Here's some vital Halloween reading to accompany the sugar binge we at Lightbox Heroes hope you have already commenced. We drew from reader suggestions, included some of our personal favorites, and end with the Epic Winner of All-Time Halloween Goodness.
Readers' Picks
Mockingbird Lane
Suggested by Kris King
A failed Munsters remake fronted by Brian Fuller, Mockingbird Lane and it’s impeccably designed world of the mystic deserved a longer life. It still fits the Halloween line-up perfectly, with vampires, werewolves, weak-hearted reconstructed bodies, and the rejuvenating power of fresh-spilt blood. But more than anything, what Mockingbird Lane offered was a dark humanization of the monsters next door.
Suggested by Kris King
A failed Munsters remake fronted by Brian Fuller, Mockingbird Lane and it’s impeccably designed world of the mystic deserved a longer life. It still fits the Halloween line-up perfectly, with vampires, werewolves, weak-hearted reconstructed bodies, and the rejuvenating power of fresh-spilt blood. But more than anything, what Mockingbird Lane offered was a dark humanization of the monsters next door.
How I Met Your Mother "The Slutty Pumpkin"
Suggested by Nichole Nelson Winchester
This is the episode in the first season of HIMYM that sold us on empathizing with Ted's character, cemented Barney's special brand of outrageous douchery that won the heart of America, and served as a PSA about the shelf-life of topical costumes. This episode finds just the right note of earnestness and whimsy, jumping between a rooftop vigil for the one that got away and magnificent multi-costume schemes.
Suggested by Nichole Nelson Winchester
This is the episode in the first season of HIMYM that sold us on empathizing with Ted's character, cemented Barney's special brand of outrageous douchery that won the heart of America, and served as a PSA about the shelf-life of topical costumes. This episode finds just the right note of earnestness and whimsy, jumping between a rooftop vigil for the one that got away and magnificent multi-costume schemes.
Community "Epidemiology"
Suggested by Nichole Nelson Winchester
Dan Harmon is the master at combating convention, and this wry yet hilarious take on zombie infestations is the prime example. An all-Abba soundtrack offsets the matronly character and the fool getting laid, the attractive heroes falling prey to infection, and the black guy not only surviving, but saving the day (as sexy Dracula, no less!).
Suggested by Nichole Nelson Winchester
Dan Harmon is the master at combating convention, and this wry yet hilarious take on zombie infestations is the prime example. An all-Abba soundtrack offsets the matronly character and the fool getting laid, the attractive heroes falling prey to infection, and the black guy not only surviving, but saving the day (as sexy Dracula, no less!).
Supernatural "It’s the Great Pumpkin, Sam Winchester"
Suggested by Jacob Winterfeldt and Rachel Gunn
Angels and witches and Halloween urban legends, oh my. Sam and Dean are on a mission to stop Samhain from rising, but though their usual humor accompanies them, luck does not. The episode is terrifying, full of kids barfing razor blades and angels with secret agendas. It’s scary and a pivotal episode. What more can you ask for?
Suggested by Jacob Winterfeldt and Rachel Gunn
Angels and witches and Halloween urban legends, oh my. Sam and Dean are on a mission to stop Samhain from rising, but though their usual humor accompanies them, luck does not. The episode is terrifying, full of kids barfing razor blades and angels with secret agendas. It’s scary and a pivotal episode. What more can you ask for?
Favorites From Your Heroes
The Simpsons, "Treehouse of Horror"
Cat McCarrey
Readers Jason Clark and Jacqui Hilton rightly submitted that all "Treehouse" episodes were classics, and Jacob Winterfeldt singled out "Treehouse of Horror V." While that one is certainly worthy, and the Soylent Green cafeteria segment deserves a shout-out, the original wins the cake. “Treehouse-Original Flavor” not only introduces the family telling spooky stories in the actual treehouse, but it set the standard of complete genre inversions for future episodes. What more, it set the tone for The Simpsons and Halloween. I mean, it's the episode that introduced Kang and Kodos for crying out loud. "Treehouse" subverted Poltergeist horror with the possessed house losing it’s power to a strong-willed Marge. The scene of blood pouring down the walls, only to have Bart order the house to do it again? That took the power back. For a kid like me, it was a revelation that scary things could be funny if you owned the joke. Treehouse moralized with Kang and Kodos abandoning humanity, with their cookbook How to Cook Humans, I mean How to Cook for Humans, er, How to Cook Forty Humans. But best of all is the literary homage with The Raven sketch. Marge’s Lenore picture is wonderful, Bart’s Raven quoth-ing “Eat My Shorts” is a revelation, and Homer’s inability to sleep after the telling completes the scene. Watching Homer lose his mind suddenly made the terror of the story more accessible, and made Edgar Allen Poe’s strange brand of pensive terror real.
