TZ: Walking Distance

This episode revisits some of the themes presented in the last one, The Sixteen-Millimeter Shrine, without having to resort to annoying and unrealistic characters. Walking Distance essentially takes TSMS and brings it up to a relatable, thoughtful, and even emotional level. Comparing the two is like comparing the Star Trek: The Original Series episode Space Seed to Star Trek II: The Wrath of Khan. The former is pretty good, but Khan is so much more effective and recognized as Kirk's villain in the film than he is in the TOS episode. When I think of 'Khan', I think about Kirk waging this epic space battle against an enemy who won't surrender even if it means giving up his life, and not the brief TOS fist fight.

"You know, you'll never have to use cursive again after 5th grade..."

Speaking of characters, right off the bat the protagonist of this story is instantly likeable. His name is Martin Sloan (Alright, when I think 'Sloan', I think of the Section 31 leader from Star Trek: DS9), and although he isn't the most exciting character on the show, he does have qualities that make him relatable. He's a fairly stern guy who doesn't really like how things are going for him in his life at the moment, but he isn't necessarily grumpy. He walks toward his home town which is within walking distance of a gas station, longing for the good ol' days like we all do sometimes.

The episode plays on this idea, and the Twilight Zone spin on it is that Sloan has actually traveled back in time to when he was just a kid. He gradually notices this as he wanders through the town: the ice cream sodas that taste just like they used to, kids playing in the streets, people who have long been dead in perfect condition. He is still his adult self, so his parents obviously have a difficult time believing his story when he confronts them, especially since the young version of himself is right there with him.

"Walking distance, yeah right."

The realization finally hits that Sloan has somehow missed out on his childhood, and runs to tell his younger self to enjoy himself while he is still young, but only succeeds in pushing him off a carousel and injuring his leg. However, the most important portion of the episode hits when Sloan sits down and has the inevitable father-son chat. His father believes that Sloan has really come from the future, and tells him that everybody has their time as a kid, when life is simple and worries are few, so Sloan should be looking towards the future instead of burying himself in the past. Finally taking this to heart, Sloan finds himself back in the present, and limps off to actually live his life.

This episode has a simple message, but it carries through surprisingly well. It's a prime example of the dreamlike storytelling that The Twilight Zone does so well, and in combination with the enthralling music really places the viewer at the heart of Sloan's unwillingness to let go of his past. If written better, I would have given this episode a 10, but some of the dialog seems just too straight forward, like this moment:

"Sorry I yelled at you, but you see... I'm a city man in search of myself. I've come back to my hometown to find a piece of my childhood. Maybe I'll find that it was here with me... all along."

This sounds more like something you would say around a campfire at 2 AM.

Score: 9

Best Quote: "You've been looking behind you, Martin. Try looking ahead."

Best Moment: Sloan's chat with his father.

Cheesy 60s Moment: Young Sloan falling off the carousel.

TZ: The Sixteen-Millimeter Shrine

If you follow my blog, you know that I have reviewed some of the older sci-fi series like Star Trek: The Original Series and the Twilight Zone almost as much I have reviewed shows that have aired within the past ten years. I don't claim to be a huge fan of this type of nostalgia, but isn't it kind of ironic that I have only reviewed three episodes so far for this series, and there's already an episode on the dangers of investing one's self in the past? I would find that to be creepy, if only the episode itself was halfway decent.

Oh, if you don't know the plot behind this one, then don't worry. It's pretty straight forward. We are introduced to a woman by the name of Barbara Jean Trenton. She's an aging film star, and her life would be pretty fantastic except for the fact that she can't let go of her past fame. She spends most of her time in seclusion watching her movies from 20+ years ago, which as you might have guessed isn't exactly conducive to her social life.

Imitation is the sincerest form of arrogance

Throughout the episode, Barbara longs for this seclusion, but she is continuously interrupted by people close to her that know better and just want her to move on with her life. Eventually she actually gets to meet the man she once acted with, before realizing that he does not even resemble the person that she remembers and sees on her screen every day. In the end, though, she actually gets her wish, and her agent finds her "trapped" inside the film. Yeah, that one has to be seen to be believed...

A typical reaction to seeing the Lost series finale

Although this episode, like the others, had a good message to send, I think it pretty much failed in doing so. The whole point, in my opinion, was supposed to be that Barbara was too caught up in her nostalgia to care about things happening in her real life, but as soon as she got her wish she found that it wasn't what she actually wanted her life to be. The problem with this episode is that there is no indication that this was actually the case. In fact, it's quite the opposite. Barbara actually rejects her friends when they call out to her from beyond the screen, and simply happily goes on with her life. So what we get is just a somewhat creepy, but mostly laughable ending to close off an "I could care less about the plot" episode. This doesn't really feel like a Twilight Zone episode, and the only really redeeming value to it is how the Barbara character is portrayed. The depiction of a self-absorbed movie star is fun to watch, but the story is a let-down.

Score: 3

Best Quote: "Picture of a woman looking at a picture."

Best Moment: The maid uttering an ear-piercing scream upon seeing Barbara on the screen.

Cheesy 60s Moment: Barbara sees her previous co-star in his aged state, and her eyes widen on an overly dramatic note.

-Patrick D

TZ: Mr. Denton on Doomsday

As the episode opens, we see that this story will take place in the old west. *Sigh*. Now, don't get me wrong, I try to be open-minded when it comes to episodes and movies set in unique places and locations, but the setting isn't interesting to me at all. Sci-Fi episodes set in the old west can actually be entertaining and worthwhile if done properly, Star Trek: The Next Generation's "A fistful of Datas" comes to mind, but I've never been a huge fan of the wild west genre.

