"Judy Miller, Come on Down" presents a curious blend of surreal game show spectacle and time-travel morality tale, wrapped in the context of Freddy's Nightmares. As the fifth episode of the series' first season, directed by Tom DeSimone, it embarks on a split narrative that combines two contrasting storylines tethered by a common theme.
The episode unfolds with Judy Miller (Siobhan McCafferty), a frustrated housewife yearning for a life beyond domesticity. When she gets a shot at the bizarre 'Beat the House' game-show, the story takes a delightfully strange turn. The game-show sequences, alternating between being dubbed 'Beat the House' and 'Beat the Reaper,' are the highlight of the episode's first half. Judy is subjected to unconventional questions, dealing with killers and her own life, where right or wrong answers result in equally odd consequences. Be it being doused with honey in front of her in-laws or a comically grim scenario reminiscent of the Pendulum trap from "Saw V," these sequences brim with campy charm. However, the narrative shifts gears rather abruptly, returning to normality, and Judy surprisingly emerges as the winner of the game-show's top prize, a million dollars.
The second half, unfortunately, takes a turn for the mundane as Judy, now wealthy, is visited by a maid from the future (Susan Oliver). This version of Judy imparts a dire warning: she must give away all her newfound wealth to avert the destruction of her life. This half of the episode becomes a standard morality tale, cautioning about the pitfalls of unchecked wealth. Despite the inclusion of time travel and the potential for intrigue, the plot loses its footing. The lack of any genuine horror elements and a predictable narrative arc dampen the impact.
While Freddy Krueger (Robert Englund) makes sporadic appearances in this episode, they hardly contribute to the overall narrative. His one-liners and quirky sketches offer fleeting amusement but fail to add substantial substance. Gore, which had featured prominently in earlier episodes, is notably minimal here. A severed hand crawling with ants and a stomach sliced open by a swinging blade are the extent of the episode's visual horror.
In terms of tone, the episode leans toward surrealism, embracing odd and campy moments rather than outright scares. The disjointed nature of the narrative, the abrupt transitions, and the lack of a strong twist ending leave much to be desired. The episode's attempt to merge two distinct storylines under a single thematic banner ultimately results in a mixed bag of quality and impact.
"Judy Miller, Come on Down" stands as a mixed offering within the Freddy's Nightmares series. Its stark division between an intriguing game-show spectacle and a lackluster time-travel cautionary tale generates an uneven viewing experience. With minimal scares, campy game-show absurdity, and Freddy's limited involvement, it might be one of the episodes best left unexplored, even for dedicated Freddy enthusiasts.