Category Archives: television

Soundtrack Review: The Musical Anthology of His Dark Materials (2019)

*apologies for taking so long to get this one out, I meant to publish this one weeks ago but November has been a very busy month for me, I hope you enjoy it!

In The Musical Anthology of His Dark Materials, an introduction to the music from the television series, composer Lorne Balfe delves into the story and character themes from His Dark Materials, the new adaptation of Philip Pullman’s trilogy. Lorne Balfe (Mission Impossible: Fallout, The Lego Batman Movie, Churchill) is a Grammy Award-winning, EMMY and BAFTA nominated composer. Whether on an impossible mission, the heartbreak of the Queen, the perils of the cape crusade or the soul of a genius, Lorne Balfe creates a musical voice that reflects the characters and the stories that embody them.

Available on digital as of November 2019, this collection features a number of key musical themes that appear throughout the HBO series. Presented on this soundtrack album are the opening title theme, together with key character themes for the young protagonists Lyra, Roger and Will and the adults Mrs. Coulter, Lord Asriel and Lee Scoresby. Other themes present the majestic locations of Oxford and Svalbard, the people that Lyra encounters on her epic journey, the Gyptians, the Witches of Lake Enara, the machinations of The Magisterium, and The Alethiometer, the device that helps set all the events in motion.

“Since the beginning, myself and the rest of the music team knew we wanted a mixture and a hybrid,” says Lorne. “What I wanted people to feel when listening to the music is they don’t necessarily know if it’s real or not or whether it’s in the present or in the past. There are no rules and musically, it’s constantly evolving. Another crucial element we strived to accomplish was to always have a clear journey of each character’s theme. I wrote their themes separately as a journey, so that we knew musically what would happen throughout the series.”

The timeless nature of the music is evident right away. You literally can’t tell what time period this is taking place in. Sometimes the music sounds contemporaneous, other times it seems to snap back to the Renaissance (or what sounds like the Renaissance). This does a great job of muddling the senses and creating a musical environment for the alternative world that His Dark Materials takes place in. If the show is half as good as this soundtrack, then this is an amazing show indeed.

Let me know what you think about His Dark Materials (and the soundtrack) in the comments below and have a great day!

Tracklisting:
1. His Dark Materials
2. The Alethiometer
3. Lyra: The Child of Prophecy
4. The Settling of a Daemon
5. Scholastic Sanctuary
6. The General Oblation Board
7. The Life of Roger Parslow
8. The Machinations of Lord Boreal
9. A Gilded Cage
10. The Strength of Gyptians
11. A Plea to Fate
12. The Legacy of Svalbard
13. Mrs. M. Coulter
14. The Magisterium
15. The Path Foretold
16. Release the Spy-Fly
17. The Tales of Lee Scoresby
18. The Compass Points North
19. The Witches of Lake Enara

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TV Soundtracks

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Soundtrack Review: The Dragon Prince Season 3 (2019)

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Lakeshore Records will make the soundtrack of season 3 of the hit Netflix original series The Dragon Prince available on digital starting November 22nd. The soundtrack was composed by Frederik Wiedmann (Batman: Hush, Green Lantern: The Animated Series), who is one of the most diverse and cultivated composers working in motion pictures today. With over 140 titles to his name in all realms and genres, Wiedmann has established himself as an insightful artist with an enduring passion for storytelling. Wiedmann has been a main stay in the DC cinematic universe, starting with his work on Green Lantern: The Animated Series, for which he earned two consecutive Annie Awards nominations. His success on the series led to further popular Warner Bros’ DC projects such as Justice League: The Flashpoint Paradox, Son of Batman, Death of Superman, Justice League: Gods and Monsters, and Batman: Gotham by Gaslight among others.

The Dragon Prince Season 3 continues the stories of aspiring mage Callum, crown prince Ezran, the Moonshadow Elf assassin Rayla, and Zym – the infant sky dragon and titular “Dragon Prince.” Having been split apart after the huge events of Season 2, the young heroes continue their separate journeys: Ezran returning to Katolis to assume the throne, and Callum and Rayla taking Zym deeper into the unknown wilds of Xadia. The Dragon Prince is co-created and led by the visionary team of Aaron Ehasz (Avatar: The Last Airbender) and Justin Richmond (Uncharted 3: Drake’s Deception).

