“The Dark Crystal: Age of Resistance” Netflix Review

Since I will be at Halloween Horror Nights Orlando all weekend, my review of It: Chapter 2 will be delayed. So while you wait, checkout this review of Netflix’ The Dark Crystal: Age of Resistance that I did with the Netflix ‘n Swill podcast. Dan and Caleb were so much fun to talk with, and if you like Netflix shows or movies in general, then you should give them a follow.

Netflix newest epic fantasy series is a hit! If Netflix was searching for its Game of Thrones, it may have found it in The Dark Crystal: Age of Resistance. While we haven’t been given word if a second season has been greenlit, it would not surprise me if we learn that news in the near future. From the outstanding production design to the spectacular puppets and sweeping score, this is one to watch if you love fantasies. I love it when I can see the hand of the artist in the motion picture, and this show is overflowing with the art of storytelling. To be honest, the first episode is a little convoluted with world building, and was difficult to follow at points, but the episodes thereafter successfully develop the central characters and the lore of the crystal. For longtime fans of the original, you may notice some of the lore doesn’t quite match up, but it’s not completely off either. I imagine some of it is modified in order to write a whole TV series as opposed to a feature film. None of the differences take me out of the story, but it is something for which to look. You’ll find that the writing is gripping and points to the events of the cult classic while delivering a new story in a familiar world. This new series is completely connected to the original, and feels that it is truly doing the original justice in this age that predated the “age of wonder” that the original film takes place in.

Click HERE for the podcast.

Ryan teaches screenwriting at the University of Tampa and teaches high school TV/Film production. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com!

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“Stranger Things” Season Three TV Review

StrangerThings3_tallNetflix’s Stranger Things Season Three represents a return to form! Much like Apocalypse did for American Horror Story, this season of Stranger Things took what worked in Season One and delivered an outstanding third season that has–what could possibly be–my favorite scene in the entire series. Even more than the previous two seasons, this one takes 80s culture and style to the max, complete with a nostalgic shopping mall and carnival. More so than any of the previous seasons, this one is the most roller coater yet. More monsters, more conflict, more horror. It’s also only eight episodes; and to that point, this season is tight, precise, and never leaves you in a lull. Whether you were a kid or teenager in the 80s or not, this season does what Stranger Things does best–connect you with your childhood. Whereas the series has been more science-fiction than horror in the previous two seasons, season three skews much closer to horror giving audiences some nightmarish imagery that echoes sci-fi horror staples such as Invasion of the Body SnatchersThe Blob, and The Thing.

Instead of playing on the mystery or fear of the unknown, season three is aware that the spider-like mind flayer and demogorgon aren’t as scary as they were in the first two seasons. So it delivers a new character of opposition that is terrifying in both mind and body. This parallels the changes that the central characters are going through during this time of encroaching upon adolescence. The boys have deeper voices and the hormones are raging. In addition to navigating the horrors that are befalling Hawkins, our central characters are forced to navigate relationships, sexuality, growing up, and loss. And this exploration of relationships is not limited to the kids, but the adults of Hawkins find themselves forced to face true feelings as well. It’s the added intellectual dimension of the human condition that makes this such a strong season for me. In fact, the more I think about it, the more that this might just be my favorite season, with Season One being a close second. What makes some of the greatest horror films of all time stick with us is the social commentary and thematic depth. Stranger Things season three dives deep by consistently keeping the focus on the character conflict and not simply the other-worldly entities.

One of the most relatable avenues through which to connect with characters is the avenue of relationship dynamics. And there are a plethora of relationships on display in this season. Early on, we have the incessant making out of El and Mike, the sexually frustrated relationship between Joyce Byers and Hopper, the friendship of Steve and Robin, later on we have the breaking up of El and Mike, followed by the blooming friendship between Max and El. We witness the strained relationship between Will and his childhood guy friends as his friends begin dating and leave him to play D&D alone. Then there is the seemingly made-up girlfriend of Dustin’s that he cannot connect with via his powerful  radio. Add a coming-out story to this mix, and we have many different personal and interpersonal relationship dynamics with which to connect. Relationships provide conflict, and that conflict directly impacts the drama. And we have lots of drama this season. Each of the aforementioned relationships provides the means for the characters to experience his or her own arc and grow positively or negatively. On a lighter note, there is an uplifting message of embracing your inner nerd that is evident in the drama that unfolds between Dustin, Robin, Steve, and Erica at the ice cream shop; and further evidence for this message is in my favorite scene in the entire series, The Neverending Story theme song singalong between Dustin and Suzzie. It doesn’t get much nerdier than that.

