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The “Solar Opposites Halloween Special” Brings Back John Kassir as the Cryptkeeper!

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John Kassir returns as the infamous Cryptkeeper, who dispenses puns and helps save Halloween, as Solar Opposites pays tribute to this horror icon.

A lot of horror anthology series have made their mark on the medium, but one of the reasons that HBO’s Tales From the Crypt remains such a perennial favorite is because of its haunting, hilarious master of scare-emonies, the Cryptkeeper. The stories told within Tales From the Crypt typically don’t disappoint, but the hacky host that introduces and bids farewell to each installment quickly became the most celebrated aspect of the series. The Cryptkeeper character didn’t make his debut in HBO’s anthology series, but the reason that this take on the fearsome figure broke through to the mainstream is because of John Kassir’s titillating performance in the role. Now, after nearly a decade of staying in his grave, John Kassir makes his proper return as the Cryptkeeper, and it’s in one of the most unexpected of places.

A little background on the Cryptkeeper will better highlight the character’s strange journey from EC Comics narrator to a supporting player on Hulu’s animated sci-fi comedy, Solar Opposites. While most commonly associated with Tales From the Crypt, the character was first introduced in 1949 in Crime Patrol #15. This iteration of the EC Comics character was purely frightening and more of a twisted hermit before he’d go on to find his footing as a comedic horror host. EC Comics would also introduce a Vault-Keeper and Old Witch for their The Vault of Horror and The Haunt of Fear genre anthology series, dubbed the three GhouLunatics, but it’s only the Cryptkeeper who resonated with audiences (although the other two would show up in animated form in Tales from the Cryptkeeper). Tales From the Crypt would even blur the lines between storyteller and subject for its story, “Lower Berth,” which turns out to be the Cryptkeeper’s origin story, a piece of lore that speaks to the public’s growing interest in the character.

John Kassir’s work as the Cryptkeeper would extend beyond the television series and he continued to reprise his role of the character in CD-ROM video games, pinball machines, and even a cameo in 1995’s Casper that equates him to cinematic icons like Clint Eastwood and Rodney Dangerfield. Tales From the Cryptkeeper, an animated spin-off that was geared towards children, continued Kassir’s tenure as the Cryptkeeper from 1996-97, following the end of the original series. Inexplicably, he’d also host Secrets of the Cryptkeeper’s Haunted House, an innovative Saturday morning game show for kids. Say what you will about The Twilight Zone or Alfred Hitchcock Presents, but Rod Serling and Alfred Hitchcock certainly never gained a level of crossover appeal that they could host a Saturday morning children’s game show.

The Cryptkeeper was even such an odd icon that he could fuel three musical albums, which included hits like “Crypt Jam” (complete with a music video), a whole Christmas album titled “Have Yourself A Scary Little Christmas,” and the most recent, a 2000 “Monsters of Metal” compilation that pulls together tracks from heavy metal bands like Black Sabbath, Megadeth, and Pantera, while the Cryptkeeper provides interstitial narration between tracks. This is a pun-based corpse with zero musical background and yet he could sell three albums. Audiences needed as much Cryptkeeper content as possible. 

Beyond an eight-episode official Tales From the Crypt radio drama that came out in 2000, the most recent appearance of the Cryptkeeper was in 2012’s New Years Shockin’ Eve Marathon, a promotion that FEARnet put together to celebrate the network gaining the syndication rights to the series. New Cryptkeeper segments were interspersed between episodes as he helped audiences welcome in the new year. These recurring appearances from the Cryptkeeper have so much to do with Kassir’s committed performance and there’s a reason why he’s yet to be recast. Kassir has continued to work as a performer and voice actor, but there’s been a prolonged absence of the Cryptkeeper character for more than a decade. The Solar Opposites writers understand that now, more than ever, the world is in need of the Cryptkeeper’s brutally brilliant wordplay that distills deadly decisions down to morbid tales of morality.