Aaron Ehasz and Justin Richmond were ecstatic about collaborating with Frederik Wiedmann for Season 3 praising, “Without question Freddie’s epic and emotional score is what elevates the Dragon Prince storytelling into something that soars and swells our hearts.”

For Season 3, in approaching how best to build upon the story arcs and emotional threads of the first two chapters of The Dragon Prince, Frederik Wiedmann said:

“The third season of The Dragon Prince offered an amazing opportunity to work with all of our established themes for the characters from Seasons 1 & 2, to take them further, and also to expand them into new ideas as this incredible story continues to unfold. We pushed hard to really dig deep into all the emotional threads in Season 3, as well as amplify the imminent threat and impending darkness that our heroes face during their quest. Once again, we put our best foot forward and recorded a beautiful orchestra for some of the most pivotal scenes in this season to deliver the most emotional impact possible. We also feature again the amazingly unique solo instrumentalists that we introduced in the first two seasons. It was difficult for us to narrow down which tracks deserve to be on the soundtrack, so we decided to make the Season 3 soundtrack a full 1 hour and 40 minutes of music. We hope the fans will enjoy it!”

You can digitally purchase the soundtrack for The Dragon Prince season 3 now! Let me know what you think about The Dragon Prince (and its soundtrack) in the comments below and have a great day!

Track list:

01. Ultimatum
02. The Fall of Sol Regem
03. A Lesson in Stealth
04. Hand in Hand
05. A Stupid Idea
06. The Breach / The Scarf Trick
07. All Hail King Ezran
08. Katolis Sunrise / Everywhere You Look
09. The Prince of Neolandia
10. Hold On Tight
11. The Weight of the Crown
12. Adoraburrs
13. The King’s Verdict
14. Silvergrove
15. Heartbloom
16. A Human With a Pure Heart
17. There You Are
18. Trustworthy Allies
19. Understanding, Love, and Jelly Tarts
20. One Feeling Too Far
21. Bringer of Tarts / Beneath the Sands
22. Shadow of the Ambler
23. Broken Links
24. Because She’s Rayla
25. A Single Drop of Blood
26. Weary Wings
27. Thunderfall
28. His Name Will Be Vengeance
29. Ghost Feather
30. A Way Forward
31. Noble Aims
32. The Eclipse of Lux Aurea
33. Midnight Sun / Draw Your Last Breath
34. Don’t Make Me Choose / Hearts of Cinder
35. The Queen’s Slumber
36. Manus Pluma Volantis
37. Prelude to War
38. Battle of the Storm Spire: Hold the Line
39. Battle of the Storm Spire: Fading Hope
40. Battle of the Storm Spire: The Tide Turns
41. Aftermath
42. How Could You?
43. Nowhere to Run
44. The Leap
45. My Love, My Hope

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TV Soundtracks

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My Thoughts on: It’s the Great Pumpkin, Charlie Brown (1966)

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One of the great things about October is that it’s now time for one of my favorite Peanuts animated specials, It’s the Great Pumpkin, Charlie Brown. I grew up watching the Peanuts holiday specials (this one, A Charlie Brown Thanksgiving, and A Charlie Brown Christmas), and as a result I hold them all very close to my heart. While many think of A Charlie Brown Christmas as the Peanuts special, I think it could be argued that It’s the Great Pumpkin, Charlie Brown is just as good as its Christmas counterpart.

As you might guess from the title card, It’s the Great Pumpkin, Charlie Brown is set on Halloween, as everyone gets ready to celebrate in their own way. One of the things I love best about this special is that Charlie Brown actually gets invited and goes to Violet’s Halloween party; just seeing his happiness at getting the invitation warms my heart every single time (being a victim of bullying, I’ve always taken issue with how Charlie Brown gets treated by the other kids). And, as usual, Linus is preparing to meet the Great Pumpkin, a Halloween entity similar to Santa Claus that only he believes in, much to Lucy’s embarrassment (and the amusement of everyone else).

