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Jordan Peele's THE TWILIGHT ZONE [Official Discussion Thread]


 
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 4 weeks ago '06        #1
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Jordan Peele's THE TWILIGHT ZONE [Official Discussion Thread]
 

 

Watch Season 1:
visit this link Ep.1
visit this link Ep.2
visit this link Ep.3






”The Twilight Zone” premieres with two episodes on Monday, April 1 on CBS All Access.

image


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Full EP1



Trailer

What price fame? Kumail Nanjiani is about to find out when he steps onto the stage of “The Twilight Zone.” CBS All Access revealed the trailer for the first two episodes of its anthology series reboot on Monday.

In the trailer above, Nanjiani plays the titular standup comedian Samir Wassan who frequents a little comedy club called Eddies (as in eddies of water perhaps). He’s struggling to find his voice when a mysterious man played by Tracy Morgan appears and seems to offer him the answer to his dreams. Sounds too good to be true? Of course! When one fan says that Samir “totally k*lled it,” it’s a foreboding sign of what’s in store for Samir and his ambitions. This is “The Twilight Zone” after all where twists are commonplace and human frailty is spotlighted and found wanting.

EP2 Trailer

But wait, there’s more! Adam Scott stars in the second episode released for the premiere, “Nightmare at 30,000 Feet.” As “Twilight Zone” fans know, this is a direct reference to the classic episode “Nightmare at 20,000 Feet,” starring William Shatner as a man recently recovered from a nervous breakdown who starts to become unhinged when he’s the only one who sees a gremlin on the wing of his plane mid-flight. The new series will take a new angle on what’s troubling Scott’s character.


Last edited by SM; 04-14-2019 at 09:17 PM..
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51 comments for "Jordan Peele's THE TWILIGHT ZONE [Official Discussion Thread]"

 4 weeks ago '18        #2
Brazi D 11 heat pts11
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+1   

 4 weeks ago '16        #3
Blockafella 46 heat pts46
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Why can’t they come up with original content anymore. Have we actually run out of ideas
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 4 weeks ago '15        #4
thirssty58 6 heat pts
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 Blockafella said
Why can’t they come up with original content anymore. Have we actually run out of ideas
Between reality TV, shows stolen from books, and other countries yes theres no originality and what incentive is there the masses will consume trash. You have to care about the art to really come original having said that peeles on fire and I need to see what he adds to it, classic show
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 4 weeks ago '06        #5
new2hiphop 3 heat pts
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It better be decent cuz black mirror actually does a good job
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 4 weeks ago '11        #6
Jett83 68 heat pts68
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Yeah, they gotta come correct with the heat Black Mirror drops.
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 4 weeks ago '09        #7
TriniSoldier 71 heat pts71
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 new2hiphop said
It better be decent cuz black mirror actually does a good job
black mirror is actually on a platform that people watch. nobody is gonna see this show
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 4 weeks ago '13        #8
Taree 9 heat pts
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 4 weeks ago '07        #9
brand name 6 heat pts
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it's fu*king on CBS All-Access
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 4 weeks ago '04        #10
jaynat603 
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I'll check it out

 4 weeks ago '15        #11
Destro 2 heat pts
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 Blockafella said
Why can’t they come up with original content anymore. Have we actually run out of ideas
Nothing new under the sun
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 4 weeks ago '15        #12
Hellmatic 2 heat pts
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They've done the nightmare at 30k feet episode like 4 times. I think the 1st one was wit William shatner


Last edited by Hellmatic; 03-26-2019 at 03:04 AM..
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 4 weeks ago '04        #13
therealness 4 heat pts
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What's CBS all access
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 4 weeks ago '16        #14
Humblegold 9 heat pts
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 therealness said
What's CBS all access
Isnt CBS a free network? Who the fu*k going to pay for this? Just gonna bootleg / download. Lol.
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 4 weeks ago '07        #15
brand name 6 heat pts
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 therealness said
What's CBS all access


10,000 Episodes On Demand
Ready. Set. Binge! We’ve made it easier than ever to access the shows you love from America’s #1 network – live and on demand!

Exclusive Access to Originals
Enjoy subscriber-only CBS All Access Original Series like Star Trek: Discovery, The Good f*ght, Tell Me A Story, One Dollar, Strange Angel and No Activity, with more exciting originals on the way, including The Twilight Zone.
---



Limited Commercials
WITH 1 WEEK FREE
$5.99/month thereafter

Commercial Free*
WITH 1 WEEK FREE
$9.99/month thereafter
*Live TV includes commercials and select shows have promotional interruptions.
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 4 weeks ago '19        #16
Fayvo 
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I'm not ordering cbs
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 4 weeks ago '04        #17
born wisdom 5 heat pts
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Between old twilight zone and black mirror...I think they showed most if not all of peoples worst nightmares on film. All anybody can do now is add their flare to a old story. Remaster it. I dont like the idea much but what is left?