Skewing closer to horror than science-fiction, season three’s monster is right out of The Blob. There are also elements of Invasion of the Body Snatchers and The Thing. I absolutely love the idea of this monster because attacks its victims in two different ways (1) the blob will absorb the bodies of the victims and (2) the mindflayer takes control of the minds and bodies of those it deems are worthy vessels. There is a two-fold nature to this monster that makes it more terrifying than the previous iterations, because it attacks the mind and body. Much like William Friedkin’s The Exorcist took the home invasion horror concept to the next level by a demon invading the house and bodily home of an innocent little girl, the mindflayer, in a similar fashion, takes on many of the characteristics of the demon Pazuzu in Friedkin’s horror masterpiece. Characteristics of the alien entity in The Thing are also included in the actions of the mindflayer, specifically how it takes host of a body and can remain undetected. It’s this multidimensional component in the design of the monster that makes it the most terrifying creature we have encountered in Hawkins, IN.

So much fun! Season three of Stranger Things provides us with a fantastic character-driven plot that deviates from the action-driven plot in season two by returning to form. By the Duffer Brothers going back to what made the first season such a hit, this third season keeps the show going strong. Furthermore, the story is a lot tighter in this shortened season. Just goes to show that even when you have fewer episodes, the quality of the show doesn’t have to suffer. In this case, the quality went up from the previous season. Everything in this season works so very well, from the tight screenwriting to the nostalgic production design. After a mediocre second season, I was anticipating much the same for the tertiary season. Thankfully I was pleasantly surprised by how much I enjoyed season three, and feel confident that you will too!

You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, let him know and you can join him at the cinema.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter!

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Twitter: RLTerry1

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“The Dark Crystal” Throwback Thursday Review

With the highly anticipated The Dark Crystal: Age of Resistance releasing on August 30th, I want to revisit the cult classic that is still equal parts beautiful and terrifying to this day. A couple of years ago, Fathom Events brought The Dark Crystal to the big screen, so I was able to watch this outstanding motion picture on the big screen for the first time ever. Despite the very macabre nature of many parts of the movie, my parents showed this movie to my sister and I at a young age. From the very first time we watched it, my sister and I became fans. As kids–back when kids played outside, in the woods, and in abandoned buildings using their imaginations to role play–we created characters that were ostensibly taken from the world of the movie, and spent hours imagining we were in Thra. As a kid, I was mesmerized by the spectacular production design and puppetry. I can only speculate the degree to which kid-me appreciated the artistic elements of the now iconic motion picture, but I imagine that it completely captured my imagination, otherwise I would not have rewatched it as many times as I did. As an adult, I am shocked that my parents allowed me to watch it at such a young age because there are moments that terrify first-time adult audiences today. Sometime last year, I introduced this movie to my penpal, and he was blown away by how dark this fantasy movie was. Of course, this movie came out at a time that fantasies were dark (case and point, The Neverending Story). On the surface, this may be a common premise of good triumphing over evil despite adversity, but there is so much more that makes this the timeless classic that it is. Jim Henson was an incredible genius who truly knew how to combine form with function to create a fantastical masterpiece.

What stands out more than the plot itself (which is pretty straight forward), is the fantastical practical effects that give the film incredible depth–levels of dimension that CGI-heavy movies with they had but won’t ever achieve. Why? Simply because you cannot replicate the way real light bounces off real objects and into the camera lens. The atmosphere that the setting and characters combine to make is a level of movie magic that only the genius of Jim Henson could have created. Frank Oz stated that children should not be sheltered from darkness because it is just as much a part of their lives as joy and laughter. There are some truly terrifying and sad moments in this movie. And it looks as if this sentiment is going to be channeled into the new series. The story does not shy away from topics such as torture, death, gender roles, independence, and courage. Whereas the plot itself is simple, the characters are highly complex. Moreover, each of the Skeksis represents one of the seven deadly sins, and each Mystic is the good counterpart. The gelflings represent the “human” or emotional component in the narrative, so they serve as the conduit through which we experience the plot. Aughra is our logical character whom provides the diegetic exposition to understand the gravity of the encroaching Great Conjunction. There is a beautiful poetry in how the characters all complement one another and their respective surroundings.

