The Twilight Zone and all the images you see in this recap are owned by Warner Bros Television and based on the series created by Rod Serling
Directed by Allan Kroeker
The episode begins with the titular Gabe (Christopher Titus who I’ve talked about in the past) smashing his car into someone else’s by accident; someone by the way who doesn’t even seem too perturbed by it which is a little odd. His driver’s side door is half caved in and yet rather than get yell at Gabe or get his insurance information, he makes a half-hearted crack at his driving skills before calling him a loser. Seems a bit low key considering the damage inflicted which I would certainly call a silver lining, but then Gabe is one of those perpetually miserable dudes who attributes everything to his all-encompassing belief in his own bad luck. Well that and his lousy boss who’s keeping him down at work. Gabe is basically the embodiment of lower white working class angst which is a topic Sir Titus is quite familiar with as he jumps right into a stand up routine while explaining to his wife (Stefanie von Pfetten) why he didn’t get the promotion due to his lack of butt kissing skills. He goes outside to nurse his ego as well as the big lump on his head which he got in the car crash when he notices some guy in an orange jumpsuit (Kelly Perine) in the backyard killing his grass. When confronted, the guy just oddly says that Gabe shouldn’t even be able to see him and that he should pretend this is ALL some big hallucination before turning tail and running off while Gabe just stands there; gawking at the absolute gall of this guy to just kill his grass and say IGNORE ME. I wish I got to see the inner workings of the universe whenever I bumped my head.
“Darn crabgrass. I should have listened to Philip K Dick when I had the chance…”
The images you see in this editorial are the property of their respective owners
Considering that Netflix has already brought back Wet Hot American Summer, Bill Nye the Science Guy, Arrested Development, Full House, and even Mystery Science Theater 3000, they’re quickly turning into the streaming service equivalent of Peter Pan; collecting lost television shows and movies we don’t want to leave to the sands of time and will gladly pay $9.99 a month to keep on life support. Now I’ve enjoyed some of the stuff that they’ve Frankensteined back into existence (the new MST3K was actually the first time the series really started to click for me), but where the heck is MY nostalgic revival!? Yes, I was a fan of Bill Nye too, but there are so many things that they could bring back that will cause me to reflexively empty my wallet and try to shove it into my computer monitor that they haven’t even considered yet! In fact, let’s just go ahead and name ten of them! Now the ordering of this list is SOMEWHAT arbitrary as there are LOTS of factors to think about when trying to put these in any sort of order so it’s hard to quantify which one is more important to try and bring back than another. How much did I like the original show or movie? How much more can they do with the license if it was brought back? Will Netflix even have a snowball’s chance in hell of taking this project off the license holder’s hands? All of which I think makes this a rather interesting (if slightly convoluted) top ten list even if it seems to be somewhat random! Let’s get started!!
10) Jem and the Holograms
Right off the bat, let’s start with a series I’ve never even watched. I’ve never particularly cared for Jem and the Holograms as a television series, and I CERTAINLY didn’t care for it when Hasbro and Jason Blum put out that cheap and cynical movie that had nothing with the franchise in the first place! The reason it’s on this list is because of the IDW comic book series created by Kelly Thompson and Sophie Campbell. Gorgeous artwork, interesting storylines, and believable updates for all the characters are just the tip of the iceberg as far as things this series manages to get right, and while there are some notable differences between the original cartoon and this comic (Jerrica doesn’t own or even co-own Starlight Music), it’s still a fantastic entry point for anyone who was interested in the premise but was turned off the extreme Late Eighties Toy Cartoon aspects of the show. Now to be fair, Netflix’s history with exclusive animated series hasn’t been the STRONGEST part of their original content, but they seem to have a solid enough relationship with Hasbro already (pretty much all of their animated shows are on there right now) which doesn’t put this outside the realm of possibility. If nothing else, Hasbro still hasn’t done enough to apologize for that terrible movie, so it’s the least they could do!
You know me! I can’t even look through my DVD collection without finding a way to turn it into something fun for the site! Almost everything I do is preceded by the question “how will I be able to turn this into an awesome post?” and lo and behold I have done it yet again! One of my favorite comedians is Christopher Titus and as luck would have it I’m going to be seeing him live in less than a week, so I figured now would be as good a time as any to take a look back at his career and how his work has been a great influence to me. I guess we should start this by answering the most basic question first. Who is Christopher Titus?
I love being from a screwed up family
Christopher Todd Titus was born in Castro Valley California in 1964 to Kenneth and Juanita Titus. Throughout Christopher’s childhood, he had to deal with his manic depressive, paranoid, schizophrenic mother who was in and out of his life as well as his mean alcoholic dad who did his best to raise him right but was dealing with demons of his own. Most of his life story is told to us from his first major stand-up special Norman Rockwell is Bleeding which he had performed for years before getting it adapted into a TV show on Fox in 2000 simply called Titus; though to be clear, the recording you can find of that special was done a few years after the TV show had ended. Whether or not all of the stories about his life are true is something that can be reasonably questioned as my cursory research produces little evidence outside of his own personal accounts for what he had to go through, and since a lot of his appeal (at least for me) is the frankness, sincerity, and openness with which he talks about rough subjects, the material NOT being true would certainly hurt that image (like when Robin Williams’s off the cuff delivery style is undercut by the fact that he would always tell the same stories on every talk show he did). Personally, I don’t have a reason to question him or what he went through, and on the off chance that he DOES stretch the truth for comedic effect (in a memorial to his father at the end of an episode of Titus, his father says that only ten percent of what we hear is the truth), I still feel his comedy fills a need and speaks to an audience that very few comics have been able to reach. Probably the comedian that comes the closest would be Marc Maron who had a similarly rough life (though mostly AFTER his childhood) and frequently bares his soul to the world through his stand-up routines and his WTF podcast, on which he did in fact interview Christopher (one of the show’s better episodes in my opinion). The first time I ever heard Christopher’s comedy was when Norman Rockwell is Bleeding had aired on Comedy Central’s Secret Stash* which was (or maybe still is, I have no idea) a block of time around midnight or one in the morning on the weekends that would show movies and stand-up specials with the bad language intact, not to mention Girls Gone Wild commercials. Needless to say that I watched Secret Stash A LOT when I was in middle school, and even managed to stumble upon some great comedians in the process. The one comedy special that stood out the most for me though was the aforementioned Christopher Titus special, and it’s honestly something I would put in the top ten if not top five comedy specials that have influenced me greatly, some of which include Denis Leary’s No Cure for Cancer, Bill Maher: The Decider (he hit his peak during the Bush years), George Carlin’s Life is Worth Losing, and Whoopi: Back to Broadway. Now by the time I had discovered him, it had been YEARS since he had established himself and also years after his television show. What happened with that exactly?