Main cast: Clayne Crawford (Nathan Singer), Josephine Langford (Clair Singer), Lia McHugh (Maggie Singer), and Robyn Lively (Val Singer)
Director: Adam Mason

They flash this award-winning poetry during the start of the opening credits of They Come Knocking, making me feel that maybe there will be a dark fairy tale-like vibe to this episode.

Knock knock. who’s there?
Black eyed kids, at your lair.
They lurk at night, seeking grief.
Stealing souls, like a thief.
But be forewarned, when turned away,
they’ll lure you out, such tricks they play.

Well, maybe it’s a fairy tale alright, because once again, in horror show county, we have another unhappy family that decide to, of all things, embark on a road trip in an RV to so-called mend their relationships. Maybe it’s an American thing, but for the life of me, I can’t imagine how people that can barely stand one another aren’t going to commit a murder spree after being forced together in close proximity over hours, days, weeks. There’s a good reason why they say always choose one’s friends carefully before taking them along for a holiday—chances are, nobody is talking and everyone can’t wait to go no contact by the time the trip is done with.

Anyway, Nathan Singer’s wife died—cancer, as usual—and his two kids are all surly, especially the adult-looking one pretending to be a teenager still because you know, teenagers are all bratty and I-hate-my-daddy until monsters come along to teach them the meaning of filial bonds. So yes, off they all go, on a road trip. Most of the episode is all about angst and pouting and crying and what not, until eventually some sorry excuses of special effects show up to go all “Woo! Monsters!” so that this episode has an excuse to be included in this series. Then the episode is over, and everyone is all there, there, they are a happy family at last, so thank you monsters.

So, that poem in the beginning, well, that is a squandered potential right there as this episode doesn’t quite succeed in making anything, much less the most, out of its tie-in potential to the premise. If anything, it acts as a spoiler, so yes, this episode spoils itself right at the very beginning.

Then again, I don’t feel that this episode really wanted to be a horror show. If anything, it wants to be smart, to represent this episode as some kind of allegory to the grieving process or something. Only, it does this in the most clichéd manner possible, complete with a parade of lead characters that act and feel like every other character in a “grieving over dead mom or dad” show. This episode is like the result of a script that had been languishing in the “Do not want!” bin for ages until Blumhouse Productions needed something, anything, to fill up the episode count for Into the Dark, so what the heck, this one will do.

The cinematography, lighting, and scenery are all gorgeous though, I’d give it that. Then again, it’s hard to be enthusiastic about a pretty kind of annoying, banal wannabe of an episode.