Although all Jim Henson movies feature muppets (Henson’s patented puppets) and other movies have puppetry, The Dark Crystal stands alone as the only film of his that is entirely puppets! Yes, you could argue that the few longshots are human actors, but that is splitting hairs. For all intents and purposes, only puppets appear in this movie. And these puppets were the most advanced to ever hit the screen, and still the most advanced puppets to have ever been witnessed on the silver screen. Fewer than 20yrs after The Dark Crystal, virtually all puppetry would be replaced with CGI to save money and time. Sacrificing experiential art for technical marvel and efficiency. These advanced puppets inspired the ones that have made appearances in Disney and Universal parks over the years. Some of the puppets had to be operated by multiple people, yet when you watch them on screen, you forget that they are a puppet because they truly exist within the fantastical world. I love how the design of each and every kind of puppet is an extension of the world in which they live. So much dimension in each and every creature. There are lines, shadows, textures, and more that CGI could never replicate. These are three-dimensional creatures that exist within a four-dimensional world that exemplify the absolutely peak of a combination of technical design, costuming, and articulated performance that the camera natively captures without need for post-production to create a significant effect after the fact. Very seldom do we get to witness such an attention to detail in the design of a character (we will get to the set soon). These puppet characters do not feel or look artificial, the manner in which the light reflects off them and they interact with the world around them gives them an outstanding ability to make us forget that there is someone pulling the strings. We emotionally connect with these characters in such a way that can so often only be done with human or animal actors.

The production design of the set is an outstanding, dazzling artistic achievement by standards then and now. You’ll be hard pressed to find another set that is created with such a high degree of tangible detail. No amount or quality of CGI can even hold a candle to the wildlife, plant life, and landscape of Thra. I absolutely love how the homes of each of the groups of characters (Skeksis, Mystics, Podlings, Gelflings, and everyone’s favorite Aughra), are designed to be an extension of the inhabitants themselves. Because there is nothing generic about any of the settings, the degree to which the lands feel real is astonishing. One of the reasons for that is because it IS real! Blue/green screen technology was still in its infancy so there was thankfully no real desire to integrate it into the set for most of the movie. However, the final scene of the movie does feature some green screen work that does not hold up today. Without a screen able to fill in the gaps for most of the movie, the artisans and craftsmen had the daunting task of bringing this world of fantasy in the age of wonder to life. And their tireless efforts pay off in spades. Diversity runs strong all through the story both visually and figuratively. No two landscapes or settings look alike, just as no two characters (even the podlings) look identical. Every line, corner, and texture radiates art. More than simply a backdrop for the scenes of the plot, the settings are essentially characters themselves. The way the characters interact with their surroundings holds the audience in an incredible suspension of disbelief as to the believability of the world that is on screen.

Although it was not a blockbuster in the US, as it was up against E.T. that same year, it was the highest grossing box office hit in France and Japan. Not being an initial box office success has not stopped the film from aging well and remaining an impressive work of art even by today’s audiences. Perhaps it is best known for being a cult classic, but that cult following has remained strong through the years. So much so that we have the Netflix prequel series with an all-star cast debuting in August. It’s refreshing to see that a prequel (or sequel) strives to embody the soul of the original in order to inspire a new generation of fans and future visual storytellers. We fell in love with the original because of the puppetry and production design, the unique characters, and fantastical elements that make it an exemplary motion picture.

You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, let him know and you can join him at the cinema.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter!

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Twitter: RLTerry1

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Jordan Peele’s “The Twilight Zone” Season 1 Review

You’re about to enter a dimension, not only of sight and sound, but of mind. That’s the signpost up ahead. Next stop, Jordan Peele’s The Twilight Zone. Debuting on April 1st, the revival of the classic anthology series The Twilight Zone, created by Rod Sterling, hit CBS All Access. For many resisters to paying for a “broadcast” channel’s streaming app (whereas most apps are free or included with a cable/satellite subscription), CBS finally figured out how to force wallets. Between TZ and the new Star Trek featuring the highly anticipated return of Patrick Stewart as his most famous character of all time Captain Picard, CBS knows precisely how to get you to subscribe to its service. I’d love to see difference in subscribers before Peele’s Twilight Zone and after. Have you seen the new series?

Although TZ has been revived before, it never quite took off the way the original did, and still commands an audience. Regularly ranked as one of the best written shows of all time by the WGA, IMDb, and other respected organizations and sites, this show left an indelible mark on television. Furthermore, it has even influenced recent cinema and television as evident in shows/movies such as Black MirrorUsAre You Afraid of the DarkEx Machina, and more. Rod Sterling’s groundbreaking show creatively tackled complex issues such as conformity, the uncanny, human frailty, fear of the unknown, self-destruction, faith and lack thereof, paranormal/supernatural, and more. Specifically, it was a welcoming place for all kinds of people to explore these topics. No matter how the central character’s tragic flaw affected him/her, whether for the positive or negative, you could always count on the episode’s moral compass pointing north and a closing monologue from Sterling to tie everything up.

Right out the gate, I feel that the series premiere was on the weak side, but it made up for the sluggish start in episode 1 with episode 2 (released with E1), an adaptation of one of the most popular episodes in the original series Nightmare at 20,000 Feet. I thought it would be fun to analyze and review each episode in the seasons of this show. The challenge of this new series is to deliver the same powerful, memorable stories as the original. Since this is an anthology series, and therefore each episode is a complete story in and of itself, it is not fair, at this early stage, to generalize a review of the show–not yet anyway. So, you’ll find reviews of each episode in this blog. For the sake of readability, I’ve limited each episode to one paragraph. Simply click an episode to jump to that part of this running review.