Cat McCarrey
Readers Jason Clark and Jacqui Hilton rightly submitted that all "Treehouse" episodes were classics, and Jacob Winterfeldt singled out "Treehouse of Horror V." While that one is certainly worthy, and the Soylent Green cafeteria segment deserves a shout-out, the original wins the cake. “Treehouse-Original Flavor” not only introduces the family telling spooky stories in the actual treehouse, but it set the standard of complete genre inversions for future episodes. What more, it set the tone for The Simpsons and Halloween. I mean, it's the episode that introduced Kang and Kodos for crying out loud. "Treehouse" subverted Poltergeist horror with the possessed house losing it’s power to a strong-willed Marge. The scene of blood pouring down the walls, only to have Bart order the house to do it again? That took the power back. For a kid like me, it was a revelation that scary things could be funny if you owned the joke. Treehouse moralized with Kang and Kodos abandoning humanity, with their cookbook How to Cook Humans, I mean How to Cook for Humans, er, How to Cook Forty Humans. But best of all is the literary homage with The Raven sketch. Marge’s Lenore picture is wonderful, Bart’s Raven quoth-ing “Eat My Shorts” is a revelation, and Homer’s inability to sleep after the telling completes the scene. Watching Homer lose his mind suddenly made the terror of the story more accessible, and made Edgar Allen Poe’s strange brand of pensive terror real.
Boy Meets World, “Who’s Afraid of Cory Wolf?”
Cat McCarrey
Halloween is the ultimate kids holiday, and this episode of Boy Meets World is the perfect encapsulation of childhood chills and thrills. "Treehouse" might have been the show that made Halloween conquerable, but Boy Meets World is what made it fun. It makes the horror palatable to kids, using all the classic tropes--crashes of lightning, attacks by the unknown, movie monsters, a mysterious gypsy, and tortured diary narration. These aren't used too seriously. They just ramp up the Halloween spirit. But “Cory Wolf” earns it’s greatness not merely because it’s a wonderful introduction to monster movies, but also because it blends the Halloween mayhem with the drama of growing up. Cory’s fear of turning into a werewolf only sets the stage for his coming-of-age. He's not transformed into a wolf, but turns more fittingly into a young man. At the end of the episode, he sees at Topanga in a new light, causing a major turn for Cory and a turn for the show as a whole.
Cat McCarrey
Halloween is the ultimate kids holiday, and this episode of Boy Meets World is the perfect encapsulation of childhood chills and thrills. "Treehouse" might have been the show that made Halloween conquerable, but Boy Meets World is what made it fun. It makes the horror palatable to kids, using all the classic tropes--crashes of lightning, attacks by the unknown, movie monsters, a mysterious gypsy, and tortured diary narration. These aren't used too seriously. They just ramp up the Halloween spirit. But “Cory Wolf” earns it’s greatness not merely because it’s a wonderful introduction to monster movies, but also because it blends the Halloween mayhem with the drama of growing up. Cory’s fear of turning into a werewolf only sets the stage for his coming-of-age. He's not transformed into a wolf, but turns more fittingly into a young man. At the end of the episode, he sees at Topanga in a new light, causing a major turn for Cory and a turn for the show as a whole.
