John C. McGinley’s raspy performance (think if Clint Eastwood and Bruce Campbell had a lovechild) continues to be one of the principal reasons to watch this show. This version of Stan often second guesses himself and is confused over who this “Evie” is that haunts him, which leads to a nice new dimension of the character. His rather quick acceptance that he’s suddenly in some alternate dimension is beautiful. It barely phases the guy. He moves on to this new impossible mission with cranky resilience.

As Stan tries to put together the pieces of what’s going on around him, a secret society reveals itself to be keeping tabs on his actions. This Black Hat Society refers to Stan’s latest complications as his “awakening” and that as wonky as all of this may be, it all jives with their ancient prophecy. Having these sorts of gatekeepers around in the community to control what’s going on around Stan makes a lot of sense. It’s a welcome obstacle for him to negotiate around in this two-part premiere. Series creator, Dana Gould, knows how to smartly juxtapose the society’s dark prophecy chatter with snack duty minutiae and the other petty ingredients of social clubs.

It’s also pretty great to see that Willard’s Mill is so desensitized to all of the craziness that goes on there that an ominous cult can chant over a grave during the middle of the day and it’s just business as usual. This Black Hat Society is no secret. If anything, they’re upfront about their actions and claim to be the descendants of pure, good witches from the 1600s. The ones that weren’t burned at the stake. Stan hits his breaking point with the group when they imply that his late wife was also a member of their Wiccan society and they decide to work together. It’s not long before it turns out that the Black Hat Society’s prophecy also puts Evie right in the center of things and everyone sets off to collectively fix reality.

“Black Hat Society” is a perfectly charming re-entry into Dana Gould’s messed up horror universe. It’s a show that largely gets by on its attitude and performances, but it’s choice to embrace a deeper mythology this season appears to work in its favor. Stan rejoices during moments like when a giant skeleton pterodactyl demon (or a Wraith for you more sophisticated folk) bursts from a coffin because it proves he’s not crazy. These horrors should frighten Stan, but instead they make for sublime gems of comedy that highlight this show’s strengths.

The first half of “Black Hat Society” is certainly more interested in re-setting the table and doling out exposition, but “Part 2” showcases a lot more of the show’s trademark demon killing action. The second episode operates at a much faster clip that is possible due to how “Part 1” takes care of a lot of the grunt work. The second episode is undeniably the stronger installment of the pair and it gets to really let loose with all of the show’s wilder eye gouging, goo bursting, time travelling impulses. The whole “bringing Evie back to the present” obstacle is something that could easily take up an entire episode, but Stan Against Evil flies by it and wraps it up within minutes of Stan going 400 years back in time. Stan and Evie’s reunion is also exactly as sweet as it should be, with the heartfelt moment still heavily steeped in trademark annoyance.