Like I said, if this episode was done well I would not be complaining about this too much, but I really had a tough time caring about the plot. I'll try to keep this brief so I don't sound like I'm droning on about this and getting nowhere. So, a washed-up gunslinger named Al Denton is encountered by Henry J. Fate, who wants to give him another chance. Fate(that's a subtle pun, huh?) offers Denton a potion that he claims will make him the fastest gunslinger in the West for ten seconds.

Denton agrees, and takes a swig of the potion before he is about to face Pete Grant, a young gunslinger. But, he sees that Pete Grant has done the same, and they both shoot each other in the hand. They will both now be unable to fire a gun again, and Denton tells his opponent that they have both been blessed because they will never again be able to fire a gun in aggression.

So, the message is there, but you sort of have to be a fan of the genre in order for the episode to have a resounding impact. The actors are entertaining to watch, but the episode didn't really work for me.

Score: 5

Best Quote: "Because, you see, Fate can work that way...in the Twilight Zone."

Best Moment: Denton and Grant shooting each other in the hand.

Cheesy 60s Moment: There isn't one that particularly sticks out to me.

TZ: One for the Angels

The episode opens and we get a brief narration on Lew Bookman, the man who is standing on the sidewalk. He is a salesman who is around 60 years old, and it doesn't look like he is having much success. There is another man several feet away from him, taking down a few notes, whom the narrator refers to as "Mr. Death".

As Bookman returns home we see several children waiting by his house, and he appears to have much more success with selling toys to them. I wouldn't be surprised if that was his major source of income because he gets along with them so well. Bookman soon enters his house, only to find Mr. Death sitting there. Mr. Death informs him that he must die at midnight, but Bookman obviously resists. After a few failed attempts, he explains to Mr. Death that he needs to make one last sales pitch, "a pitch for the angels", in order to finish his business on Earth. His thinking is that as long as he is puts off this pitch, he will stay alive.

♪ Can you tell me how to get, how to get to Sesame Street? ♪

Mr. Death, however, is smarter than that. In retaliation, he switches his target to a girl that Bookman is especially good friends with. He causes a car to run her over, and she is rushed to the hospital. Bookman is not going to let her die at midnight, so he sits at the steps of the hospital, awaiting Mr. Death. When Mr. Death arrives, Bookman tries to distract him by making a few sales pitches, and closes off the deal by selling himself to Mr. Death.

Hello, Bella. Meet Mr. Death

This is one of the only problems I have with this episode: it actually works. Mr. Death is so distracted by these propositions much that he actually forgets about visiting the girl at midnight, and the girl survives. Although Bookman does take her place, which was what Mr. Death aimed for originally, it just doesn't make any sense that Mr. Death would be persuaded by Bookman's pitches. He's Death. How could he possibly miss this deadline?

All grievances aside, the episode is saved by Ed Wynn, who plays Lew Bookman. He plays the part of the bumbling salesman who just wants to escape death especially well, and it's entertaining to watch him to do it. The episode doesn't really have a twist, but it wasn't necessary for what it was trying to do. It would have been far more interesting if the episode had been more like "Masque of the Red Death", in which a man thinks he can escape death but ultimately cannot. This one had the same idea, but the "Mr. Death gets tricked" part ruins the episode for me.

Score: 4

Best Quote: "Depature time is set for midnight, and departure will be midnight."

Best Moment: Mr. Death and Mr. Bookman eerily walk off into the night.

Cheesy 60s Moment: Mr. Death turns to the camera on a dramatic note.

TZ: Where is Everybody

Before you read this review, or any subsequent reviews on the Twilight Zone, I highly recommend that you view the actual episode first. The most fulfilling part about watching the Twilight Zone is anticipating the twist ending that more or less explains everything that was going on in the episode. These reviews will contain spoilers about the endings, so if you care about that stuff, then go watch the episode first.

After the famous Twilight Zone intro and opening music, we see a man walking down a road. He looks slightly confused as he enters a small cafe. He calls for the bartender, only to find that nobody is there. In fact, when he enters Hill Valley(not really, but it's the same set as Back to the Future), he finds the town completely deserted. He also reveals that he has no idea who he actually is.

Does this mean that Marty McFly was in the Twilight Zone?

The main part of the episode involves him wandering around Hill Valley, continually telling himself that he's having a nightmare and that he just needs to wake up. He thinks he sees a woman in a car, but it's just a mannequin. He tries to dial a number in the phone booth, but it doesn't work. It's a really eerie thought. If you suddenly found yourself as the last man on Earth, how would you entertain yourself? How would you keep yourself sane? The man in this story ends up talking to himself through mirrors, messing with things behind desks, and even playing a solo game of tic tac toe.

Life before Solitaire

A few odd occurrences really pushes him towards the edge. He first finds a cigar still smoking in a police station, then a clue that leads him to believe that he's in the air force, and a movie theater that lights up and spontaneously starts playing movies. He becomes more and more paranoid until we reach the climax of the story and it is revealed that he was just hooked up to some virtual simulation.

Apparently the machine was supposed to simulate being enclosed in a shuttle on the way to the moon. The machine would gave him nutrition and other things he needed to survive, while the people in the real world monitored his progress. The town was just a delusion that the man had while his mind started to go crazy without any social interaction.

This episode was an excellent start to the Twilight Zone. It developed the creepy, dreamy feel that was to become the standard for future Twilight Zone episodes, and the acting was pretty good. The only complaint that I have for this episode is the twist. Why do they have to send only one person to the moon? Why not a group of people? Still, it's interesting to think that in only 10 years after this episode aired, man had accomplished the goal of landing on the moon.

Score: 8

Best Quote: "Next time it won't just be a box in a hanger, will it?"

Best Moment: The man runs into a mirror

Cheesy 60s Moment: The man yells "Where is everybody!"