My So-Called Life, "Halloween"
Cat McCarrey
My So-Called Life abandons the scary schlock in favor of the realities of fear. As seen through the lens of teenage angst (naturally), "Halloween" is more about the true fears in life: a needless death, a life wasted, a marriage without spark. Cliches are used to tell the tales, but only to make the true-life scares more scarring. In the land of TV, it’s not a special spooky episode unless there’s a ghostly appearance from a 1950’s tragic teen, accompanied by dreamy crooning that will ultimately ruin a song for ever (think X-Files and “Wonderful Wonderful”). Here that song is “Blue Moon,” offering a backdrop for Angela as she tracks down--and raises?--the ghost of a dreamy dead greaser. In doing so, she ponders the nature of death and how people get down the wrong path. And by “people,” I really mean “Jordan Catalano.” The shots of the school at nighttime are creepy and atmospheric, and the episode itself is full of Halloween hopes and worries. In the end, everyone’s just happy to be done with the night and out into the light. For candy-hungry Danielle, love-hungry Graham and Patty, and premature ghosts Angela, Brian and Rayanne, who haunt the school too early and stay too late, the night brings revelations that are easier to face in the day.
Cat McCarrey
My So-Called Life abandons the scary schlock in favor of the realities of fear. As seen through the lens of teenage angst (naturally), "Halloween" is more about the true fears in life: a needless death, a life wasted, a marriage without spark. Cliches are used to tell the tales, but only to make the true-life scares more scarring. In the land of TV, it’s not a special spooky episode unless there’s a ghostly appearance from a 1950’s tragic teen, accompanied by dreamy crooning that will ultimately ruin a song for ever (think X-Files and “Wonderful Wonderful”). Here that song is “Blue Moon,” offering a backdrop for Angela as she tracks down--and raises?--the ghost of a dreamy dead greaser. In doing so, she ponders the nature of death and how people get down the wrong path. And by “people,” I really mean “Jordan Catalano.” The shots of the school at nighttime are creepy and atmospheric, and the episode itself is full of Halloween hopes and worries. In the end, everyone’s just happy to be done with the night and out into the light. For candy-hungry Danielle, love-hungry Graham and Patty, and premature ghosts Angela, Brian and Rayanne, who haunt the school too early and stay too late, the night brings revelations that are easier to face in the day.
Buffy the Vampire Slayer, "Halloween"
Mary Shurtz
This is one of the truly golden moments of season two, setting the tradition that no one Halloweens like Joss Halloweens. With the overall theme of the episode being teen identity and how much we become defined by how we present ourselves, this episode gives everyone in the main cast a chance to show off their range. We get to see Buffy behave the way every other writer would write a beautiful young girl in a horror flick: completely useless, paralyzed by fear, and more than a little bit stupid. It isn't until this episode that you really appreciate how many archetypes are being broken by the Buffy character, which is why the episode continues to be such a fan and critical favorite. More than the fun of seeing Buffy as her direct opposite is the logic behind the move: having Buffy show the vulnerability and insecurities a new relationship sparks is pure storytelling elegance. But wait, there's more! Through the mischief-maker of the piece we get our first peek into Giles's bad-boy, sexier than sex past, Xander gets to be cool and competent for the first time ever, Spike is at his most petulant and mayhem-loving, and Cordelia gets made fun of by everybody. It's perfection all around. And then, the golden nugget of awesomeness at the end of a fantastic ride: Willow crossing the street with newfound (and fleeting) confidence, seen by Oz in his headlights, leaving a light in his eye and a heart melting "Who is that girl?" That's right. Peril, hijinks, humor, and me pretending that Seth Green in my boyfriend. It's the perfect Halloween treat.
Mary Shurtz
This is one of the truly golden moments of season two, setting the tradition that no one Halloweens like Joss Halloweens. With the overall theme of the episode being teen identity and how much we become defined by how we present ourselves, this episode gives everyone in the main cast a chance to show off their range. We get to see Buffy behave the way every other writer would write a beautiful young girl in a horror flick: completely useless, paralyzed by fear, and more than a little bit stupid. It isn't until this episode that you really appreciate how many archetypes are being broken by the Buffy character, which is why the episode continues to be such a fan and critical favorite. More than the fun of seeing Buffy as her direct opposite is the logic behind the move: having Buffy show the vulnerability and insecurities a new relationship sparks is pure storytelling elegance. But wait, there's more! Through the mischief-maker of the piece we get our first peek into Giles's bad-boy, sexier than sex past, Xander gets to be cool and competent for the first time ever, Spike is at his most petulant and mayhem-loving, and Cordelia gets made fun of by everybody. It's perfection all around. And then, the golden nugget of awesomeness at the end of a fantastic ride: Willow crossing the street with newfound (and fleeting) confidence, seen by Oz in his headlights, leaving a light in his eye and a heart melting "Who is that girl?" That's right. Peril, hijinks, humor, and me pretending that Seth Green in my boyfriend. It's the perfect Halloween treat.
