CREEPSHOW - SEASON 2 - Episode Guide, Recaps, and Reviews
Episode 1a - Model Kid
Director: Greg Nicotero
Writer: John Esposito
Stars: Brock Duncan, Tyner Rushing, Jana Allen, Kevin Dillon, Chris Schmidt, Nick Morgan
Summary: When an abusive uncle bullies him over his love of horror, a boy obsessed with movie monsters gets revenge in an unusual way.
Obsessed with classic horror movies and building monster models, bullied loner Joe Aurora enjoys a loving relationship with his cancer-stricken mother June in 1972 Illinois. June dies one evening while watching ¡°Abbott and Costello Meet Frankenstein¡± with Joe on a film projector.
Three months later, Joe¡¯s caring Aunt Barb and abusive Uncle Kevin move in and become Joe¡¯s guardians, although Kevin lost his job and needed a place to stay anyway. Kevin repeatedly calls Joe a ¡°freak,¡± breaks one of the models June got Joe, and threatens to throw out all of Joe¡¯s horror movie memorabilia.
Joe fantasizes about his Frankenstein¡¯s Monster poster coming to life and killing Billy Niles, a bully who regularly hassles Joe over his love of monster movies.
After a call from his former employer confirms he will remain jobless, Kevin throws out Joe¡¯s models during a tirade that terrorizes Joe and Barb. That same night, Joe dreams of his projector turning on by itself. Film footage shows Joe¡¯s mother rising from her grave. June tells her son that she and his monster friends are watching over him. June presents a Creepshow comic book toward the camera. Joe wakes to find his actual Creepshow comic opened to a mail order page for a model kit called ¡°The Victim,¡± which Joe likens to Kevin.
After receiving and painting the model, Joe uses it as a voodoo doll to twist Kevin¡¯s ankle. While Barb is at work, Kevin threatens to break down Joe¡¯s bedroom door after hearing noises that disturb his sleep. A creature and a mummy from ¡°Gillman Meets the Mummy¡± appear and attack Kevin. Joe breaks his victim model to disable Kevin. The monsters tear Kevin apart.
Barb screams when she returns home and sees Kevin torn in two. Barb finds Joe dressed like Dracula sitting calmly on his bed. Using a Bela Lugosi voice, Joe speaks with satisfaction and shows his fangs, implying he fulfilled another fantasy by becoming a vampire. The camera pans to show a diorama where models of the Gillman and the mummy loom over Kevin¡¯s corpse.
One of the grumbles people posted about the first season of ¡°Creepshow¡± was that Shudder¡¯s episodic series didn¡¯t consistently convey the same vibe as the films. Some criticized humor-heavy segments for being too cartoony with their comedy. Some felt a few stories appeared too cheap to take seriously. In one of my reviews I mused that ¡°Creepshow¡± echoed ¡°Tales from the Darkside¡± more than the eponymous movies, which could be splitting hairs since ¡°Darkside¡± and ¡°Creepshow¡± share some of the same creators. Regardless of the reason, it wasn¡¯t uncommon to hear someone say ¡°Creepshow: The Series¡± wasn¡¯t enough like the original George A. Romero and Stephen King collaborations.
No one can accuse ¡°Model Kid¡± of not ¡°feeling¡± like ¡°Creepshow¡± because this second season kickoff is basically a 25-minute ¡®Extended Cut¡¯ of the 1982 anthology¡¯s wraparound. I¡¯m picturing a meeting where producers must have specifically commissioned a story that, beat for beat, is virtually identical to those memorable ¡°Creepshow¡± bookends simply to stop naysayers from repeating the above complaint. Otherwise, if writer John Esposito pitched ¡°Model Kid¡± completely cold, I imagine he would have been promptly booted out of the office for plagiarism.
In that classic ¡°Creepshow¡± vein, which of course is the same as the classic EC Comics vein, ¡°Model Kid¡± is a story of supernatural comeuppance. Instead of Joe Hill, we get Joe Aurora, who also happens to live in the Illinois town of Aurora, in case anyone misses the first wink at the famed model kit company. Joe is a prototypical ¡®monster kid.¡¯ While others are out skateboarding and playing football here in 1972, Joe happily holes up in his room, which he decorates as a haven for all things horror. Dressed like Dracula, Joe paints models, watches old fright flicks on a small projector, and imagines fantasies straight out of any creature feature fan¡¯s dreams.