Season One Evaluation

In short, this premiere season fell flat until Episode 10. It’s thanks to that single episode that we have hope that Peele’s series can perhaps overcome the plethora of struggles it has demonstrated it has in the future seasons. Pacing is a big issue, not to mention largely missing that Twilight Zone magic in most of the episodes. With the exception of Episode 10, the rest of the episodes do not justify their “hour long” runtimes. The plots that we have witnessed are better suited for a half-hour runtime. Striving to not be so on-the-nose or polarizing is something else that I would like to see moving forward. Some of the episodes this season depict unfair representations of groups of people that do not help facilitate progressive and beneficial discussions. Instead of being concerned with perpetuating ill-informed or prejudicial representations of types of characters, this episodes need to place focus on the root cause not the symptoms. Moreover, the future episodes should place more value in allowing the audience to make up their minds on how they view a conflict, allegory, or situation more than the episode telling you how to think, feel, or behave. Episode 10 gives us reason to look forward to season 2.

Episodes

  1. The Comedian
  2. Nightmare at 30,000 Feet
  3. Replay
  4. A Traveler
  5. The Wunderkind
  6. Six Degrees of Freedom
  7. Not All Men
  8. Point of Origin
  9. The Blue Scorpion
  10. Blurryman

The Comedian

If you haven’t watched either E1 or E2 yet, I recommend starting with E2 because this first episode drags as it searches for its dimension. At its core, this episode is about the perils of fame, treating people as disposable commodities, and be careful what you wish for. Solid themes around which to build a show. Despite Peele having a shared writing credit on this first episode, the Sterling-esque monologue/narration and plot do not appear to have a singular unifying voice. Much like his recent Us struggles to tell a singular, coherent story. It’s an ambitious interpretation of Faust, but the episode isn’t capable of following up the ambition with effective delivery. If you recall, the majority of the original TZ episodes were half-hour shows. The original series wasn’t produced simply to entertain, but was written to tackle socio-political, religious, and psycho-social topics. This was accomplished through thought-provoking stories with am emphasis on the writing more so than the visual design. Now that I have the negative out of the way, I would be remiss to not highlight what it did well. The performances by lead Kumail Nanjiani and supporting cast Diarra Kilpatrick, and Tracy Morgan were fantastic! Additionally, the cinematography and editing were on point. One of the key differences between the original series and Peele’s new one is the production quality. Even though I have no issues with the production value and design of the OG, I do greatly appreciate this new one for the cinematic quality to the story. Had The Comedian been a 30min episode, I think that it would have been better executed.

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Nightmare at 30,000 Feet

Parks and Rec‘s Adam Scott figuratively steps into the shoes and sits in the airline seat of William Shatner in an adaptation of one of the most popular, recognizable and oft parodied episodes of the original Twilight Zone. Completely grounded in the premise of the original, but writers find a way to provide us with a new interpretation that brings the iconic plot into the 21st century. If you’re wondering if it’s an unnecessary, pretentious remake in the vein of Psycho (1998) or The Lion King (2019), then you can exercise relief as this episode will have you on the edge of your airline seat. Without going into spoilers, you’ll likely not think of podcasts or aircrafts in the same way next time you travel. Unlike the previous episode, this one is much stronger. I wish the series had launched with this as the premiere instead of The Comedian. When you think of the bizarre, uncanny nature of many of the original series episodes, you think of that intersection of shadow and substance a which these stories occur. And this reimagination of Nightmare at 20,000 Feet holds moderately strong to the pacing, tone, and structure of the original. Although the writing of episode 2 is tighter than episode 1, it still falls a little shy of the exemplary writing of the source material. For example, the original at 22mins delivers a more powerful punch with all the character and plot development therein than this new one does in nearly 1hr. That’s not to say that episode 2 is not effective and enjoyable–it is. But just not AS effective or memorable as the original. At the core, this story is about the worldview of having people think you’re crazy is almost worse than actually being crazy; furthermore, it also touches on the fear of terrorism. The windup is a little slow, but then as soon as he sits in his seat, you are in for the flight of your life. That is, until the final scene and closing words from Peele confuse instead of clarify (much like Us).