Don't Trust the B*** in Apartment 23, "Love and Monsters"
Mary Shurtz
This episode has multiple things in it's favor, but who are we kidding--James van der Beek is enough of a reason to watch this Halloween pick over and over. Chloe's story (which I guess is supposed to be the main focus of the episode, but to each their own) is also one of her better ones from the series. You discover early on that Chloe's twisted way to celebrate Halloween is to seek and elaborately destroy someone's life by having their worst fear come true. The shenanigans that ensue are humorous and in keeping with the vibe of the show, but let's get back to how awesome James is. Continuing his commitment to absurd satire on his own career and lifestyle, James throws an elaborate "Positivity Party" in order to (not) cope with his deep-seated childhood fear of Halloween and all things scary. Only adorable and non-threatening costumes need apply. Complete with a showdown with the one guest who dared come dressed as the devil to James's distressingly attractive angel, this episode is 20 minutes of comedic Halloween gold.
Mary Shurtz
This episode has multiple things in it's favor, but who are we kidding--James van der Beek is enough of a reason to watch this Halloween pick over and over. Chloe's story (which I guess is supposed to be the main focus of the episode, but to each their own) is also one of her better ones from the series. You discover early on that Chloe's twisted way to celebrate Halloween is to seek and elaborately destroy someone's life by having their worst fear come true. The shenanigans that ensue are humorous and in keeping with the vibe of the show, but let's get back to how awesome James is. Continuing his commitment to absurd satire on his own career and lifestyle, James throws an elaborate "Positivity Party" in order to (not) cope with his deep-seated childhood fear of Halloween and all things scary. Only adorable and non-threatening costumes need apply. Complete with a showdown with the one guest who dared come dressed as the devil to James's distressingly attractive angel, this episode is 20 minutes of comedic Halloween gold.
Will & Grace "Boo! Humbug"
Mary Shurtz
This episode is such a great love letter to the best parts of Halloween: drag queens and childhood. Jack and Karen make a foray into the crazy downtown New York scene--Jack dragging a reluctant Karen along, as is canon--only to have Karen be hailed and adored as the Most Fabulous in a group of drag queens. Instead of being upset that she's being mistaken for a man, Karen once again shows that there's nothing she loves more than worshipful adoration. From makeup tips to sassy hip snaps, she enthusiastically dives into her new role. But the real heart of the episode is in Will and Grace's story: they're boycotting the holiday, having a night in eating fine foods and enjoying a series of Ingmar Bergman films. Halloween is for kids, and they are emphatically in the grown-up world. But when they get stuck with babysitting two little munchkins at the last minute, their initial reluctance gives way to absolute glee. Intense Mexican standoffs over who gets the last jawbreaker, epic silly string fights, it all adds up to the Truth of the Season: yeah, Halloween is for kids. That's the beauty of it. You don't have to sex it up or somehow relate it to 401Ks and other terrifyingly adult things to make it something you look forward to. Also, the gag to not have the kids talk or take off their masks for the whole episode was genius. Nothing ruins a good Halloween episode faster than crummy child actors with their little voices and their little overacting faces.