Joe¡¯s only human friend is his loving mother June. Uh-oh. June wears a kerchief around her balding head, which is the unmistakable cinematic sign of an illness forecasting impending doom. It¡¯s not so much a tug as a violent yank on our sympathy strings, though the sight of Joe and June watching ¡°Abbott and Costello Meet Frankenstein¡± together in the boy¡¯s bed makes for a sentimentally sweet moment nonetheless.
Things change dramatically for Joe when caring Aunt Barb and abusive Uncle Kevin become his new guardians. It seems someone told Kevin Dillon he was acting in a comic book-inspired horror show lathered with dark comedy. Perhaps not knowing exactly what that meant, Dillon lasers in on the ¡°comic book¡± component of that description with a four-color caricature that¡¯s as subtle as King Kong tiptoeing across grandma¡¯s good china. Glazing enough ham to last a lifetime of Easters, Dillon lays on the ¡°mean uncle¡± bit thick by contorting his face into Tex Avery sneers, adding maximum Jerseyness to his accent, and strutting with a Yosemite Sam stride. In Dillon¡¯s defense, being dialed up a notch, or in his case six notches, is kind of a ¡°Creepshow¡± thing. Besides, it¡¯s not like Tom Atkins¡¯ take on the same role was the epitome of a restrained performance either.
After Uncle Kevin¡¯s angry hands first throw out Joe¡¯s horror crap, then start smacking his wife and nephew around, Joe gets revenge in a manner anyone can see coming from minute one. Clipping a coupon out of his ¡°Creepshow¡± comic, Joe orders a model kit called ¡®The Victim,¡¯ who looks a lot like Uncle Kevin and would make a delicious plaything in a diorama with Joe¡¯s mummy and lagoon creature figures. I¡¯m not sure why ¡®The Victim¡¯ works exactly like a voodoo doll when it¡¯s a model, but hey, it¡¯s technically a different toy, so not exactly the same situation as the original anthology¡¯s wraparound, right?
¡°Model Kid¡± is a little slow to get into it. Some blubber bloats the waistline too. A subplot with a neighborhood bully doesn¡¯t particularly pan out. A Universal monster rally riff called ¡°Gillman Meets the Mummy¡± opens the episode on a terrific throwback tone, although it provides more padding than necessary, not to mention its weird decision to be a silent film when ¡°Phantom of the Opera¡± is the only classic creature tied to that era.
Once nits are picked, set aside and forgotten, it¡¯s hard to be cross with something that earnestly desires to be a love letter to all of us who¡¯ve been teased for a lifelong love of monsters. Sure, ¡°Model Kid¡± is redundant in general, even more so as an entry in ¡°Creepshow¡± canon. But in paying homage to the black-and-white classics that shaped us, and recreating a bedroom sanctuary where we erected our B-movie shrines, the episode pierces an admirable arrow into horror-loving hearts. That¡¯s kind of ¡°Creepshow¡¯s¡± thing too. The brand has always refashioned childhood creeps for adult appetites. ¡°Model Kid¡± follows a formula, but at least it picks a reliable one to copy. And for anyone out there who considers the TV show to be a listing ship, it makes sense for something safe, simple, and satisfying like ¡°Model Kid¡± to correct the course¡¯s direction.
Episode 1b - Public Television of the Dead
Director: Greg Nicotero
Writer: Rob Schrab
Stars: Mark Ashworth, Marissa Hampton, Coley Campany, Peter Leake, Todd Allen Durkin, Ted Raimi, Jason Kehler
Summary: Chaos consumes a TV station¡¯s studios after an antique show host inadvertently reads aloud from the Necronomicon.
At Pittsburgh PBS station WQPS, Mrs. Bookberry, who hosts the popular children¡¯s reading show ¡®Mrs. Bookberry¡¯s Magical Library¡¯ with her hand puppet Henrietta the Bear, shows her true arrogant and racist offscreen personality when she demands that station manager Claudia Aberlan give her a more favorable timeslot. Claudia is forced to cancel the wholesome ¡®Love of Painting with Norm Roberts¡¯ show to free up the slot, even though Norm¡¯s director George reminds Claudia that Norm is a caring person despite the terrible things he likely repressed to survive The Vietnam War.