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Replay

After the fantastic second episode in Jordan Peele’s revival of The Twilight Zone, the third episode gets bogged down in politics instead of focussing on the moral or thought-provoking message. The science-fiction element of the now-retro camcorder that rewinds time gets overshadowed by the message of remembering one’s roots, but that theme gets lost when the plot chooses to divert attention to the relationship between white law enforcement and the black community. Taking its inspiration from another classic original episode, this one perpetuates and reinforces a real division that exists in some areas of the country between two groups of people. Although this episode could have been used as an allegory that could be applied to many different issues of prejudice and unfair treatment, it chooses to focus on one particular socio-political issue that runs the risk of further alienating audiences than unifying them. At its core, it is not about any particular theme but instead highlights the issue of white law enforcement brutality against black individuals. Replay could have been a powerful episode that inspires productive, positive change; but in lieu of a call-to-action, it reinforces the idea that most white law enforcement officers treat black individuals grossly unfairly. Statistically speaking, that is simply not true. But due to media attention and high profile cases that do show mistreatment that needs to be condemned, there is a growing idea that this is the state of affairs in general. Yes, this is a real issue that has been highlighted in the news for years now, but I am afraid an episode like this seeks to divide instead of mend or evoke constructive change. In terms of the plot, the episode executes its setup quite well, but feels stretched to fill the “hour” much like the previous two episodes. Our lead characters are developed effectively and we even get a backstory that is strategically revealed as we work our way through the story. Like with the first two episodes, we also witness excellent performances by the three lead characters in this episode. I appreciate Peele’s desire and ambition to approach this series like Sterling did; but it needs to deliver episodes that can be applied more generally to present-day audiences that can stand the test of time instead of focussing on message delivery that makes it a time capsule.

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A Traveler

It’s Christmastime in the Twilight Zone. More so than any of the previous three episodes of Jordan Peele’s Twilight Zone, this episode sets up its characters and plot more effectively than any other. The beginning truly feels like a Sterling-inspired episode. Whereas the previous stories in this new anthology series struggle to find their respective places within the library of Twilight Zone episodes, this one starts out as close to the pacing, tone, and feel of the original series as we have seen so far. The setup is so effective, that we don’t even need the opening commentary by Peele in his brilliant Sterling-fashion. Although this episode, like all previous ones, feels stretched for time, it attempts to follow the “joke” structure of the original series closely. I don’t mean joke as in funny-haha, I mean joke in that the OG episodes quite regularly setup the plot/characters in Act I, reinforced the plot/characters in Act II, then disrupts that pattern with a twist in Act III. If this were a typical joke, then that twist would be the punchline (“I’ll have 3 chili dogs, salt & vinegar french fries, and a diet soda”). In the case of A Traveler, Acts I and II are outstanding, but then the twist in Act III is a let down. The payoff does not equal the windup. Instead of adapting or reimagining any single classic episode for the new series, this episode channels several classic episodes in order to repackage into a new story. Like with the previous three episodes, this one takes a classic approach and attempts to comment on ethnocentrism, appropriation of property, and forcing a native people out of its land if it doesn’t conform to the “superior” group, but this analogy never quite solidifies. Without spoiling the twist, it is a twist that would have worked very well during the run of the original series, but doesn’t work as well in 2019. I appreciate the reason for the mysterious traveler’s sudden appearance, but just doesn’t do it for me. One of the best parts of the original series is that the end often prompts the audience to vicariously interact with the story by deciding what they would do. But that power is withheld by the audience by allowing a character to voice what should come from the audience. Moving forward, I hope to see future episodes that stick close to the pacing and tone of the original, but still provide the audience with the ability to interact with the story.

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The Wunderkind

Aside from episode two which was a direct adaptation from the OG, this is the episode that feels more like Sterling’s Twilight Zone than any of the others in terms of tone and substance. Parts of the plot of this episode feel like they are inspired by the famous It’s a Good Life episode about the boy whom wishes you out into the cornfield or kills you in front of him if you disagree with anything he says or feels. It’s his way or the highway. Clearly, this episode is a commentary on a child-like spoiled president, so it doesn’t take a political analyst to pinpoint the inspiration for the character of Oliver. Although many, if not most, of the most memorable TZ episodes contain a strong science-fiction or supernatural element, this one is a political satire. Unfortunately, that means that it may not sit as well with many TZ fans; however, I am a lifelong fan of the OG (the jury is still out on this one) and I enjoyed it. Albeit foreshadowed, the twist at the end is still very Twilight Zoney. Where this episode shows weakness is in the writing (again). I know that I mention the writing often, but it does seem to be this iteration’s Achilles heal. Like with previous episodes in Peele’s TZ, this one is also stretched to fill the nearly hour run time. Had this been a half-hour episode, then I feel that it would have exhibited better pacing. It starts out quite well, but get’s incredibly sluggish in the middle, then finishes strong enough. What I find particularly interesting about this episode is the commentary, not only on the president, but on the American public that despite knowing presidential politicians are manipulative, still readily believe whomever the newest or perhaps most unique candidate is. The takeaway from this episode is to be ever vigilant of the nature of those whom seek your vote or approval because it is likely that there is a significant self-serving angle to serving the public.

