But one story echoes this ancient belief in the returning hero more than any other. It’s not as famous as the rest, but it represents any entire nation oppressed under the thumb of a foreign ruler, and the hope they placed in their hero’s return. And to hear it, we’re going to need to travel to a land of limitless beauty and enduring pain: Ireland.
The latest installment of the Lore podcast is one that goes heavy on the exposition. Its first half plays like a history lesson, as narrator Aaron Mahnke traces the life story of the 16th Century Irish political figure Gerald Fitzgerald. Exiled from his homeland as a youth and pursued by his enemies (the agents of King Henry VIII), Fitzgerald developed a reputation for unlikely escapes from punishment and death. He accordingly became known as the “Wizard Earl” of Kildare (his open interest in alchemy only added to his mystique), and this Lore episode hits its stride when it delves into the story of Fitzgerald’s attempt to prove his magical powers to his wife–a demonstration that certainly puts her courage to the test. Mahnke also ties Fitzgerald into an Irish version of the “king under the mountain” legend, and recounts a tale (of the Wizard Earl’s ghostly return on horseback to Kilkea Castle every seven years) that sounds like something straight out of Gottfried August Burger or Washington Irving. For those who can get past the initial infodump, “Beyond the Pale” proves an episode rich in dark lore.
Stephen King’s and George Romero’s Creepshow was a determinedly referential endeavor–a concerted effort to recreate the horror sensibility of E.C.-style comics. It should come as no surprise, then, that the Shudder spin-off series, which faithfully adheres to the aesthetic of the original movie, also nods knowingly at horror history. Nowhere is this more evident than in Creepshow‘s second-season premiere.
“Monster Kid,” the episode’s opening segment, is a love letter to utter monstrophilia. Joe Aurora is a Dracula-dressing, Bela-Lugosi-quoting, model-kit-obsessed horror hound. His bedroom is a treasure trove of monster memorabilia. The segment (which begins with a black-and-white scene fantasized by Joe) invokes the Universal monsters in the form of the Gill-Man, the Mummy, and Frankenstein’s Monster (at one point, Joe also watches Abbott and Costello Meet Frankenstein). There’s a clip of a horror host addressing “boils and ghouls”–a pun that surely resonates with fans of Tales from the Crypt. With its voodoo-doll plot element, “Monster Kid” even recalls the frame story of the Creepshow film. Despite striking a sweet note in its invocation of Monster Culture, the segment does not shy away from the typical dramatization of grim comeuppance, as Kevin Dillon’s obnoxious character ultimately gets transformed into Johnny Trauma.
Substituting the satiric for the nostalgic, the second segment (“Public Television of the Damned”) is a gonzo homage to the Evil Dead franchise coupled with a send-up of public television programming. All hell threatens to break loose when Ted Raimi shows up on “The Appraiser’s Road Trip” with a copy of the Necronomicon; a PBS-esque pledge drive turns into a demonic demand for a pledge of human souls to the book. Gleefully over-the-top (a Bob Ross knockoff forms a badass hero here), the adult-humored segment features scenes of wild violence that would make Sam Raimi proud. The marvelously macabre makeup (courtesy of Creepshow producer Greg Nicotero’s KNB EFX Group) also expertly evokes the Evil Dead.
With its commitment to vintage horror, the season 2 premiere forms a modern classic. If the same level of reverent retrospection is maintained throughout, viewers have a lot to look forward to this season.