In another studio, Goodman Tapert hosts an episode of ¡®The Appraiser¡¯s Road Trip.¡¯ Goodman¡¯s guest is Ted Raimi, who brought his family¡¯s copy of an ancient book to be appraised.
Using a key that Ted provides, Goodman unlocks the book, which Goodman identifies as the Necronomicon. Goodman reads some of the Sumerian text aloud. Ted becomes possessed and turns into a deadite. Ted stabs Goodman in his forehead with the book key and Goodman becomes a deadite too. Ted and Goodman go on a violent rampage in the studio.
Meanwhile, Norm records his final painting show on an adjacent stage. Ted interrupts to attack George. Norm stabs Ted in the head with a paintbrush, punches him, and sets Ted on fire. Norm and Claudia rescue George before escaping. Ted resurrects and moves on to transform Bookberry into a deadite.
Norm, Claudia, and George find the massacre in the other studio. Playback footage reveals what happened after Goodman read from the Necronomicon. Norm and Claudia reason they can reverse the curse by using the same book. Goodman reveals he has the Necronomicon. Before Goodman can attack, George plays audio feedback over the studio speakers that causes Goodman to flee.
With Ted and Goodman acting as her crew, Bookberry begins reading from the Necronomicon during a live broadcast for the Chicago affiliate. Norm, Claudia, and George enter the studio to fight the three deadites. Claudia beheads Bookberry, but her Henrietta puppet continues reading the Necronomicon aloud. Norm rips the key from Goodman¡¯s head, kicks the puppet, and locks the book. The deadite curse seemingly ends.
Weeks later, Norm¡¯s painting program is back on the air. Claudia and George discuss how Chicago wants Norm¡¯s show to go national and how the public dismissed Bookberry¡¯s decapitation as a publicity stunt. Meanwhile, two children watching at home are shown with white deadite eyes.
Those who aren¡¯t thrilled when ¡°Creepshow¡± dunks deep into silliness won¡¯t respond well to ¡°Public Television of the Dead,¡± which might be the series¡¯ boldest blend of splatter and snark. Then again, provided they¡¯re ¡°Evil Dead¡± fans, the segment could still redeem itself in the eyes of harrumphing viewers since ¡°Public Television of the Dead¡± (PTotD) features a meta element that lets it double as an unofficial companion piece to the Bruce Campbell-led franchise.
Being a fan of writer Rob Schrab¡¯s quirky comedy style certainly helps a whole lot too. ¡°PTotD¡± is peak Schrab, starting with pitch perfect parodies of PBS staples like a children¡¯s reading program that mashes up ¡°Mister Rogers¡¯ Neighborhood¡± and Shari Lewis. Even better is ¡°Love of Painting with Norm Roberts,¡± a Bob Ross spoof that¡¯s so on the money, you¡¯d think the real thing was on TV if you weren¡¯t looking closely. Mark Ashworth earns the episode¡¯s MVP trophy as the hilariously soft-spoken Norm/Bob, whose sweet demeanor works overtime to suffocate the psychological horrors of a Vietnam veteran. I want a sequel to this episode simply to see more of this character painting happy little trees while his producer and station manager look on adoringly, then he unexpectedly starts slaughtering zombies with devilishly shell-shocked glee.
Making more referential in-jokes, Ted Raimi shows up as himself. Hoping he can come up with enough cash to blow on a Camaro, or maybe a hot tub, Raimi brought a rare book to be appraised on an ¡°Antiques Roadshow¡± clone. Goodman Tapert, this time nodding at Sam Raimi¡¯s longtime producing partner, immediately identifies the skin-bound tome as the fabled Necronomicon. If he can recognize the ghoulish grimoire on sight, you¡¯d think Tapert would know better than to read its Sumerian text aloud. He does anyway of course, swiftly turning Ted Raimi into a white-eyed deadite in the process. Once Ted takes to a stuntperson¡¯s wire to float around the studio, he passes his curse on to others as chaos consumes the station.
¡°PTotD¡± gets pretty goofy, yet signals its tongue-in-cheek tone at the outset, so there¡¯s little cause to complain. Let¡¯s not forget Ashley J. Williams and company aren¡¯t entirely serious either. Should you come out the other side of this story without having had a smoky hit of riotous fun, that might have more to do with bad faith expectations than anything inherently ¡°wrong¡± with the episode¡¯s entertainingly irreverent attitude.
