Robert Falconer / CBS
[OldSpyLeaveWarning:ThisTitleWebSingleJordanPile Get Out and plots of several old episodes Twilight Zone but does not spoil the episodes with a new launch that will make its debut on Monday.]
What is terrible that can you imagine?
The Twilight Zone worked from 1959 to 1964. In 1983, she was converted to a film, and then reborn on television for short works in 1985 and 2002. an artist created by the person who may be the most fascinating director of America, Jordan Pile. He developed a new version with a team of executive producers, including Simon Kinberg and Glen Morgan (Morgan was one of the original authors X-Files ). Pele, in his films Get Out and Us spent a lot of time thinking about one of the main questions Twilight returning to the original creator and host Rod Searling: What is so terrible that you can imagine
It is true that the Searling show has always been related, both in the text and in the subtext, to the events of that time. Fear of nuclear destruction has always been in the characters who built shelters and were afraid of missiles. Allegories of civil rights movement and other efforts to avoid systemic injustices were commonplace. Space travel was everywhere, both as an opportunity and a threat. The human legacy of an endless war has always hung above the world. Technologies that are not fully trusted, both work and large aircraft, were hazardous, and technology that felt it could come soon, as traveling in time, may be even more.
But while the show was touching politics, it was animated by something more timeless. The story in the first episode of 1959 entitled "Where Is Everybody?" In it a warrior wakes up in a city where there are no people, only mannequins. In the end, it turns out that in reality he is an astronaut in the isolation booth tested for his suitability to go to the Moon alone and that an empty city is a simulation in his mind. His bosses see how long he needs to go crazy without communication.
This is the fear on which the bulk was founded Twilight : the fear of isolation. Be afraid that the community, the whole, will be lost even if a person is saved. Serling often makes the argument that the worst thing you can imagine, whatever you think, is to ask yourself, "Where's all?"
Let's consider an episode like Monsters were properly mapled on Maple Street classically written by the classics in which the community is convinced that it is the goal of an alien invasion. Neighbors are turning to neighbors, chaos appears, and neighborhoods ruin themselves. It turns out that precisely this is what extraterrestrial aliens await: they scare people and they will attack each other so violently that you will not have to attack them. Of course, this is a story about xenophobia, about nationalism – even about reacting to terrorism. But this is also a story about how sudden uncertainty causes a surge of selfishness, so that any sense of community is sacrificed. Bonds have been violated. And this, ironically, makes the worst fears of the individual real.
Some stories that are really not really dangerous are similar. In "Shelter", human neighbors intend to penetrate into his underground refuge under the threat of an alien attack. Not only do they ultimately break their path, even if he insists that he has no room and no air, but when they take care of who should get them, if they are not all fit, they are displaying their perverse thoughts about each other – a man pulls out vile insults to his immigrant neighbor, because it turns out that his neighborhood was as deeply as his sense of security. When it turns out that there is no attack, neighbors are aware that they have destroyed their community simply because they felt the danger . Again, people take security at the expense of the community and they suffer.
In "A Kind Of Stopwatch", a mysterious stranger gives a person a stopwatch that stops the clock. He plays with him first, forcing people to freeze on the spot. But then he exploits him to steal, and during the robbery of the bank, and the time stops, and he happily turns the trolley from the door, he throws the clock, and he can not renew the time. He achieved his own interest and made himself rich, but faced with infinite isolation. It's definitely a "be careful what you want" story, but it's also about your most daring fantasies that matter if they're literally the only thing you have.
This is even reflected in the famous "Time Enough At Last", where Burgess Meredith only wants the time to read the book and be lonely. And when he finally reaches this goal (nuclear bombs allowed the original Twilight Zone many opportunities for the effective completion of the world), he breaks his glasses. It turns out that he can not have his perfect life in isolation. Of course, this is in part just a dark, funny story about the "painful moment" when it loses its dream reading time, but remember: if he had a community, he could replace the glasses. It is also an expense on its own.