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Six Degrees of Freedom

Heavily inspired by classic Twilight Zone stories, this episode never truly leaves the launchpad. Six Degrees of Freedom features a six-man spacecraft crew on a mission to lay the groundwork for a colonization of Mars since Earth is nearly destroyed. After a reported impending nuclear attack, the crew decides to launch instead of a more conventional evacuation. With Mars nearly 300 days away and a presumed destroyed Earth behind them, they embark on the mission. The crew has a lot of time to ponder the tragic events they narrowly escaped and the overwhelming responsibility of what to do on Mars. The setup in this episode is classic Sterling, and works incredibly well. In fact, I was excited that this episode was going to feel like a 21st century interpretation of previous plot–the soul of the plot remaining in tact, but with an updated setting and more diverse characters. Abort. This episode does not deliver what it promises in the opening. We may have a more diverse cast, but all of the characters are flat, lacking in any substantive dimension. Unlike the crew of the Nostromo, this crew comes off as lacking in training and preparation for this mission. I get that the pressure of a doomed mission, lengthy periods in space, and the trauma of the alleged destroyed Earth are brilliant plot tools to wear down the rational, disciplined mindsets of the crew; and the breakdown, manifest itself in an undesirable human trait that contributes to the psycho-social breakdown of the crew, but these crew don’t seem like they are qualified for their respective jobs to begin with. Perhaps the goal of the teleplay was to showcase this crew of six (interestingly, six is the Biblical number of man) as a microcosm for out present society, but that analogy is lost in the vapid dialogue and lack of context for the interpersonal conflict. This launch never truly reaches the orbit of Sterling’s Twilight Zone.

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Not All Men

Loosely based on the classic Twilight Zone episode A Good Man is Hard to Find, this episode of Peele’s show is built around the idea of personal choice. Unfortunately, it lacks the power it could have had by only focussing on the idea of toxic masculinity. Whereas the show could have packed a more powerful punch by showing both men and women grappling with a refusal to give in to primal behaviors and violence, it just shows one group effected by the meteor. I know why; toxic masculinity is constantly in the news and on social media; but the truth is that both men and women can exhibit toxic behaviors that have a negative impact upon society. The twist of the meteor acting as a kind of placebo was a nice TZ touch that I appreciated immensely, but wish the episode truly drove home the point that we ALL have toxic behaviors and thoughts that could significantly impact our outward actions unless we make the intentional choice not to act upon them. Case and point: revenge. Revenge can become an all-consuming monster unless it’s checked. We have to weigh our selfish or self-centered tendencies against the greater good of society and more personal relationships. I love the idea of the plot of this episode, but wish the execution had been more effective. As has been the pattern established so far, this episode boasts excellent acting, cinematography, and direction.

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Point of Origin

An apt title for an episode that truly feels grounded in the original Sterling series. Instead of feeling like a sermon, the original series often depicted a story that didn’t answer some posited philosophical or sociological question but ended just before a directed action was requested of the audience. The main idea of most of the episodes (much in the same way Black Mirror does) was to confront the audience with a thought-provoking question and leave it at that. Allow the audience to decide what they are going to do with the story and commentary therein. Although this episode is clearly on immigration, it moves the conversation from the familiar to the unfamiliar–to another dimension altogether. Although the character of eve is completely unlikable (problematic in my mind), she is the vessel though which we experience what it would be like if you were accused of being an illegal immigrant, brought here as a child with no memory of life before. While we are never given a full explanation WHY the interdimensional beings fled their home to make a new life in ours, it is ultimately unimportant. The stark contrast from the life Eve built for herself to the soul crushing surroundings she finds herself in, works well to depict what it must feel like to be forcibly extracted from all you’ve ever truly known and thrown into a frightening situation. Elements of this episode are incredibly terrifying.

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The Blue Scorpion

Probably the least enjoyable of all the Season 1 episodes. The Blue Scorpion wants so much to comment on gun control–and not in a subtextual way. It is way too obvious. When providing social commentary, Rod Sterling’s original Twilight Zone was seldom on the nose. From the opening scene, this episode is up front and center with its topic. All that’s missing is a Powerpoint presentation to accompany this episode. Not to mention it struggles with the same pacing problems that all the episodes have–taking what might work well in 30mins, and stretching it to fill the “hour long” runtime. Had the episode taken a more creative approach to the obsession with and lack of legislation regarding firearm access and use in the United States, then perhaps this episode would have played out much stronger. As it is, the sledgehammer approach is not only polarizing but shows a lack of understanding of why the original series worked so well. While it is common knowledge–also demonstrably evident in this series itself–that Peele displays a great admiration for the legendary show, he seems to have missed the whole point of why it worked and still works so well. Thankfully there are comedic elements in the episode in order for it not to be entirely depressing.