I believe The Powers That Be originally intended a different pairing for the second season¡¯s first episode, but this one complements ¡°Model Kid¡± nicely. Greg Nicotero¡¯s direction on both gives the combo consistency. ¡°Model Kid¡± covers living a horror lifestyle while mirroring EC¡¯s macabre moral code. ¡°Public Television of the Dead¡± goes a little more extreme with wild wackiness, though the callback to ¡°Evil Dead¡± replenishes its clout. ¡°Evil Dead¡± might be one of the top twenty franchises in horror, at least in terms of faithful fanbases. It¡¯s a smart tactic to play up that appeal. If you¡¯re not into what this second season starter episode offers, ¡°Creepshow¡± might not be your thing, because ¡°Model Kid¡± and ¡°Public Television of the Dead¡± establish a clearer direction for where the show is likely headed. I for one think that¡¯ll be an intriguing tour to take.
By the way, one of the other common criticisms of ¡°Creepshow¡¯s¡± first season had to do with its lackluster host. KNB FX agreed ¡®The Creep¡¯ needed a makeover, and probably came to that conclusion long before fans groaned a single word. I¡¯m not sure what happened to that plan. In this second season premiere, The Creep still does next to nothing, merely giggling a little bit over the first segment¡¯s faux film clip. By the end of ¡°Public Television of the Dead,¡± he¡¯s downgraded to a few frames of animation. Bad habits die hard I guess. The Creep still, uh, ¡°needs work¡± to put it kindly. It¡¯s also a little early to write off his remake as another wreck. So we¡¯ll see what future installments do to make The Creep a consistent character who actually looks like an icon instead of a Jeff Dunham nightmare dressed in old hobo tatters.
Episode 2a - Dead and Breakfast
Director: Axelle Carolyn
Writer: Michael Rousselet, Erik Sandoval
Stars: Ali Larter, C. Thomas Howell, Iman Benson, Pamela Ricardo, Starr La Joie, Dominique Harris
Summary: Desperate to drum up business for their murder-themed bed and breakfast, siblings welcome a true crime influencer who uncovers the truth about their family home¡¯s grisly history.
Siblings Pam and Sam Spinster run the unsuccessful ¡®Spinster Murder House¡¯ bed and breakfast based on the belief that their grandmother was the first female serial killer in 1939. Hoping to attract new customers to their failing business, Pam and Sam invite popular true crime vlogger ¡®Morgue¡¯ to stream her stay in the home.
In addition to Pam admitting that no bodies were discovered, Morgue¡¯s investigation turns up no evidence that Old Lady Spinster ever killed anyone. Frustrated after Morgue¡¯s followers lose interest, Pam continues to desperately insist her grandmother was a homicidal genius.
Morgue finds a hidden door in the back of her bedroom¡¯s closet. The passageway leads to a position where she spies Pam plotting to frighten her in retaliation for ruining the business.
Pam dresses as her grandmother to try scaring Morgue while she sleeps. Morgue maces Pam, leading to a fight between the two women. Having lost her mind, Pam hacks Morgue to death with an ax while Morgue¡¯s livestream broadcasts the murder.
Although shocked by his sister¡¯s actions, Sam sees the live murder instantly boosting reservations. Recognizing a way to finally get rich as the sole sibling, Sam strangles Pam with a noose to make her death look like a suicide.
One year later, the bed and breakfast continues to enjoy massive popularity due to Morgue and Pam¡¯s deaths. While depositing money in a secret sewing room, Sam triggers a trapdoor that drops him into a bone pit, which confirms his grandmother really was a mass murderer. Sam thinks the revelation will make him richer, but becomes trapped in the room with no hope of escape.
When I visited London years ago, I naively wandered around Whitechapel expecting to find plaques identifying Jack the Ripper murder locations. There weren¡¯t any.
What I embarrassingly realized upon later reflection is that commemorating notoriously horrible homicides is a uniquely American thing. In Dallas, an X literally marks the spot in the street where Lee Harvey Oswald¡¯s bullets struck JFK. Official markers dot highways across the country to recognize sites where various figures from the Wild West and pioneering days met untimely ends at the hands of another person. Deadwood has signs for where Wild Bill Hickock was shot in the back as well as for the exact spot where his assailant was apprehended.
We¡¯re not just talking about historically significant events or reverential memorials either. Our fascination with murder gets much more macabre than that. Among other places, the Massachusetts house where Lizzie Borden allegedly ¡°took an ax¡± is open for overnight accommodations, with guests able to choose from several bedrooms where Lizzie once slept and family members were slain.