Mary Shurtz
This episode is such a great love letter to the best parts of Halloween: drag queens and childhood. Jack and Karen make a foray into the crazy downtown New York scene--Jack dragging a reluctant Karen along, as is canon--only to have Karen be hailed and adored as the Most Fabulous in a group of drag queens. Instead of being upset that she's being mistaken for a man, Karen once again shows that there's nothing she loves more than worshipful adoration. From makeup tips to sassy hip snaps, she enthusiastically dives into her new role. But the real heart of the episode is in Will and Grace's story: they're boycotting the holiday, having a night in eating fine foods and enjoying a series of Ingmar Bergman films. Halloween is for kids, and they are emphatically in the grown-up world. But when they get stuck with babysitting two little munchkins at the last minute, their initial reluctance gives way to absolute glee. Intense Mexican standoffs over who gets the last jawbreaker, epic silly string fights, it all adds up to the Truth of the Season: yeah, Halloween is for kids. That's the beauty of it. You don't have to sex it up or somehow relate it to 401Ks and other terrifyingly adult things to make it something you look forward to. Also, the gag to not have the kids talk or take off their masks for the whole episode was genius. Nothing ruins a good Halloween episode faster than crummy child actors with their little voices and their little overacting faces.
Bleach "304"
Rosemary Larkin
Anime is a genre full of suspended belief and dog people at the best of times, but epic anime sagas drift away from normal weird and delve into filler weird. Filler episodes and arcs usually suck. Hard. However, when you have a filler episode that decides to mock absolutely everything the show is and wants to be, you have comedic gold. The protagonist, Ichigo, wakes up as an underwhelming incarnation of Frankenstein's monster. He quickly finds his friends who are reimagined as equally lame Halloween monsters: a miniature succubus, a puppy-like werewolf, a sexy witch, an anemic Dracula, and a mummy who is really a pirate wrapped in bandages because he got injured. The episode is full of parodies of intense moments from the preceding few seasons, and no doubt appears as a cryptic brainwashing cult experience. However, the episode actually has some interesting things to say, particularly about Uryu (Dracula) and Ichigo's relationships with their fathers, who are monster hunters trying to cure them, even if they have to kill them. The episode falls in the wake of a big reveal about Ichigo's father, making their confrontation actually pertinent to the story in spite of the chaotic shenanigans. The better you know the show, the funnier 304 is, but I recommend a viewing for anyone who enjoys the ridiculous.
Rosemary Larkin
Anime is a genre full of suspended belief and dog people at the best of times, but epic anime sagas drift away from normal weird and delve into filler weird. Filler episodes and arcs usually suck. Hard. However, when you have a filler episode that decides to mock absolutely everything the show is and wants to be, you have comedic gold. The protagonist, Ichigo, wakes up as an underwhelming incarnation of Frankenstein's monster. He quickly finds his friends who are reimagined as equally lame Halloween monsters: a miniature succubus, a puppy-like werewolf, a sexy witch, an anemic Dracula, and a mummy who is really a pirate wrapped in bandages because he got injured. The episode is full of parodies of intense moments from the preceding few seasons, and no doubt appears as a cryptic brainwashing cult experience. However, the episode actually has some interesting things to say, particularly about Uryu (Dracula) and Ichigo's relationships with their fathers, who are monster hunters trying to cure them, even if they have to kill them. The episode falls in the wake of a big reveal about Ichigo's father, making their confrontation actually pertinent to the story in spite of the chaotic shenanigans. The better you know the show, the funnier 304 is, but I recommend a viewing for anyone who enjoys the ridiculous.
Parks and Recreation “Greg Pikitis”
Rosemary Larkin
Oh, intense and psychotic Leslie, how I miss you. Her full blown crazy waned after she fell in love with Ben and was elected to office (though she's always going to be a little bit nuts), but long, long ago in season two, Leslie was dating Louis C.K. and terrorizing high schoolers before they could terrorize her. Well, one high schooler: Greg Pikitis. Leslie pulls out all of the stops, dragging her adorable cop boyfriend into the fray and inspiring Andy’s legendary alter ego and heartthrob Burt Macklin, FBI. Though Leslie doesn't dress up and doesn't attend a party and doesn't engage in typical Halloween activities (aside from toilet papering), she has a sympathetic struggle in this episode. Though Greg Pikitis is a punk, Leslie finds an extreme version of herself and even succumbs to the sheer childish glee of toilet papering a kid's house. Halloween is an opportunity to rediscover adventure and sides of ourselves we don't often address. Leslie's discovery of her psychotic and mischievous sides speak to fans' hearts. Elsewhere in Pawnee, Ann’s lame Halloween party serves a very specific purpose: Ann is trying to become a bigger part of Leslie and Mark’s world. In season two, Ann is the straight man in a world of crazies, and she wants to become one of the group starting in season two. Plus, it’s one of the first episodes that the characters have universal chemistry. We see new sides of everyone: helpful Tom, criminal Leslie, trying Andy. Andy is especially important. It’s the beginning of his arc for the series. The episode establishes dynamics that change the office chemistry for the whole series. Additionally, does anyone else believe that Greg Pikitis is Calvin all grown up? Is this what becomes of him without Hobbes?!
