In most storylines, Corrigan was killed while on his way to celebrate his engagement. Presumably, he knew Aimee Brenner sometime before that. They were once an item, so he duly arrives at the crime scene to comfort her—and annoy below-average Lt. Brice. As a bigtime studio producer, her father, Foster Brenner had no shortage of enemies. However, several former collaborators whom Brenner cut out of his latest blockbuster were particularly vocal expressing their grievances.
Frankly, you probably wouldn’t need to be the Spectre to solve this case, but he can do it especially quickly. Essentially, the Spectre visits the accused, sort of like the Ghosts of Christmas, showing them horrific visions based on their guilty memories. The makeup artist (who maybe not coincidentally partly resembles Tom Savini) is in for a particularly rough time, because of all the macabre models and props in his studio.
The coolest thing about The Spectre is its funky 1970s vibe. It could almost pass for an animated cousin of Once Upon a Time in Hollywood. The deliberately hazy look suits the murky morality of its Hollywood setting, while the soundtrack from The Track Team, Jeremy Zuckerman & Benjamin Wynn sounds very era-appropriate.
The Spectre is a great example of how DC animated films are often more aesthetically adventurous and just generally cleverer than Marvel’s live action tentpoles. (DC live-action has also been hit-or-miss, but many of the Batman-centered and Batman-derived films are amongst the best of the entire Superhero genre.) Frankly, based on DC Showcase: The Spectre, they should consider bringing Cole back to play Corrigan, in either animation or live-action. Highly recommended, The Spectre was bundled with Superman/Shazam!: The Return of Black Adam.