 4 weeks ago '05        #18
youngvito18 8 heat pts
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cbs all access is dumb

why not just create a free version

 4 weeks ago '13        #19
DiegoRivera 29 heat pts29
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 Blockafella said
Why can’t they come up with original content anymore. Have we actually run out of ideas
Jordan Peele has 5 seasons of Emmy winning TV, 1 Oscar winning film, and 1 current critically acclaimed box office record setting film, all original content.

I think this reboot is a match made in heaven with him.
+4   

 4 weeks ago '04        #20
Mr AirRic 10 heat pts10
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so excited for this
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 4 weeks ago '04        #21
JFamis 245 heat pts245
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Peele has earned my trust, and I love this kind of sh*t anyway, so I will give it a try... it’s only $10

 4 weeks ago '17        #22
dubsax 14 heat pts14
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this suits Peele.
He's more of a suspense, Rod Sterling Alfred Hitchcock, type of director.
What he makes isnt horror.

Eli Roth is horror.
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 4 weeks ago '06        #23
SM 40572 heat pts40572 OP
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 4 weeks ago '06        #24
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Some reviews:

Twilight Zone Review: Jordan Peele's Revival Honors the Original's Legacy, Adds a Few Modern Twists

The Twilight Zone is one of the most innovative and influential shows in TV history, and anyone attempting to revive it has some mighty huge shoes to fill. But if you could handpick someone to produce a new Twilight Zone, wouldn’t you pick Jordan Peele? The former Key & Peele star has refashioned himself into a masterful horror auteur with Get Out and Us, and his Hitchcockian sense of the eerie and macabre makes him the perfect choice to lead CBS All Access’ The Twilight Zone (debuting Monday, April 1), which proves itself a worthy successor to the original while updating its familiar formula for the modern world we live in.

The Twilight Zone is a true anthology, with each episode telling a different story (Peele steps in for Rod Serling as host and narrator, as well as executive-producing), so the letter grade I’ve given it above is an average of the four episodes I’ve seen. I can highly recommend two of the four: “Nightmare at 30,000 Feet” — starring Adam Scott as an air traveler who is convinced his flight is doomed — revamps a classic Zone episode by cleverly playing on our post-9/11 paranoia; it’s a nail-bitingly intense ride with a wicked twist ending. “A Traveler” is the most genuinely surprising of the bunch, with Steven Yeun playing a mysterious stranger who visits a remote Alaska police station on Christmas Eve; it has a fascinatingly unsettling vibe and builds to a riveting finish. (The X-Files veteran Glen Morgan co-wrote the former and wrote the latter; let’s hope Peele just hands him the keys and lets him write every episode from here on out.)

Other installments, though, aren’t as successful. “The Comedian,” starring Kumail Nanjiani as a struggling stand-up comic who discovers a new way to get laughs, is a familiar devil’s-bargain tale that takes some interesting turns, but maybe not enough of them to fill its nearly hour-long running time. (The four episodes vary wildly in length, from 35 to 55 minutes, and some definitely drag on too long.) “Replay” is the weakest episode of the initial four: It takes a sci-fi conceit we’ve seen a lot of lately — Sanaa Lathan plays a mom who realizes her camcorder can actually rewind time — and saddles it with a heavy-handed message about the tension between cops and the black community.

But even when the story falters, The Twilight Zone still serves as a fantastic acting showcase. Like American Horror Story, it allows big-name actors to try on a new role without committing to a full series, and Scott and Yeun, in particular, respond with Emmy-worthy work. Plus, there are fun Easter eggs planted throughout that hint at a shared universe across all the episodes. (Check out the magazine rack before Scott’s character boards the plane, for example.) Style-wise, it’s really a throwback to classic filmmaking, with an old-fashioned elegance to it; like the original Zone, it patiently lets its morality plays and ethical dilemmas unfold without tacking on too many narrative bells and whistles.

Peele’s Twilight Zone isn’t only competing with its predecessor, though. It’s also competing with Netflix’s Black Mirror, which stepped up a few years ago to revive the sci-fi anthology tradition that the original Zone started. No, the new Zone isn’t as mind-bendingly innovative as the best Black Mirror episodes — it’d be nice to see future installments break further away from the original template and blaze a new trail — but it’s gripping enough on its own terms. Based on the first batch of episodes, as uneven as they might be, The Twilight Zone has lots of potential… and with a genius like Peele at the helm, even the sky isn’t the limit.


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TV Review: ‘The Twilight Zone’

TV has been trying to recapture the magic of “The Twilight Zone” for decades. Since it went off the air for the first time in 1964, the CBS anthology series that merged horror with humanity has been revived twice — in the 1980s and in the early 2000s. Lately, the series’ formula, pasting genre tropes over a rigorous and somewhat didactic moral position, has been adapted by “Black Mirror,” the Netflix series whose vision of a technology-addled near future is pessimistic enough to make the late Rod Serling, the show creator whose grimly ironic presence opened and closed “Twilight Zone” episodes, seem practically sunny.