Rosemary Larkin
Oh, intense and psychotic Leslie, how I miss you. Her full blown crazy waned after she fell in love with Ben and was elected to office (though she's always going to be a little bit nuts), but long, long ago in season two, Leslie was dating Louis C.K. and terrorizing high schoolers before they could terrorize her. Well, one high schooler: Greg Pikitis. Leslie pulls out all of the stops, dragging her adorable cop boyfriend into the fray and inspiring Andy’s legendary alter ego and heartthrob Burt Macklin, FBI. Though Leslie doesn't dress up and doesn't attend a party and doesn't engage in typical Halloween activities (aside from toilet papering), she has a sympathetic struggle in this episode. Though Greg Pikitis is a punk, Leslie finds an extreme version of herself and even succumbs to the sheer childish glee of toilet papering a kid's house. Halloween is an opportunity to rediscover adventure and sides of ourselves we don't often address. Leslie's discovery of her psychotic and mischievous sides speak to fans' hearts. Elsewhere in Pawnee, Ann’s lame Halloween party serves a very specific purpose: Ann is trying to become a bigger part of Leslie and Mark’s world. In season two, Ann is the straight man in a world of crazies, and she wants to become one of the group starting in season two. Plus, it’s one of the first episodes that the characters have universal chemistry. We see new sides of everyone: helpful Tom, criminal Leslie, trying Andy. Andy is especially important. It’s the beginning of his arc for the series. The episode establishes dynamics that change the office chemistry for the whole series. Additionally, does anyone else believe that Greg Pikitis is Calvin all grown up? Is this what becomes of him without Hobbes?!
Buffy the Vampire Slayer “Fear Itself”
Rosemary Larkin
Once again, nothing goes according to plan for Buffy as a demon is accidentally summoned at a Halloween frat party. The Scooby Gang gets trapped in the house and forced to face their deepest fears and insecurities. The episode is hilarious, from Willow and Oz’s couple costume (Joan of Arc and God) to the entrance of Gachnar, the two-inch tall demon of fear. More importantly, this episode sets up all of the major character arcs for season four. Buffy fears her title as slayer will leave her ultimately alone; Xander sees his friends in college and worries they will leave him behind; Willow doubts her powers as a witch and fears Oz will leave her; Oz fears his wolfy side is going to overtake him. (And . . . Anya fears bunnies. They aren’t just cute like everybody supposes.) Of course, the villain of the episode is easily squashed, underscoring the message that fear is amplified by ignorance and our own insecurities can be our undoing, but the episode far from resolves itself. The season spends time delving into each of these storylines in lieu of a Big Bad (let’s be honest: Adam barely counts). After all, what’s more fun than heartbreakingly deconstructing your characters’ worst fears for an entire season? Right, Joss?
Rosemary Larkin
Once again, nothing goes according to plan for Buffy as a demon is accidentally summoned at a Halloween frat party. The Scooby Gang gets trapped in the house and forced to face their deepest fears and insecurities. The episode is hilarious, from Willow and Oz’s couple costume (Joan of Arc and God) to the entrance of Gachnar, the two-inch tall demon of fear. More importantly, this episode sets up all of the major character arcs for season four. Buffy fears her title as slayer will leave her ultimately alone; Xander sees his friends in college and worries they will leave him behind; Willow doubts her powers as a witch and fears Oz will leave her; Oz fears his wolfy side is going to overtake him. (And . . . Anya fears bunnies. They aren’t just cute like everybody supposes.) Of course, the villain of the episode is easily squashed, underscoring the message that fear is amplified by ignorance and our own insecurities can be our undoing, but the episode far from resolves itself. The season spends time delving into each of these storylines in lieu of a Big Bad (let’s be honest: Adam barely counts). After all, what’s more fun than heartbreakingly deconstructing your characters’ worst fears for an entire season? Right, Joss?