Part of what makes It’s the Great Pumpkin, Charlie Brown so endearing is how much fun it is to watch. From the moment Linus and Lucy set out to choose a pumpkin, to the end when Linus vows to see the Great Pumpkin “this time, next year” the jokes and animated mayhem never really stop. The humor is innocent, pure, and a reminder of what it was like to celebrate Halloween as a kid, which is a big part of why I love it so much.

Of course, I can’t leave a review about It’s the Great Pumpkin, Charlie Brown without discussing what happens with Sally and Linus. I can’t tell you how many years I felt terrible on Sally’s behalf: she ends up spending the entire night in the pumpkin patch, only for Linus to mistake Snoopy for the Great Pumpkin. Upon realizing that she’s missed Halloween for nothing, Sally lets loose on Linus in a tirade for the ages:

I was robbed! I spent the whole night waiting for the Great Pumpkin, when I could’ve been out for tricks-or-treats! Halloween is over and I missed it! You blockhead! You kept me up all night waiting for the Great Pumpkin, and all that came was a beagle! I didn’t get a chance to go out for tricks-or-treats, and it was all your fault! I’ll sue! What a fool I was! I could’ve had candy, apples, and gum! And cookies and money and all sorts of things, but no! I had to listen to you. You blockhead. What a fool I was. Trick-or-treats come only once a year. And I miss it by sitting in a pumpkin patch with a blockhead.

YOU OWE ME RESTITUTION!!!

(quick side note: Sally’s voice actress actually couldn’t pronounce “restitution” no matter how much she tried, so the sound people had her pronounce each individual syllable and then strung it together to make it sound like she says the word)

I can almost quote Sally’s diatribe from memory, but it never gets old. And the look on Linus’ face after Sally gets through with him has me in stitches every single time. There’s also the subplot of Snoopy pretending to be a World War I flying ace that is as brilliant as it sounds.

If you’ve never seen any of the Peanuts specials before, It’s the Great Pumpkin, Charlie Brown provides the perfect jumping off point. Despite being 53 years old, the special feels as fresh and funny as ever.

Let me know what you think about It’s the Great Pumpkin, Charlie Brown in the comments below and have a great day!

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Soundtrack Review: Euphoria (2019)

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A soundtrack album featuring music from the first season of the HBO series Euphoria is now available from Milan Records, an imprint of Sony Music Masterworks. The album features music by multiplatinum-selling artist and producer Labrinth. Euphoria marks Labrinth’s first-ever project as lead composer. Written and recorded in close collaboration with the show’s writer Sam Levinson, his original compositions feature prominently throughout the series as a sonic companion to the show’s angst-driven narrative. The resulting 26-track collection is a genre blending mix of gospel, soul and electronic influences, indicative both of Labrinth’s imitable style as well as the show’s deeply moving storyline.

Regarding the soundtrack album, Labrinth had this to say:

My experience with Euphoria has made me a better musician. It was a dream come true to give wings and add magic to the different storylines. It was a collaborative effort among Sam Levinson, the crew and the cast – I only added texture to an already phenomenal show. I hope that anyone who listens to the music embraces feeling something.

Euphoria, if you didn’t know, follows a group of high school students as they navigate love and friendships in a world of drugs, sex, trauma and social media. It is an American adaptation of an Israeli show of the same name, and all episodes are written by Sam Levinson.

I haven’t seen the show myself, but having taken a peek at the soundtrack, I can say that the music is definitely interesting. It’s not traditional in the slightest, but that’s a good thing since I firmly believe that not all music should sound the same (for example, not all shows need to sound like Game of Thrones). If you’re a fan of Labrinth’s work, or just a fan of the series in general, I think you will like this soundtrack album very much.

Let me know what you think about Euphoria, and the soundtrack, in the comments below and have a great day!