¡°Creepshow¡± episode ¡°Dead and Breakfast¡± parodies this peculiar pastime with the ¡®Spinster Murder House,¡¯ where siblings Pam and Sam try capitalizing on their grandmother¡¯s 1939 slaughter spree by inviting patrons to stay in the home where those deaths supposedly occurred. ¡°Dead and Breakfast¡± keeps the satire coming with rival venues ¡®Dahmer Apartment¡¯ and ¡®John Wayne Gacy Circus Tent,¡¯ which are not makeshift motels in reality like the Borden B&B is, but would undoubtedly enjoy booming business from curious kooks if they were.
Problem #1 for Pam and Sam is they can¡¯t prove granny was a killer because no bodies were ever found. To drum up business since nearly no one is interested, they invite a popular true crime vlogger to stream her stay in the home. Problem #2 for Pam and Sam is that the vlogger¡¯s investigation turns up rust, not blood, solidifying the suspicion that the only thing cursed about this house is the plumbing.
At first, ¡°Dead and Breakfast¡± lets the inherent absurdity of ¡°horror hotels¡± cover ¡°Creepshow¡¯s¡± characteristic gallows humor quota. It works for a while, then gets far less subtle as the brightly bouncy ¡°bumpa dumpa doo¡± background music sells a setting that¡¯s more campy than creepy. Finding the sweet spot between horror and dark comedy is the key to making any episode live up to its namesake¡¯s legacy. ¡°Dead and Breakfast¡± isn¡¯t the least successful blend of both, but it¡¯s also not at the top of the list. Depending on how often this particular point pops up, I may have to go into deeper detail on the difference between ¡°cartoony¡± and ¡°comic book-y¡± since several episodes seem to think they¡¯re synonymous. For the time being, I¡¯ll simply say ¡°Dead and Breakfast¡± has an animated ¡°Tales from the Cryptkeeper¡± vibe as opposed to that of a sly ¡°Tales from the Crypt¡± fable.
A couple of other weird wobbles keep the atmosphere off balance. Little niggles like a ¡®One Year Later¡¯ epilogue where more guests than the house could possibly hold line the walkway outside, or some filler scenes that seem like stalling tactics, bring up questions about the creative process that thought such odd inclusions were helpful for setting the scenes. ¡°Dead and Breakfast¡± lands in a limbo where disbelief is too high for frights to really register. The episode comes out as a baseline installment of ¡°Creepshow.¡± It¡¯s intermittently indicative of the series¡¯ overall tone and content without being an outstanding example of either one of those things.
Episode 2b - Pesticide
Director: Greg Nicotero
Writer: Frank Dietz
Stars: Josh McDermitt, Keith David, Ashley Laurence
Summary: Tables turn on an unscrupulous exterminator when a mysterious benefactor contracts him for an unusual assignment.
Crass exterminator Harlan King interrupts a therapy session in Dr. Brenda Lanchester¡¯s home office to deliver an invoice. Repulsed by his rudeness, Brenda tells Harlan she won¡¯t be hiring him again. In retaliation, Harlan secretly releases cockroaches to re-infest Brenda¡¯s house.
Mysterious real estate entrepreneur Mr. Murdoch calls Harlan to an abandoned warehouse. Murdoch offers Harlan a job exterminating homeless squatters obstructing land development. Harlan initially balks at the idea of killing humans, but Murdoch convinces Harlan to see them like any other pest by presenting a briefcase loaded with cash.
Harlan returns to the location at night, but hesitates when the time comes to poison stew being boiled in a barrel. A vagrant attacks Harlan, causing him to inadvertently drop his poison into the stew anyway. Harlan escapes by smashing a poison vial in the vagrant¡¯s face. The vagrant dies and Harlan flees. Back in his motel home, Harlan has nightmares where Murdoch sprays him with pesticide and a giant rat bites off his hand.
The next day, Harlan finds authorities filling multiple body bags with corpses of the homeless who died from his poison. Harlan experiences more hallucinations of being attacked by a large fly, cockroaches, a giant spider, and the poisoned hobo.
Harlan collapses from his visions outside Brenda¡¯s home. While recovering inside, Harlan tells Brenda that he believes Murdoch is the devil and he mistakenly made a deal with him. After Brenda puts Harlan to sleep, she reveals she knows he put the cockroaches back in her house.
