The Fear of God: The Twilight Zone, part 1

6 Feb

In this episode, Reed and Nathan discuss Rod Serling’s classic TV show The Twilight Zone.

4 Responses to “The Fear of God: The Twilight Zone, part 1”

  1. Leonca February 7, 2018 at 7:46 pm #

    Great topic for conversation. To Serve Man doesn’t seem to have aged well. I’m surprised by it’s popularity. My favorite episode was The Monsters are Due on Maple Street. Not scary, but it left me with a sense of unease that I still think about from time to time.

    • Reed February 15, 2018 at 12:29 am #

      The Monsters are Due on Maple Street is a haunting, powerful episode. Its final moment doesn’t hit as hard as the episode overall, but it’s still remarkably resonant.

  2. FictionIsntReal February 14, 2018 at 8:00 am #

    I’m one of those “wrong” people who doesn’t care for Matt Reeves’ Apes films (or his remake of Let the Right One In). The third one was the worst. The reference to a “holy war” was just Reeves attributing religion to his villains without any actual theological content (Stakeland is another post-apocalyptic version of that). Harrelson was just a ripoff of Brando’s Kurtz who doesn’t make any sense in that new context (and apparently in all his study of history never learned about the ancient practice of forming colonies for lepers).

    • Reed February 15, 2018 at 12:38 am #

      Well, at least you’re not one of those people who simply thinks the final Apes movie is poor because there wasn’t enough fighting, which would be ridiculously reductive. Although, I would be curious to know why you consider them to be so bad (and why War is the worst for you).

      I don’t totally disagree with your assessment of that Harrelson line, I’ll take the ownership that I was bringing something to that moment the filmmaker may not have intended. And the Kurtz comparison is certainly a bit on the nose, but I actually think the context for his character’s existence is every bit as sensible as the original Kurtz’s presence in Heart of Darkness or Brando’s rendition in Apocalypse Now.

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