EUPHORIA – SCORE FROM ORIGINAL HBO SERIES
TRACKLISTING –
1. New Girl
2. Formula
3. Preparing For Call
4. Forever
5. Planning Date
6. Nate Growing Up
7. Home From Rehab
8. We All Knew
9. Say Goodnight
10. Shy Guy
11. Following Tyler
12. Still Don’t Know My Name
13. Kat’s Denial
14. Slideshow
15. Family Vacation
16. Grapefruit Diet
17. WTF Are We Talking For
18. Euphoria Funfair
19. The Lake
20. Maddy’s Story
21. Demanding Excellence
22. McKay & Cassie
23. Gangster
24. When I R.I.P.
25. Arriving at the Formal
26. Virgin Pina Coladas

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Soundtrack Review: Stranger Things 3 (2019)

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Stranger Things 3 features music by Emmy-winning and two-time Grammy-nominated composers Kyle Dixon and Michael Stein, digitally on June 28. Half of the Austin band S U R V I V E, Dixon and Stein have been on board with the series since the first season, creating strikingly dynamic music that has become a trademark of the show. In Season 3 evil has not ended, it has evolved, and the duo has evolved with it as they continue to explore new sonic territory and instrumentation, such as the pop sensibilities and melancholic undertones of 50’s doo-wop, that go beyond the 80’s & 90’s R&B inflections of past seasons. They also return to familiar themes that are elevated by bold stylized reworkings that reflect the growth of the characters and intensity of the new storyline.

With the Season 3 soundtrack, we’ve made an album that doesn’t feel like a ‘score’ necessarily, but one that feels more like a stand-alone record than a collection of brief cues. We’ve incorporated the main narrative elements of the series and stayed true to the original sound while at the same time expanding on our musical palette—we often pushed it to the limit. We’ve really made an effort to curate this album to showcase the moments we think are really special.

The soundtrack for Stranger Things 3 has indeed evolved from where it was two years ago for Stranger Things 2. While the 80s vibe is definitely constant (not a surprise considering the show has reached 1985), there are also tracks that are much, MUCH darker than anything heard before. For example, “The Week is Long” has a very dark undertone to it, while “Rats” sounds like something out of a 1950s sci-fi film.

In terms of the general 80s vibe though, my favorite track has to be “Starcourt” since the entire piece SCREAMS “this is the 1980s and don’t you forget it.” The synth beats are in full effect, it’s peppy, it’s upbeat, it sounds like it was extracted straight out of that decade and brought to the present. I can also hear the resemblance to a stand-alone record that the composers were going for. The soundtrack does indeed sound like a record or tape from the 1980s that would sit down and listen to (well, for the most part anyway).

If you’ve been a fan of Stranger Things all this time, then you will definitely like the soundtrack for Stranger Things 3. Let me know what you think about Stranger Things 3 and its soundtrack in the comments below and have a great day!

TV Soundtracks

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Soundtrack Review: Lost in Space (2018)

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Lost in Space is a Netflix Original dramatic and modern reimagining of the classic 1960’s science fiction series. Set 30 years in the future, colonization in space is now a reality, and the Robinson family is among those tested and selected to make a new life for themselves in a better world. But when the new colonists find themselves abruptly torn off course en route to their new home they must forge new alliances and work together to survive in a dangerous alien environment, lightyears from their original destination.

Given the impact of the original series, it was very important to approach the musical score in the right way, according to executive producer Zack Estrin:

When we were approaching the score for Lost In Space we knew there was a certain feeling we wanted to create for the viewers,” said Executive Producer Zack Estrin. “Following in the footsteps of the magnificent John Williams, who composed the original iconic series theme, Christopher Lennertz brought to us a vision that fit perfectly. It is full of triumphant brass and soaring strings, where orchestral melody and percussion dance seamlessly from edge of your seat thrills to simple moments of raw emotion.

Christopher Lennertz was very excited to be a part of this reimagining of the Lost in Space story.

Zack and all the producers wanted the musical language of the title sequence to set up the score for the rest of the story, and hopefully we did just that,” Lennertz explained. “It’s a big story with family and adventure at the very heart. I tried to be grand and heroic, with a nod to exploration, and a hint of nostalgia. I hope it resonates with fans of the show, both old and new!

The soundtrack itself is a breath of fresh air. It is definitely cast in the mould of John Williams’ style of music, with soaring themes and racing melodies. To me, it genuinely sounds like a callback to a bygone age of composition, and I’m happy to hear that television music like this still exists. The “Main Title,” “Will Exploring” and “Danger Will Robinson” are some of my favorite pieces in the soundtrack. I love how the music feels like it’s literally flying, only to suddenly stop and “skitter” into scary territory with the violins. It’s easy to tell, listening to this music, when something has happened.

