Is there any real significance in a prequel? It’s an inquiry I’ve pondered over in articles for The A.V. Club previously. (Indeed, I’m the one who penned about 15,000 words on the second season of Andor, a remarkably intriguing sci-fi series that also had the task of setting up a well-received Star Wars film featuring a notably humorous robot.) From the onset of IT: Welcome To Derry, certain pivotal events were inevitable. The Black Spot was destined to be destroyed. Will Hanlon would survive to father Mike, one of the future Losers. And most crucially: Nothing in 1962 could significantly alter the established continuity of Derry, Maine, or its notorious monster, because IT needs to be ready to reemerge for Andy Muschietti’s 1989 setting.

“The Black Spot,” the second to last episode of Welcome To Derry, toys with these pre-established truths. It boldly suggests that following “the augury”—the mass murder of Black airmen and their companions in a brutal, explosive massacre—it might be time for Pennywise to rest until Sophia Lillis and Finn Wolfhard’s era, roughly three decades later. This premise, while gripping, feels like the TV equivalent of a thriller novel claiming the murderer is dead two-thirds through the story. Clearly, another twist is imminent as this isn’t the type of series to linger on a slow conclusion after a dramatic peak.

In retrospect, it’s evident that the only way Welcome To Derry could carve a niche for itself, to narrate a story more intricate than a mere segue between points, is through its original contributions. And indeed, the narrative deepens towards the end of this episode with Operation Pennywise The Dancing Clown Bomb, exposed as a deception by General Shaw in his latest grandiose delusion to inject late-season political significance into a straightforward narrative like Welcome To Derry.

Kudos to James Remar, who earnestly tries to deliver Shaw’s final pitch to Leroy Hanlon, as he has with all his dialogue this season. General Shaw doesn’t actually plan to unleash IT on the Soviets but rather on the American populace, aiming to unify the nation under the guise of fear to establish order. While the metaphor is heavy-handed and the plan outlandishly impractical (considering Pennywise’s limited range), the attempt to use fear as a political tool is at least provocative, even if the show doesn’t fully explore the concept.

However, this intent collides with what I now recognize as the series’ most significant narrative flaw: its failure to make Derry feel like a tangible place. There’s little sense of the societal unrest Shaw aims to suppress, and the show has spent minimal effort fleshing out the metaphorical monster alongside the literal one. With characters isolated in narrow scenes and a supporting cast of stereotypes, the series struggles to establish Derry as a credible setting or to convincingly portray the atmosphere of fear Shaw is supposedly exploiting.

Regrettably, I’ve approached this review somewhat backwards, as I often do when structural issues frustrate me. Let’s circle back: The episode begins with the series’ best scene yet, featuring Pennywise The Dancing Clown, aka circus performer Bob Gray. Beyond Bill Skarsgård’s odd vocal choice, he is surprisingly effective both as a father and a clown, earning genuine empathy. This segment doesn’t advance the plot or character arcs—we already knew of Ingrid Gray’s adoration for her father—but it’s a pleasant spotlight on a briefly seen character.

After the opening credits, the story picks up from last week, with Clint Bowers and his group transitioning from seemingly reasonable to intensely murderous incredibly fast. What begins as a demand for a single sacrifice escalates to a massacre, executed with such exaggerated villainy that it feels almost cartoonish. Directed by Muschietti, the ensuing chaos is visually impressive but lacks the gravitas such a pivotal moment in history demands.

Chris Chalk, as Dick Hallorann, delivers standout moments, grappling with his instincts for self-preservation versus his eventual heroic actions. However, the portrayal of the other characters, particularly the tragically heroic child, Rich Santos, borders on the absurd, diminishing the intended emotional impact of his death.

The episode also concludes the tedious storyline of Ingrid Kersh, while introducing a new but equally frustrating subplot involving military responses and mystical artifacts. Despite the buildup, the narrative seems poised to return to the status quo, rendering the series little more than a predictable, albeit stylish, homage to its source material.

Stray observations

• • The mechanical intricacies of Pennywise’s stage act were particularly delightful.
• • Bowers’ phrase, “Give us what we want, and we’ll go away,” might be a nod to Storm Of The Century.
• • Initially, I mistook the mob’s masks for clown faces, but they’re actually classic movie monsters.
• • Muschietti’s continuous shot of the Black Spot fire added a theatrical quality to the scene, though it might have detracted from the sequence’s authenticity.
• • An amusing prop misplacement was the Calumet Baking Powder can during Dick’s vision.
• • Imagine having car trouble right after participating in a lynch mob—awkward! (Though likely sabotaged by Ingrid.)
• • That tiny ice chest was remarkably effective against the flames.
• • Chalk’s delivery of “No, no…” when asked if he’s okay was a subtle yet powerful moment.
• • “Well…see you jerks in 27 years.”
• • When the military enacted its ill-conceived plan, the music swelled in a manner reminiscent of the climax in Raiders Of The Lost Ark, hinting at the impending disaster.
• • Taylour Paige had limited screen time but delivered a poignant line that captured the essence of the town’s indistinguishable atmosphere.
• • The unearthed Pillar, buried in a turtle shell, references the cosmic elements of King’s lore, though the adaptations lean more towards subtle nods rather than exploring these themes in depth.
• • Leroy Hanlon’s attempt to hold multiple people at gunpoint in quick succession was both tense and slightly comical.
• • I half-expected Leroy to critique the selective sacrificial nature of Shaw’s plan, but the show tends to avoid such explicit discussions.

William Hughes is a staff writer at The A.V. Club.

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Avery Sandridge

Avery Sandridge has an unmatched love for storytelling and the screen. From detailed analyses of your favorite shows to behind-the-scenes scoops, Avery offers a fresh and engaging take on everything TV series.