book that gave the series its mascot character, and our primary antagonist, Slappy the Dummy. It’s safe to say that this episode was going to change the course of the season. And I’m happy to say that it lived up to all of those expectations.

If you’re into detailed, elaborate, multigenerational backstories, then this episode is going to be a real treat.

The story

After Biddle/Mr. Bratt invites the kids inside, he sits them down on the couch and starts to tell them an elaborate backstory. This story begins with his great-great-great-grandfather, Ephraim Biddle.

Slappy in Goosebumps

Ephraim was a failing magician until he finds Slappy the Dummy in a magic shop. After accidentally bringing Slappy to life (do not repeat strange words you find on a piece of paper out loud) his act takes off. Eventually, though, he discovers that Slappy has plans to hurt people. And so he bricks him up in the wall of his basement.

Years later, Harold Biddle and his parents move in. And Slappy calls to Harold, who was bullied at his last school. He’s worried that he’ll be bullied again. Slappy talked to those fears. And, as is too often the case, this worked like a cursed charm.

Advertisement

What worked

I’d like to start with how our main characters responded to Harold Biddle’s tale. Because I loved it possibly as much as he hated it. But they are correct when they say that their parents weren’t to blame for what happened to Harold.

They didn’t bully him. They took him into their group, or at least they tried to. And after Harold stood up on stage and aired out their secrets, Nora was quick to defend him. They even wanted to protect him from Slappy.

And yes, their actions caused his house to catch on fire. But they would have gone back and saved him if it hadn’t been too late.

I felt so bad that Harold’s unhappiness was completely self-fulfilling. He assumed people would hate him, so he didn’t give them a chance. This is a lesson we don’t see much of.

Of course, the bulk of this episode’s greatness came right in the last few minutes. This ending was perfect.

Advertisement

When Margot asks “How do you know all of this, Mr. Bratt?” And his response is, “That’s right, the twist,” that was it for me. Because of course, Goosebumps books were always known for that last killer twist. And I think we all love a good fourth-wall joke around here.

This, of course, led us to the big reveal. And this was perfect. It was a cool line. The effects were flawless. The kids’ reactions were hilarious and completely understandable.

Oftentimes in horror, when we finally see the monster it can be a bit of a letdown. Stephen King talks about this struggle in Dance Macabre. When we can’t see the monster, it’s the worst thing we can imagine. After we see it, we often realize it isn’t that bad. It might even be unintentionally funny.

Because the point of this scene isn’t really the monster’s revelation to the audience but is instead focused on the revelation to the characters, it works much better.

What didn’t work

Sadly, the rest of the episode didn’t work quite as well. Starting with the flashback to Ephraim Biddle. While I understand the value of this story, it was slow. It wasn’t nearly as interesting as the rest of the episode or the season. It certainly dragged this episode down. Which isn’t to say the actors didn’t do a fine job. It was just that the story itself was a little dull.

Advertisement
Cover for Goosebumps, Night of The Living Dummy.

Finally, though, I have one primary complaint. And this has been an issue I’ve had with the season so far.

If Slappy was supposed to be a big mid-season surprise, maybe he shouldn’t have been plastered on every single bit of advertising for this season. It took some of the joy away honestly. When we first saw the dummy-sized case, we all knew who it was going to be, because we’d already seen his face. Worse, Slappy’s appearance couldn’t be a surprise, because we saw him as soon as we knew the show was going to happen. It took some potential fun away to have that expectation already established.

That being said, this was still a fun episode. And it certainly left me eager to see what’s going to happen next.

4 out of 5 stars (4 / 5)

If you’re a fan of my work, please check out my latest story, Nova, on Paper Beats World. New chapters launch every Monday, Wednesday, and Friday.

Advertisement

Continue Reading

Trending