What’s most impressive about the “Solar Opposites Halloween Special” is that it would have been far too easy to turn John Kassir’s return as the Cryptkeeper into a fun throwaway cameo and nothing more. It’s deliciously entertaining to have Kassir indulge in classic unholy alliteration, including his own take on some popular Smash Mouth lyrics, but this episode strives for more. In perfect Solar Opposites fashion, this Halloween special specifically resurrects the Cryptkeeper because he’s the ideal conduit to express the story at hand that’s being told. The episode utilizes the Cryptkeeper’s ironic storytelling mechanics to shatter an antagonist’s reality and force them to reckon with their own existence in the process. The way in which this supernatural storyteller neatly lays out their life through puss-filled puns triggers an existential crisis that helps Korvo escape from his death. It’s arguably the smartest use of the Cryptkeeper, including any of his original EC Comics appearances.

The Cryptkeeper becomes Korvo’s saving grace in the “Solar Opposites Halloween Special,” and for an episode that spends most of its first half singing the praises of The Great Pumpkin as the be-all end-all Halloween deity, it’s ultimately the Cryptkeeper who changes more lives here. He helps Korvo appreciate Halloween as a whole and understand that it’s a way for people to celebrate what it means to be alive by exorcising the things that scare them and examine why they do. It’s never too late to change, whether it’s in a benign capacity over one’s appreciation for Halloween or a drastic life change that completely alters the course of someone’s existence. 

That’s the beauty of the Crypt Keeper. He’s always got a bone to pick with stasis and arrested development. 

The “Solar Opposites Halloween Special” is also exciting for what it proposes regarding the series’ future. Now that the Solar Opposites universe has a Cryptkeeper in it, it wouldn’t be difficult to use him, moving forward, as the go-to host for any future anthology installments. Yes, this could be done for seasonal horror stories, but it’s even sillier to imagine John Kassir narrating an episode that tells a trilogy of stories that are inspired by Valentine’s Day or St. Patrick’s Day. Now that the series has done the heavy lifting with an esoteric and thematic implementation of the Cryptkeeper, they’ve certainly earned the right to ease up and present him in his traditional capacity as a host, rather than the focus of an episode.

The “Solar Opposites Halloween Special” is still extremely successful if this is the first and last time that John Kassir’s Cryptkeeper cackle is ever heard, but the series’ compulsion for callbacks and dedicated world-building means that there’s a good chance that the show’s animated Cryptkeeper will live to pun again.

Daniel Kurland is a freelance writer, comedian, and critic, whose work can be read on Splitsider, Bloody Disgusting, Den of Geek, ScreenRant, and across the Internet. Daniel knows that "Psycho II" is better than the original and that the last season of "The X-Files" doesn't deserve the bile that it conjures. If you want a drink thrown in your face, talk to him about "Silent Night, Deadly Night Part II," but he'll always happily talk about the "Puppet Master" franchise. The owls are not what they seem.

Editorials

‘A Haunted House’ and the Death of the Horror Spoof Movie

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Due to a complex series of anthropological mishaps, the Wayans Brothers are a huge deal in Brazil. Around these parts, White Chicks is considered a national treasure by a lot of people, so it stands to reason that Brazilian audiences would continue to accompany the Wayans’ comedic output long after North America had stopped taking them seriously as comedic titans.

This is the only reason why I originally watched Michael Tiddes and Marlon Wayans’ 2013 horror spoof A Haunted House – appropriately known as “Paranormal Inactivity” in South America – despite having abandoned this kind of movie shortly after the excellent Scary Movie 3. However, to my complete and utter amazement, I found myself mostly enjoying this unhinged parody of Found Footage films almost as much as the iconic spoofs that spear-headed the genre during the 2000s. And with Paramount having recently announced a reboot of the Scary Movie franchise, I think this is the perfect time to revisit the divisive humor of A Haunted House and maybe figure out why this kind of film hasn’t been popular in a long time.

Before we had memes and internet personalities to make fun of movie tropes for free on the internet, parody movies had been entertaining audiences with meta-humor since the very dawn of cinema. And since the genre attracted large audiences without the need for a serious budget, it made sense for studios to encourage parodies of their own productions – which is precisely what happened with Miramax when they commissioned a parody of the Scream franchise, the original Scary Movie.