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Blurryman

While most of the season has been lackluster and continues to provide evidence that Netflix’ Black Mirror is the more thoughtful “new” Twilight Zone, episode 10 of Peele’s series is the most Twilight Zone of the first season; furthermore, this single episode provides hope for the otherwise forgettable series. Until Ep10, if I was to attribute an over all title to Season 1, I would have called it “Twilight Zone: Failure to Launch,” but thanks to this single episode, the series leaves us with a glimmer of hope for the subsequent seasons. If you select just one episode of this series to watch, make sure it is this one. Not only does it provide excellent technical elements and a fantastic cast, the writing is exemplary. Even though from an editing perspective the final scene is wonky, a bit clunky if you will, this teleplay is the best of the season. It nearly overcomes the pacing problem as well. More than any other episode, this one almost justifies its “hour long” runtime. Of all the twists that we have encountered this season, Blurryman has the best one. With meta horror and meta science-fiction being popular storytelling methods nowadays, I was waiting for this season to deliver a meta episode. And sure enough, this is it! All the way down to Jordan Peele playing himself and the writer of some of the episodes visiting the sets of her episodes (i.e. the bar from The Comedian). Zazie Beetz plays a teleplay writer for The Twilight Zone and she begins to see and get stalked by a blurryman on the set of the show. The episode follows her on her descent into madness as the entity, primarily visible to her except at the very beginning, pushes her to question her reality. Unlike the previous episodes, wherein there is no need to worry about talking about spoiler content, this is one that needs to be experienced without any knowledge of the twists and turns after the first act. The only negative critique I really have of the episode is failing to achieve what the Twilight Zone Tower of Terror at Disney’s Hollywood Studios was able to accomplish when the iconic attraction opened in 1994. Once you watch this episode, you will know precisely what I am talking about.

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You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, let him know and you can join him at the cinema.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter!

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Universal Studios Florida: the Hollywood that Once Was

It’s no secret that Universal Orlando Resort’s history is rich with television and film production. But where has it all gone? The short answer is that republicans took over the state government in 1998 and began chopping away at the incentives for filming in the state. If you look at the former (mainly TV) productions that used to film at Universal Studios Florida, you’ll notice that the late 90s and early 2000s are when the numbers began to drop to nearly nothing of consequence, save a TV episode here and there. Correlation may not equal causation, but this evidence to support the republicans killing off Florida’s film business may be anecdotal, but no less significant. All kinds of shows and TV movies were filmed in the sound stages and in and around the “working studio” theme park. Recently, Jennifer Beals was announced to be the sheriff in the new Swamp Thing TV show, and that prompted the idea to explore the history of productions in the park since the original 90s Swamp Thing TV show was filmed where the Men in Black attraction is located. Call it nostalgia; but knowing what used to flourish may prompt voters to think about who’s moving into the governor’s mansion this November. More than the politics of showbusiness and state legislature, delving into the variety of shows that once called Universal Studio Florida home proves to be an interesting and fun journey.

Headlining the most high profile productions to use the theatrical and television production facilities at Universal Florida is Nickelodeon Studios. Not only was it the most recognizable name using the production facilities, it was also incorporated into the park’s operations in order to further immerse the Universal Studios guests into the magic of TV and movies. In November 1988, Nickelodeon moved to the sunshine state and built its colorful office building with the big orange Nickelodeon sign on the front and eventual slime geyser in the forecourt. Although the production facilities were in use prior to the theme park officially opening, the official opening of the studio coincided with the theme park on June 7, 1990. The official opening allowed park guests to take a tour of the studio and guests could even audition for or join the studio audience during tapings of shows. Double DareFigure It Out, Legends of the Hidden Temple, GUTS, All That, and others are among those that regularly filmed. Shows like What Would You Do? often brought the cameras into the park in order to interact with guests. Sound stages 18 and 19 along with seasonally leased Stage 21 were home to some of your favorite Nickelodeon shows from the 90s. When the studios were in operation (many regard this as Nickelodeon’s golden age), more than a dozen kid/teen sitcoms, twenty game shows, and five children’s shows were shot at the main studios. Operating throughout the day were tours of of the facility for Universal Studios Florida guests; but during tapings, interested parties could signup to be in the studio audiences and kids/teens could even audition for the game shows when taping.