Halloween Winner: The Must-see of the Season
Freaks and Geeks, "Tricks and Treats"
Cat McCarrey: Every teenager has that awkward moment when they realize Halloween has irrevocably changed. Where they are, as depressing as it sounds, simply too old for the magic of the holiday. In “Tricks and Treats,” that heartbreak happens often and crushingly, but hits worst with Sam. Poor Sam, whose only crime is the fear of responsibility that comes with getting older. Life hits him hard, as the end of his trick or treating days are viciously and repeatedly shoved in his face. His friends don't want to trick or treat, he's tormented by neighbor women calling him too old, and the hippie down the street might very well be giving out fun-sized poos. But Sam's nadir comes with Lindsay, who for the first time is letting go of her obligations and enjoying the ruckus and social acceptance of a hell-raising Halloween. As the Freaks go on a property-destroying rampage, Lindsay unknowingly participates in throwing eggs at her unsuspecting brother, stripping him of his dignity and his childhood in one fell swoop. The sight of Sam is a sucker punch to the solar plexus, with his disintegrated Gort costume and yolk-slicked hair. Through Sam, Freaks and Geeks forces the viewer to re-live the inevitable anticipation and disappointment that is Halloween, one shattered dream at a time.
Mary Shurtz: As always, what Freaks and Geeks does best is dwell on the small, uncertain, awkward moments that occur in everyday life. It repeatedly reveals how much none of us have it figured out, and how much we desperately hope no one else notices. If there was ever a gorgeously scripted show that didn't feel scripted, it's Freaks and Geeks. Which is why this episode is hands down one of the best depictions of what a real Halloween is like--no convenient editing to hype up the action, no confusing lighting to make it all seem sexier and more hectic. The fact that they didn't have the money to shoot at night makes it all more perfect--the harsh light of day makes everything Halloween look a little flatter, and efforts to embrace it a little lamer. The story that gets me the most worked up is actually Mrs Weir's. I don't feel very bad for her being abandoned by her kids (although Lindsey does her utmost to handle that as horribly as possible), it's how her homemade cookies get received that slays me. The kids discard them on the lawn, and Mrs. Weir gets chewed out by the meanest mom ever, leaving Mrs. Weir horrified that anyone would think she would do anything to the cookies to make them unsafe. Is this a pretty small moment in the episode? Yeah, it only lasts a minute or so, but I feel like it was put into the show by the creators for a very specific purpose. 1980 was the beginnings of Stranger Danger, the dawn of our current time where neighbors are now villainized until proven otherwise. I feel like that one moment where Mrs. Weir's cookies were treated with such suspicion and outright disdain is a horrid marking point of a shift in generational outlook. It's enough to make my old and curmudgeonly soul even more withered and pruny to look upon.
Rosemary Larkin: "Tricks and Treats" is a masterpiece because it not only captures the spirit of Halloween (consistent no matter the decade), but it details the challenges of Halloween for not only teenagers but parents of teenagers. While Sam is quietly finding his childhood crumbling, Lindsay is giving into her dream--to not care about anyone or anything. The lure of apathy is almost too much to resist as a teenager who feels constant pressure to figure everything out now now now, and Lindsay's crushing realization that she's not that person juxtaposes wonderfully with Sam's own Halloween revelations. However, we often ignore the third compelling story of this episode. Momma Weir is faced directly with her teenage children, unable to keep pretending that they are still kids and still living in the protected bubble she so desperately wants to keep them in. Her sense of loss is only amplified by parents rejecting the homemade treats that she hands out to trick-or-treaters. She herself begins to believe the worst of her children's view of her. Lindsay embraces teen rebellion, and Sam gets humiliated, and their mom is helpless to protect them. Even when Sam perks up and Lindsay comes home, their mom has lost an innocence about her children that she once had, for better and for worse. Freaks and Geeks cuts past the contrivances of Halloween to find the human stories that everyone, no matter what age, can relate to, even if you are the grumpy dad.