Harlan wakes to find himself shrunken to insect-size on Brenda¡¯s couch. Brenda smashes Harlan to death with a rolled-up magazine. Murdoch appears at Brenda¡¯s door dressed as her new exterminator. Murdoch laughs menacingly.
I don¡¯t know if ¡°Creepshow¡± is budgeted for individual episodes or as an entire season. I¡¯m inclined to think it¡¯s the latter, because ¡°Pesticide¡± looks like a cheap ¡°checkbook equalizer¡± meant to balance other episodes that spent bigger chunks of the collective cash pool. An abandoned warehouse location opens up the production a tiny bit. Otherwise, cramped confines, shockingly poor puppetry, and only three speaking parts give the impression that getting away with as little as possible was a chief priority on the agenda.
¡°The Walking Dead¡¯s¡± Josh McDermitt plays schlubby exterminator Harlan King. Harlan self-centeredly sees himself as a true ¡°king¡± when it comes to crushing vermin, living out a fantasy of superiority every time he stomps unwelcome critters. He¡¯s crass too, carelessly interrupting a therapy session in a client¡¯s home office to insist on reconciling an invoice. When she tries getting him to recognize his rudeness, Harlan retaliates by secretly releasing more cockroaches into her house.
Keith ¡°Can Do No Wrong¡± David channels his Mr. Simms shtick from ¡°Tales from the Hood 2¡± as Mr. Murdoch, a mysterious businessman whose cryptic speech and manicured appearance instantly deliver the impression of something nefarious being afoot. Murdoch wants Harlan for an unusual assignment. He needs pests eliminated from a property he¡¯s developing, except these pests are of a homeless human variety.
What¡¯s weird about this is that ¡°Pesticide¡¯s¡± premise amounts to entrapment. Harlan isn¡¯t a man who murdered his wife or committed a crime that deserves comeuppance. Sure, he shouldn¡¯t have purposely put roaches in Ashley Laurence¡¯s place. But he misread a situation due to his social awkwardness and she responded with what he felt was a condescending insult. To suggest Harlan¡¯s relatively minor transgressions of obliviousness, arrogance, and fraud earn the fate Murdoch sets him up for is a confused interpretation of how a typical EC morality tale should play out.
¡°Pesticide¡± still has a chance to turn Harlan into a villain when he accepts the lucrative offer to exterminate the people plaguing Murdoch¡¯s business expansion. But Harlan has second thoughts while standing over an alleyway barrel of community stew. Harlan instead continues being a victim of circumstance when a vagrant aggressively attacks him, causing Harlan¡¯s poison to inadvertently drop into the barrel and forcing Harlan to kill the homicidal hobo in self-defense. This is about as backwards of a way to create a character worthy of ¡°getting what¡¯s coming to him¡± as any installment of ¡°Creepshow¡± has conceived.
What¡¯s even weirder are the Muppet-esque puppets populating Harlan¡¯s hallucinatory visions. ¡°Pesticide¡¯s¡± story skimps on meat, so side plates are served up with nightmare sequences where massive flies and spiders torment the man. Chuck E. Cheese is more lifelike than a giant rat that bites off Harlan¡¯s hand. McDermitt bugs out his expressions in these scenes. Coupled with the cringingly cheesy sight of him wrestling against a fake fuzzy rat head, viewers are far more inclined to react with incredulousness than amusement.
More so than Secretariat winning a race against a dead slug, it¡¯s a safe bet that ¡°Pesticide¡± won¡¯t become anyone¡¯s favorite episode thanks to shaggy staging and a nonsensical narrative (Why does Keith David show up as Ashley Laurence¡¯s new exterminator at the end?). I remain a fan of ¡°Creepshow,¡± and an apologist for some of its understandable faults. But cheapies like ¡°Pesticide¡± are tough to defend when a Negative Nelly wants to say, ¡°I told you so¡± about the show¡¯s tug-of-war with budgetary restrictions.
For those keeping score at home, The Creep is almost entirely absent from both stories in this second episode. He does an animated bit at the beginning, shows up for a quick live-action giggle, and then only appears in comic book panels for the remaining wraparounds. Whatever work went into his revamp, we still aren¡¯t seeing it yet as The Creep is as inconsequential of an inclusion as ever.