When it was first announced that Rick and Morty’s President Curtis (Keith David) would be receiving his own spin-off, most audiences didn’t jump to the conclusion that the project would become a paranormal procedural that’s akin to The X-Files.
And yet, President Curtis excels with its supernatural “monster of the week” vantage point that’s already tackled vampires, werewolves, and leprechauns only three episodes in. This isn’t exactly unexpected for a series that exists in the same universe as Rick and Morty. However, it’s exciting to see President Curtis adopt more of a horror-centric perspective, rather than Rick and Morty’s science fiction obsession. In this respect, a Daniel “Candyman” Robitaille cameo isn’t so much a random reference as it is justified territory that’s par for the course.
There’s been a curious trend where animated comedies have embraced notorious horror icons, whether it’s Solar Opposites‘ tribute to the Crypt Keeper, Rick and Morty’s copyright-free Freddy Krueger analog, Scary Terry, Damien Thorn and Jason Voorhees showing up in South Park, or Death Note’s Ryuk wreaking havoc in one of The Simpsons’ “Treehouse of Horror” specials. Many of these genre crossovers can feel like style over substance and merely an entertaining Easter Egg for horror aficionados.
That being said, President Curtis rises to the occasion and makes Candyman not just a key figure, but the hero. President Curtis’ “Ex” puts Candyman front and center in an episode that’s all about werewolf and robot rights that ties into a deeper commentary on rehabilitation that’s surprisingly in sync with the Candyman film franchise’s messaging.
“Ex,” the third episode of President Curtis, is built around the president’s lingering feelings towards his ex, Beverly Mills, who has worked her way to become governor-elect of Chicago. This is a successful enough premise for a series that’s still fleshing out its core cast and their relationships. However, it’s also quite appropriate to incorporate Candyman in an episode that explores tumultuous relationships, considering how flawed, toxic, and socially stigmatized romances are the catalyst for Daniel Robitaille’s execution and the birth of the Candyman legend.
Candyman’s role in “Ex,” which is written by President Curtis’ showrunner, James Siciliano, isn’t just a gratuitous non-sequitur. He’s a pivotal piece of electioneering that ties together with Beverly’s past as Chicago’s mayor. Beverly views this urban boogeyman as an exaggerated talking point for reform that’s akin to unhoused individuals, data centers, or potholes. Candyman’s rehabilitation is viewed as a controversial gambit, albeit one that’s proven to be one of Beverly’s greatest accomplishments and the pivot that helped kickstart her career as governor.
President Curtis playfully exaggerates Candyman’s lore to take this vengeful, spiritual boogeyman and turns him into a friendly, neighborhood icon of optimism and rebirth. Beverly Mills’ campaign video explains that in Candyman, she “didn’t see a horror story. She saw hope.” It’s like using Freddy Krueger in a PSA about insomnia. This horror heightening reaches a fever pitch when Beverly moves beyond Candyman and starts running “Babadook Book Drives.” She stands tall as an icon in monster/crime relations and rehabilitation.
Beverly harnesses Candyman’s power to create CPEP — the “Candyman Perpetual Energy Project” — which involves a convoluted system of mirrors and automated “Candyman” chants. CPEP results in infinite energy that’s then used to singlehandedly power Chicago and solve its energy crisis. It’s a brilliant concept that leans into Candyman’s ludicrous lore and the circumstances behind his summoning, only to exploit its loopholes for good, rather than evil. It’s a deeply silly idea, albeit one that’s thematically poetic in the sense that this figure of urban reform and racial/social injustice becomes Chicago’s savior. President Curtis takes Candyman’s subtext seriously and uses it in a poignant post-modern context that’s not hard to imagine as the plot of some futuristic Candyman reboot.
There’s plenty to unpack in “Ex,” including an entertaining B-story in which Special Agent O’Doyle (Jim Rash) and Chief of Staff Banks (Stephanie Beatriz) are sent to “West Wing World,” a clever Westworld parody that involves a simulated society that’s populated by state-of-the-art robots for the purpose of re-educating government aides. By the end, it’s Candyman who is ultimately the one who saves the day, and with a creative use of his hook hand — which is now a champagne flute hand — and his signature bee ability, at that. This results in a top-tier kill that’s among the best set pieces from any of the Candyman movies.
Somehow this 22-minute cartoon does justice to this legendary horror icon and gives him the redemption arc that many believe 2021’s polarizing Candyman reboot/legacy sequel failed to achieve. It’s the most interesting and intense that Daniel Robitaille has been in decades.
With any luck, President Curtis’ second season can deliver the Candyman vs. Leprechaun showdown that failed to materialize in the 2000s. They’ve already assembled all the right pieces and proven that they’re up to the challenge. Here’s hoping.
Candyman Vs. Leprechaun.
Candyman Vs. Leprechaun.
Candyman Vs. Leprechaun…