Well, what happened? After the republican legislation took over Florida in 1998, and the film incentives were greatly reduced, Nickelodeon along with Universal and Disney-MGM Studios began to book fewer and fewer shows. Furthermore, with the transition Nickelodeon was going through from live action game shows to more traditional sitcoms not intended for live studio audiences in the way Clarissa Explains it All, All That, and others in the early-mid 90s were, the studio shifted its focus back west. Eventually, Nickelodeon built new studios in California. So, it was a combination of lack of state film incentives and changing the direction of the content that were responsible for the eventual closure of the studio operations in 2004; and eventually, the administrative offices were moved to Santa Monica in 2005. From hundreds of employees to double digits, and eventually none at all, Nickelodeon employed many showbusiness professionals in Florida. And since the closure of the studio, the opportunities have greatly dwindled. Returning the state film incentives could recreate film and television opportunities. The story of Nickelodeon from 1988 to 2004 represents a kind of Hollywood that existed that was responsible for careers and unique theme park experiences.

Not only was Nickelodeon responsible for the “Hollywood of the east,” as Universal Studios Florida was considered from the time it opened for about 8-10yrs, there were a number of other shows that were also filmed there. Where many Halloween Horror Nights (HHN) houses are now located, used to be the stages where television and film was made. While Nickelodeon and Universal were the only “permanent” residents of the studio property, other shows and movies taped there throughout the early to mid 1990s.

Although the filming of this next movie for Universal Television (released on Showtime) was supposed to wrap before the park opened, early park guests had the rare opportunity to watch Anthony Perkins reprise his iconic role as Norman Bates in Psycho IV. That’s right, the last installment in the Psycho franchise was taped right there at Universal Florida! Until 1998, the Bates House and Motel were located where Barney is now. Park guests could get up close and personal with the standing sets much in the same way they can at the world famous studio tour in Hollywood. In an effort to have a working studio theme park concept, high profile productions were needed to cement the idea of Hollywood made here. Showing a production on a famous set in the park was a brilliant way of taking park guests behind the magic of the movies. The park’s slogan at the time was “ride the movies,” so this took that concept further, and allowed park guests to “experience” the movies. Not only was a Hollywood movie getting made at the brand new Universal Studios Florida, it became an attraction and popular photo opportunity for the next eight years. For those who missed the filming, park guests could still get up close and personal with Hitchcock’s most famous movie at Alfred Hitchcock: the Art of Making Movies.

A couple of multi-season different shows called Universal Studios Florida home for the duration of their respective run. SeaQuest DSV (starting season 2) and Swamp ThingSeaQuest moved from Los Angeles to Orlando in 1995 for the filming of the second season. Other than some scenes that were shot in and around Orlando Tampa, most of the show was filmed in Sound Stages 20, 24, and 28. When the park offered a backlot tram tour, park guests could occasionally see into the sound stages when not not closed for filming. In nearby Sound Stage 21, the Universal picture Parenthood was filmed. Office building 22 housed the permanent and rental office space for the various productions on property. On the other side of the park where Men in Black is now located, was the Swamp Thing set. Although not part of the studio tram tour, guests could book additional tours of some of the active sets on property. Over the years, there were many other television shows and movies filmed at Universal Studios Florida. Knowing that movie and television magic was being made right there in Orlando added an intrinsic value to the experience of the theme park in its early years. It truly felt like Hollywood was right here in Orlando.

Those who love movies and theme parks were in awe of all the attractions and movie magic on display at Universal Studios Florida. And if you are a kid of the 90s, you remember all too well the closing of Nickelodeon shows “recorded in front of a live studios audience in Nickelodeon Studios at Universal Studios Florida.” And your parents likely remember the neon logo at the end of Swamp Thing and SeaQuest. What could be better than a movie-themed theme park that was also a bustling studio for a movie and TV fan? Not a whole lot. Unfortunately, when Florida switched from a Dem to a GOP governor in 1998, slowly the number of productions began to dry up as the state ended its desirable incentives. Sound stages were empty or primarily used for Halloween Horror Nights, Nickelodeon turned into Blue Man Group, sound stages destroyed for Rip Ride Rockit and more from the early 2000s to today. Very little is left of the Hollywood that once was. Still there are buildings in the park that sand testament to the role the theme park played in the many productions that took place, by in large, from 1990-2000. So much history–right here in Orlando! Hard to believe all the movie magic that was made part of the experience of visiting Universal Studios Florida.

If you live in Florida, and would like to see movie magic return to the Sunshine State, think about who will push for those state-level tax and other financial incentives to generate a renaissance of opportunities for those who love movies so much that they want to be part of making them.

Ryan is a screenwriting professor at the University of Tampa and works in creative services in live themed entertainment. He’s also published prolifically on theme parks and produced a peer-reviewed study. If you like this article, check out the others and FOLLOW this blog!

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Twitter: RLTerry1

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