Cat McCarrey: Every teenager has that awkward moment when they realize Halloween has irrevocably changed. Where they are, as depressing as it sounds, simply too old for the magic of the holiday. In “Tricks and Treats,” that heartbreak happens often and crushingly, but hits worst with Sam. Poor Sam, whose only crime is the fear of responsibility that comes with getting older. Life hits him hard, as the end of his trick or treating days are viciously and repeatedly shoved in his face. His friends don't want to trick or treat, he's tormented by neighbor women calling him too old, and the hippie down the street might very well be giving out fun-sized poos. But Sam's nadir comes with Lindsay, who for the first time is letting go of her obligations and enjoying the ruckus and social acceptance of a hell-raising Halloween. As the Freaks go on a property-destroying rampage, Lindsay unknowingly participates in throwing eggs at her unsuspecting brother, stripping him of his dignity and his childhood in one fell swoop. The sight of Sam is a sucker punch to the solar plexus, with his disintegrated Gort costume and yolk-slicked hair. Through Sam, Freaks and Geeks forces the viewer to re-live the inevitable anticipation and disappointment that is Halloween, one shattered dream at a time.
Mary Shurtz: As always, what Freaks and Geeks does best is dwell on the small, uncertain, awkward moments that occur in everyday life. It repeatedly reveals how much none of us have it figured out, and how much we desperately hope no one else notices. If there was ever a gorgeously scripted show that didn't feel scripted, it's Freaks and Geeks. Which is why this episode is hands down one of the best depictions of what a real Halloween is like--no convenient editing to hype up the action, no confusing lighting to make it all seem sexier and more hectic. The fact that they didn't have the money to shoot at night makes it all more perfect--the harsh light of day makes everything Halloween look a little flatter, and efforts to embrace it a little lamer. The story that gets me the most worked up is actually Mrs Weir's. I don't feel very bad for her being abandoned by her kids (although Lindsey does her utmost to handle that as horribly as possible), it's how her homemade cookies get received that slays me. The kids discard them on the lawn, and Mrs. Weir gets chewed out by the meanest mom ever, leaving Mrs. Weir horrified that anyone would think she would do anything to the cookies to make them unsafe. Is this a pretty small moment in the episode? Yeah, it only lasts a minute or so, but I feel like it was put into the show by the creators for a very specific purpose. 1980 was the beginnings of Stranger Danger, the dawn of our current time where neighbors are now villainized until proven otherwise. I feel like that one moment where Mrs. Weir's cookies were treated with such suspicion and outright disdain is a horrid marking point of a shift in generational outlook. It's enough to make my old and curmudgeonly soul even more withered and pruny to look upon.
Rosemary Larkin: "Tricks and Treats" is a masterpiece because it not only captures the spirit of Halloween (consistent no matter the decade), but it details the challenges of Halloween for not only teenagers but parents of teenagers. While Sam is quietly finding his childhood crumbling, Lindsay is giving into her dream--to not care about anyone or anything. The lure of apathy is almost too much to resist as a teenager who feels constant pressure to figure everything out now now now, and Lindsay's crushing realization that she's not that person juxtaposes wonderfully with Sam's own Halloween revelations. However, we often ignore the third compelling story of this episode. Momma Weir is faced directly with her teenage children, unable to keep pretending that they are still kids and still living in the protected bubble she so desperately wants to keep them in. Her sense of loss is only amplified by parents rejecting the homemade treats that she hands out to trick-or-treaters. She herself begins to believe the worst of her children's view of her. Lindsay embraces teen rebellion, and Sam gets humiliated, and their mom is helpless to protect them. Even when Sam perks up and Lindsay comes home, their mom has lost an innocence about her children that she once had, for better and for worse. Freaks and Geeks cuts past the contrivances of Halloween to find the human stories that everyone, no matter what age, can relate to, even if you are the grumpy dad.