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Recap and Review: ‘Twilight Zone’ Gives Everything To Its Audience with ‘The Comedian’ [SPOILERS]

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What does it take to make it on the stage? How much does someone have to give in order to be successful? What does it mean to give up everything for your dreams? Samir Wassan (Kumail Nanjiani) is about to discover what he has to give up to the audience to fulfill his dreams in The Twilight ZoneWaylon Jordan already discussed Nightmare At 30,000 Feet Yesterday, so today we are diving into the second episode to premiere The Comedian.

**Major spoilers ahead, proceed with caution if you haven’t watched the episode yet**

The Twilight Zone has been known through its many adaptations to have stories revolving around people getting what they want, only to regret it in the end.

The same happens to amateur comedian Samir Wassan, as he spends every night struggling to get his audiences to laugh with his politically charged jokes.

One night after bombing on the stage, he meets legendary comedian J.C. Wheeler (Tracy Morgan) who tells him he needs to put himself out there on the stage. That the audience doesn’t want what he thinks, but who he is.

J.C. Wheeler’s tone grows more ominous as he explains to Samir that he has to give himself to the audience, but once he does it is theirs.

The next night, Samir tries to tell jokes about the 2nd amendment but they land to a deadly silent room. He finally gives into J.C.’s advice and talks about his dog filling the room with laughter.

Once he is home he discovers not only is his dog gone, but that it never existed. Here we find The Twilight Zone twist the series is known for. Every time he mentions someone from his life the jokes kill, but that person ceases to exist. After accidentally causing his nephew to be erased, he tries to use this “power” for good. He erases a fellow comedian who is shown to have killed a mother and daughter in an alcohol-fueled hit and run, bringing them back to life. He then goes after bullies from his past, jerks in the audience, to people he feels justified in erasing from existence.

This power sadly doesn’t work on people he has not interacted with (Hitler jokes won’t work here) but he still finds enough people to erase without affecting his life too much. That is, until he makes a  joke about his longtime partner’s boss.

Samir’s relationship with him is filled with paranoia because the boss gives off flirtatious vibes towards his girlfriend. The ripple effects of his jokes leads to her never becoming a lawyer and also erases a relationship-saving getaway that kept them both together.

After this Samir finds himself running out of people to talk about without affecting his own life. This becomes extremely difficult when he is put in direct competition with his friend for a spot on an SNL type show. Being tasked with giving the best performance, he gives up everyone including his best friend. In the middle of hi set he is confronted by his ex who exposes his journal where he kept names. Here he must choose to erase the love of his life or to give himself fully to the audience.

The moral of the episode is apparent from the beginning tackling not only the pursuit of fame and its cost, but how much these pursuits can affect those around them. The Twilight Zone has had countless episodes involving a character’s greed which leads to their own destruction.

When the trailer first dropped I thought it was going to be more like an updated version of the season 4 episode Printers Devil starring the incredible Burgess Meredith as Mr. Smith aka the Devil.

J.C. Wheeler almost looks like an updated Mr. Smith, trading in a crooked cigar for a big vape pen. While Wheeler sets up the path toward success/self-destruction for Samir, he isn’t as hands-on throughout the process as Mr. Smith was.

While both stories deal with the main character realizing and dealing with the real-life consequences of their actions, The Comedian separates itself greatly in dealing with what audiences want.

The whole idea behind people being erased is once you give a part of yourself to the audience, it’s theirs. There is no getting it back. Samir gives up important aspects of his life to the audience and isn’t able to get them back, which is what fame does to someone’s personal life.

Once it’s out there in tabloids, online, or entertainment news cycles it is no longer in their control. Same with something created by artists.

How many times have we heard that Star Wars The Last Jedi was not the direction the audience/fans saw it going? Recently someone told off Frank Oz on Twitter, the man who IS Yoda, saying he doesn’t know the motivations behind the character he brought to life?

Not only was Samir losing himself to the audience, but he lost his art along with his form.

Say what you will about his original joke in the episode, but it was his ideas, his feelings on stage.

What got the laughs though? He’s basically just saying “fuck that guy, right?” over and over again.

The audience is presented as a homogeneous entity that takes more than just pieces and people from his life, they take away his art and what makes him a unique performer.

The Comedian ends with Samir taking his journey to its emotionally charged but logical end by sacrificing himself before the love of his life.

Shortly after we see the return of J.C. Wheeler as he starts the cycle again with a new comedian. There is no big reveal or twist. Instead, the cycle continues as another comedienne is tempted to sacrifice it all for her dreams.

It’s a dark reflection on what we do as consumers of art and content, absorbing and making something someone else created our own. Hell, I just did it with this review inserting my take on the meaning and connections of the episode.

*BONUS* You do not need a subscription to watch this episode as CBS All Access put it YouTube for free. Double bonus, you can see the ventriloquist dummy from the original series in the changing room scenes, especially at 15:20 and 43:00.

 

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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