. Searling's show also valued his love every time he returned for fear of not believing. Characters have seen what other people did, they knew what other people did and lived in realities that other people rejected as an imagination or even a disease. A much more imitated "20-Thousand Nightmare" distinguishes young William Shatner as a man on Wilson's fears of a flight that sees a monster on the wing of an airplane in which he is a passenger. What frightens him is not just a monster; This is something that nobody can see it. He lost the feeling that he shares reality with other people. And as a final blessed note when Wilson is stretched out and, according to physicians, they hallucinated the entire attack (when he actually saved the plane from her), Seringling gives his last piece of the story. She clarifies that Wilson will soon be justified: there is evidence of a monster in the curved metal of the wings, and Wilson will not remain alone in his reality much longer.
This returns us to the Jordan Pile.
The first two films of Pele offer something breathtaking in the context of the Twilight Zone : that what Klenova Street could consider its cherished community is the same threat as an asset. The host, the conspiratorial community of the rich white people at the exit which could also live on Maple Street, is a danger. To believe in their benevolence – to fully accept their claims of progressivism – would kill Chris, the hero of the film. And not revealing too much Us she also says that what looks functional and decent on the surface can hide many sins.
Chris has something such a Wilson-on-plane feeling that he sees things that other people may not be able or do not want-that nobody will believe him what is really going on. He even wonders whether he imagines it, as Wilson does, given his recent hospitalization and the fear of flight. One difference between Chris and Wilson, however, is that Chris's life made him ready for this. Chris is ready to be in a situation that does not correspond to reality from the moment he agrees to visit the house of his seven-day girlfriend. This skepticism about a community with authority over him ultimately saves his life. Chris has his own own community which is most strongly represented by his friend Rod. But he is threatened and not protected by the common moral of the neighborhood, where he finds danger.
So, seeing that Peel is the driving force behind the new dusk zone it is expected that while he will perform some of the lessons of the original, he will also have new ones. He works very specifically in the thematic presence of white rule – and, ultimately, in understanding whether a person is protected or enriched, the presence of the whole depends on who the individual is. To act as a positive force, the whole must be not only whole, but also moral. Indeed, the first four episodes that were shared with the critics, although they feel that they have different levels " Twilight Zone show that this group of writers is interested in various basic fears and various basic disadvantages. Interestingly, what is moral.
The first two episodes published Monday are called "The Nightmare for 30,000 Feet," and "Comedian." The "Nightmare" is not quite a remake of Shatner's episode (which has already been redesigned in a film with John Leitgow 1983 ) is more of a reef on it.Anim Scott's star episode in history that has some similar stones from the perceptible perception of danger, group dynamics, and what happens when you did not believe. "Comedian", meanwhile, is the episode that feels most, of these four, as the old Twilight Zone despite the fact that he worked for almost an hour, and most of the Twilight Zone episodes were half an hour.It is the star of Cumayl Nanjiani as standing comedian, ending in one of those strange, Serling-yos moments in which power is strange in all its meanings words (Disclosure: Nanjing was a happy time in pop culture and we know a little about each other.)
There are two episodes that come that critics have seen, and they are about basic fears of very different kinds. One is very timely; one more general. But all four of these episodes are marked by strong central performances: Nanjiani and Scott, as well as Sanaa Lathan in the third episode and Steven Yuen in the fourth. History in the episode of Yuen leaves much to be desired – and the same is true for Scott – but imagery and acting is spot-on. (Interestingly, this is not at all different from how I felt Us though less, and although Piley is not the author or director of any of these episodes.) New The Twilight Zone a bit uneven, but it was old. It does not lack the experimental energy or visual imagination; It seems he is still developing his voice. It benefits from the freedom to change the length of episodes, which is a feature of stream services. Episodes can be as long as they should be. By the end of the season, more intriguing actors are present in the acting workshop: John Cho, Alison Tolman, DeVanda Wise, Chris O'Doud. All the works are in place, and these four episodes demonstrate that writers have something to say.