The unprecedented success of the spoof (especially overseas) led to a series of sequels, spin-offs and rip-offs that came along throughout the 2000s. While some of these were still quite funny (I have a soft spot for 2008’s Superhero Movie), they ended up flooding the market much like the Guitar Hero games that plagued video game stores during that same timeframe.

You could really confuse someone by editing this scene into Paranormal Activity.

Of course, that didn’t stop Tiddes and Marlon Wayans from wanting to make another spoof meant to lampoon a sub-genre that had been mostly overlooked by the Scary Movie series – namely the second wave of Found Footage films inspired by Paranormal Activity. Wayans actually had an easier time than usual funding the picture due to the project’s Found Footage presentation, with the format allowing for a lower budget without compromising box office appeal.

In the finished film, we’re presented with supposedly real footage recovered from the home of Malcom Johnson (Wayans). The recordings themselves depict a series of unexplainable events that begin to plague his home when Kisha Davis (Essence Atkins) decides to move in, with the couple slowly realizing that the difficulties of a shared life are no match for demonic shenanigans.

In practice, this means that viewers are subjected to a series of familiar scares subverted by wacky hijinks, with the flick featuring everything from a humorous recreation of the iconic fan-camera from Paranormal Activity 3 to bizarre dance numbers replacing Katy’s late-night trances from Oren Peli’s original movie.

Your enjoyment of these antics will obviously depend on how accepting you are of Wayans’ patented brand of crass comedy. From advanced potty humor to some exaggerated racial commentary – including a clever moment where Malcom actually attempts to move out of the titular haunted house because he’s not white enough to deal with the haunting – it’s not all that surprising that the flick wound up with a 10% rating on Rotten Tomatoes despite making a killing at the box office.

However, while this isn’t my preferred kind of humor, I think the inherent limitations of Found Footage ended up curtailing the usual excesses present in this kind of parody, with the filmmakers being forced to focus on character-based comedy and a smaller scale story. This is why I mostly appreciate the love-hate rapport between Kisha and Malcom even if it wouldn’t translate to a healthy relationship in real life.

Of course, the jokes themselves can also be pretty entertaining on their own, with cartoony gags like the ghost getting high with the protagonists (complete with smoke-filled invisible lungs) and a series of silly The Exorcist homages towards the end of the movie. The major issue here is that these legitimately funny and genre-specific jokes are often accompanied by repetitive attempts at low-brow humor that you could find in any other cheap comedy.

Not a good idea.

Not only are some of these painfully drawn out “jokes” incredibly unfunny, but they can also be remarkably offensive in some cases. There are some pretty insensitive allusions to sexual assault here, as well as a collection of secondary characters defined by negative racial stereotypes (even though I chuckled heartily when the Latina maid was revealed to have been faking her poor English the entire time).

Cinephiles often claim that increasingly sloppy writing led to audiences giving up on spoof movies, but the fact is that many of the more beloved examples of the genre contain some of the same issues as later films like A Haunted House – it’s just that we as an audience have (mostly) grown up and are now demanding more from our comedy. However, this isn’t the case everywhere, as – much like the Elves from Lord of the Rings – spoof movies never really died, they simply diminished.

A Haunted House made so much money that they immediately started working on a second one that released the following year (to even worse reviews), and the same team would later collaborate once again on yet another spoof, 50 Shades of Black. This kind of film clearly still exists and still makes a lot of money (especially here in Brazil), they just don’t have the same cultural impact that they used to in a pre-social-media-humor world.

At the end of the day, A Haunted House is no comedic masterpiece, failing to live up to the laugh-out-loud thrills of films like Scary Movie 3, but it’s also not the trainwreck that most critics made it out to be back in 2013. Comedy is extremely subjective, and while the raunchy humor behind this flick definitely isn’t for everyone, I still think that this satirical romp is mostly harmless fun that might entertain Found Footage fans that don’t take themselves too seriously.

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