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It’s also revealed in the opening that when Zuul has not possessed a human, it flies around as one of those reddish-pink spectral dots first established in Ghostbusters after the ghost containment unit meltdown at the firehouse. Although a CG Zuul face coming out of the smoke is a new touch. This recreates the scene where Dana Barrett is attacked and possessed by the same demonic entity in 1984. When the spectral form of Zuul kills Egon, the smoke invades beneath the door, and the demonic come out of his chair’s armrests. It’s not clear why he does this other than to anticipate exactly when his fate will come… But when his larger plan to capture the incoming demonic entity fails, he returns to the house and pulls out his old PKE Meter for a loving extreme close-up. We still quickly get a slew of Ghostbusters nods in the opening prologue as as we watch a man who is meant to be Egon Spengler reach his lonely farm and hold up a rusty ghost trap. This is an early suggestion, perhaps, that Jason is going to take this material in a different direction. As we witness supernatural activity occurring above a mountain in the American heartland of Oklahoma, the spectral ghost cloud which gather looks quite a bit like the extraterrestrial airspace created by UFOs over Devils Tower in Steven Spielberg’s Close Encounters of the Third Kind (1977). Rather it appears to be an homage to another early modern blockbuster which clearly had a significant impact on Jason Reitman. The first easter egg we see does not feel like a callback to Ivan Reitman’s Ghostbusters. So without further ado, here is a guide that tries to catch all the free-roaming vapors. There are demon dogs, ghost traps, and even one exceedingly familiar flattop haircut on display here. Hence Ghostbusters: Afterlife being stuffed up the proton pack with homages, easter eggs, references, and various other assorted nods to the original flicks. It also seeks to serve that movie’s most ardent fans. Very much the closure longtime fans of the first two movies craved, as well as a possible backdoor opening to a larger Ghostbusters cinematic universe, the film comes from a talented filmmaker determined to honor his father’s most beloved work. Which is one of the reasons Jason Reitman’s Ghostbusters: Afterlife is such a surprise. And yet, by the time Harold Ramis tragically passed in 2014, the likelihood of ever seeing the four original Ghostbusters standing side by side seemed impossible. There were false starts and rumors throughout the 1990s-and the 2000s too-that a sequel was this close to materializing. The dream of ever getting a Ghostbusters 3 faded long ago. This article contains Ghostbusters: Afterlife spoilers.