In the wake of “Black Mirror’s” success comes a fourth “Twilight Zone,” this one led by Jordan Peele, who executive produces and a*sumes Serling’s role as narrator. Peele, who with the films “Get Out” and “Us” has proven a masterfully inventive surveyor of the American scene, would seem to be a creative force, perhaps the only one, who could match his talents to what had made “The Twilight Zone” work.

And yet Peele’s “Twilight Zone” feels neither like the best of Peele nor much like “The Twilight Zone.” It’s a mismatch of talents that, in the four episodes provided to critics, falls short of justifying its presence on air in 2019 as anything but flavorless homage to what had worked previously.

Consider the premises of the first episodes — presented in spoiler-light fashion, given the degree to which they thrive on the closing revelation. In one installment, Kumail Nanjiani plays a comedian presented with a Faustian bargain (in shows like this one, is there any other kind?), achieving increasing fame for exposing personal details even as fundamental aspects of his life fade away. Elsewhere, Sanaa Lathan is a woman possessed of a magical camcorder that enables her to rewind her life to a time before acts of police brutality are committed, in new ways each time despite her best attempts, against her son (Damson Idris). The episode with the least to say about anything but itself is a suspenseful creature feature starring Steven Yeun as a mysterious visitor to a small Alaska police station on Christmas Eve; it has a bit of “X-Files” energy, if less ambition to do more than surprise. And a classic “Twilight Zone” episode starring William Shatner as an airline passenger who is the one person able to see the gremlin destroying the plane comes in for a reimagining. This time — in the sole episode of the first four on which Peele has a writing credit — Adam Scott is the traveler who alone can see the danger coming his way, and his vision comes via glimpses not of a monster but of a magically prophetic true-crime podcast.

This detail — that Scott’s character learns of his flight’s coming crash through a medium that’s about as in vogue as it gets in 2019 — at least evinces a sense of the world in which we’re living, as does the confessional-comedy mode that makes Nanjiani’s character a star in his installment. But these episodes have precious little to say about investigative podcasts or about contemporary comedy beyond acknowledging they exist: These facts of life are simple jumping-off points for macabre and laboriously built stories that end with a tidy, cruel joke. The formula is reversed with Lathan’s episode, which uses bizarrely anachronistic tech, a camcorder, to gesture toward a bleeding-edge conclusion about the need to f*ght back against state-sanctioned violence. Even so, the show, with its unrelenting reliance on schematics, moving from narrative jolt to narrative jolt, never allows a moment of pain or catharsis to breathe. Peele’s episode-ending speeches tend to rely on cant and cliché (as when he announces that the point of Scott’s airborne ordeal is that “the flight path to hell is paved with good intentions”); they have the shape of a moral takeaway, but no charge or insight.

This bears little resemblance to “Black Mirror,” which, for all its flaws, has often-sharp things to say about our modern world and tends to say them with élan, placing performance and direction ahead of pure scripted exposition. Nor does it look like the original “Twilight Zone,” which moved at its own strange rhythm. Twenty-five-minute episodes might possess about half as much story. These vignettes allowed for suspense to take root and for connections between the sci-fi world on-screen and ours — often fairly obvious ones — to seem as if they sprouted organically from the viewer’s mind. At double the length but with many times as much narrative, these new episodes seem hell-bent on providing more entertainment, forgetting that part of what makes the original Serling series work is that its stories can be communicated in a logline. The ur-example of a classic “Twilight Zone” episode summary might be “The aliens want to ‘serve’ man — on a plate.” It was a single well-executed twist we’ve been talking about for decades. The details of these new episodes, by contrast, float away quickly.

Part of why those old episodes had such an impact was the way they were transmitted — airing back when a CBS broadcast guaranteed an enormous chunk of whomever was watching television. The three-channel era can’t be reclaimed, and that its replacement has granted us artistically ambitious programming unimaginable in the late 1950s should nearly go without saying. But Serling-era TV had figured out a way to seed a simple story with enough barbs to stick in millions of individual minds. His series, meant for a mass audience, brought to brief and light teleplays an untrammeled idiosyncrasy.

Peele’s “Twilight Zone,” intended to entice the public to try out a niche streaming service, is tasked with doing the opposite: Taking the specific sensibilities of Serling and of Peele himself and sanding them down to the point where their stories are little more than broadly appealing campfire tales. To be sure, their power is sapped in part because they don’t have the broadcasting power of 1950s CBS: Many of the sins of the first “Twilight Zones” are probably elided even by the most Serling-neutral of critics due to that show’s place in the firmament of American iconography. (Though it’s very good, it’s also come to be something beyond good or bad.) But the greatest blow to the power of the new “Twilight Zone” is self-inflicted. Even with a vastly diminished megaphone, it ought to have found something worth saying.

 3 weeks ago '06        #25
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