I had a lot of fun listening to this soundtrack, and I look forward to hearing more of Christopher Lennertz’s work in the future. I’m also considering checking out Lost in Space, since I’m curious to see a series that has such good music to go with it.

Let me know what you think about Lost in Space (and the soundtrack) in the comments below and have a great day!

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Daniel Pemberton talks The Dark Crystal: Age of Resistance (2019)

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If you weren’t already excited about the imminent release of The Dark Crystal: Age of Resistance on Netflix next week, then this news about the soundtrack should do the trick. The soundtrack, which is being released on August 30th, was composed by Daniel Pemberton (with help from fellow composer Samuel Sim).

For those who may have forgotten, the 10-episode show is a prequel to the groundbreaking 1982 fan favorite The Dark Crystal, and takes place many years before the events of the film. Leading the voice cast in the series will be Kingsman star Taron Egerton, The Witch actress Anya Taylor-Joy and Game of Thrones’ Nathalie Emmanuel, as ‘Gelfling’ heroes Rian, Brea and Deet. Star Wars’ Mark Hamill, Harry Potter’s Helena Bonham-Carter, Tomb Raider star Alicia Vikander and Outlander’s Caitriona Balfe provide additional voice performances in the new fantasy epic.

For director Louis Leterrier, Pemberton was the natural choice:

I approached the music the same way I approached the filming and the puppetry. I wanted somebody to come on this journey that would be willing to take big risks. I wanted something that was almost tribal. I wanted to hear the strings being plucked and the skin wrapped over the drum. At the same time, I wanted somebody who could write beautiful melodies, understood music, and was a lover of beautiful music. I wanted someone who would approach it in a very organic way and who would tell the story through the score. My search led me to Daniel.

Daniel Pemberton is rapidly becoming one of my favorite composers, as he has previously scored The Man from U.N.C.L.E, Spider-Man: Into the Spider-Verse, King Arthur: Legend of the Sword, and Ocean’s 8, just to name a few. Hearing his thoughts on how he approached the score for The Dark Crystal: Age of Resistance, makes me even more excited to experience the prequel series (and I don’t often say that about prequels).

Daniel had this to say about scoring The Dark Crystal: Age of Resistance:

I wanted the music to be as magical as Thra itself – organic, imperfect, strange, mystical, otherworldly and wonderful. I wanted to create new sounds that felt like they came from the world itself, as well as using thematic large scale orchestral elements to bring an emotion to the journey of the characters. I wanted music and sounds that would fill you with wonder, but also terrify you. It was very important to me that all the sounds felt like they could only be from Thra itself – no grand pianos or overtly electronic elements. Every sound had to feel organic and visceral, from the dark detuned glissando cello sounds made for the Skeksis, to the upbeat flutes from the Podling’s bar. We created noises out of wine glasses, metal chains, wooden drums, metal sculptures on a snow covered mountain and old creaky medieval instruments to try and make a sonic world as unique as the visual one.

The soundtrack will be released in two volumes; volume 1 will have tracks composed only by Pemberton, while volume 2 will have tracks composed by Pemberton and Sim. Both volumes will be available on August 30th, the same day the series becomes available on Netflix.

Let me know if you’re just as excited to see The Dark Crystal: Age of Resistance in the comments below and have a great day!

Daniel Pemberton talks Steve Jobs (2015)

Daniel Pemberton talks Gold (2016)

Daniel Pemberton talks King Arthur: Legend of the Sword (2017)

Film Composer Interviews A-H

Film Composer Interviews K-Z

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The Twilight Zone S2 E4: A Thing About Machines

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When I started reviewing episodes of The Twilight Zone, I mentioned that my favorite episodes were those that showed some rotten person getting their comeuppance. The season 2 episode “A Thing About Machines” is a prime example of this trope, as well as being a really fun episode to watch.

The premise is simple: Bartlett Finchley is a snobby critic with a peculiar eccentricity, that being he hates, despises, and loathes any and all types of machinery. More than that, Finchley is convinced that the machines in his home are out to get him. It sounds crazy, but this is The Twilight Zone, so we know better. I should also say that Richard Haydn does a great job as the arrogant Finchley, proclaiming his dominance over machines until almost the end of the story.

It’s interesting how Rod Serling and company chose to play this episode out. Given the premise involves machines “rising up” against a human, it would have been easy to present this story in more of a horror style, playing up the victim’s increasing fear and terror. Instead, the story first makes Finchley so unlikable, that you feel inclined to cheer when the machine revolution begins in force.

And really, the way Finchley acts, he brought it all on himself. His hatred of machines is so extreme it borders on the absurd. For example, note Finchley’s reaction at the end of the introductory scene when his clock begins chiming the hour. The clock isn’t doing anything wrong, clocks are supposed to chime the hour, but Finchley’s reaction is to command it to stop, and then SMASH it when it continues to chime. That reaction is not only unreasonable, it’s practically insane, and it makes you wonder just how “together” Finchley was before this episode takes place.

The plot device of the machines rising up one by one is pretty well done: the phone rings when it’s not connected, the television randomly switches on, the clock rings when it’s not supposed to, the typewriter types with nobody at the table, and those machines that are capable of sound have one message in common: Get out of here Finchley! As if that weren’t enough, things step up a notch further when other, more random objects come in for the attack. My particular favorite is when Finchley’s electric razor literally comes snaking down the stairs and rises up to attack (if you look close, you can se the wire manipulating the razor). As with all of The Twilight Zone episodes of this type, things build to a climax where Finchley does indeed “get out”…permanently.

I don’t say this often, but given the subject matter this is one episode of The Twilight Zone that I wouldn’t mind seeing a modern remake of. Given how the technology all around us has increased tenfold from fifty years ago, it would be most interesting to see a retelling of this story by someone who’s surrounded by iPhones, smart TVs, computers everywhere. Hopefully the rebooted series that’s on CBS All-Access will run with this idea in a future episode.

Overall, “A Thing About Machines” is a good example of what makes The Twilight Zone so enjoyable to watch. Let me know your thoughts regarding “A Thing About Machines” in the comments below and have a great day!

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The Twilight Zone S1 E28: A Nice Place to Visit

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When it comes to the original run of The Twilight Zone, I have many episodes that I consider to be my favorites. But if I had to pick just one episode to go back and watch for the first time all over again, it would have to be the season 1 episode “A Nice Place to Visit.” Not only is it a well done episode, I also feel like it has the most memorable “wham” line in the entire series (feel free to correct me if you feel otherwise). But I suppose I’m getting ahead of myself, so let’s take a look at the episode.

“A Nice Place to Visit” is notable for starting off with a bang, literally, as the lead character, a hardened thief named Rocky Valentine gets shot and killed while fleeing a robbery. Soon after, Rocky meets Pip (Sebastian Cabot), who introduces himself as Rocky’s “guide” to this strange, new world he finds himself in. Larry Blyden is quite convincing as the hardened-beyond-redemption Rocky, playing the character in just such a way that you can’t feel any sympathy for him.

And where exactly is Rocky? Well, it takes the gangster some time to work it out, but he eventually does realize he’s not on Earth anymore (though you’d think being accompanied by a mysterious figure dressed in white would’ve been a big clue, but then again Rocky’s not that smart). Rocky then decides that since he’s dead and not burning up in flames, well then he must be in Heaven! You really can’t blame Rocky for jumping to this conclusion, as the gangster has found himself in very plush surroundings: he’s in the penthouse of a posh hotel and casino, he has beautiful girls waiting on him hand and foot, a brand new car to drive whenever he wants, and he always has the best luck at the gaming tables. It’s an absolute Paradise for someone like Rocky…or is it?

See, if you pay attention, there are clues seeded from the beginning that indicate Rocky isn’t where he thinks he is. For example, observe how Pip interacts with Rocky, particularly when he’s trying on his new clothes. While his “guide” is full of flattery, he’s not exactly sincere in his compliments. And then there’s the fact that no one else is in “Heaven” with Rocky. You don’t need a Masters in Theology to know that Heaven isn’t meant to be an empty place. There’s also the telling look at Rocky’s “file” in the Hall of Records (during the gangster’s brief doubts that he’s ended up in the correct place), where it’s revealed that Rocky had quite the sinful life, with no redeeming moments whatsoever. I would be remiss if I didn’t mention how wonderful Sebastian Cabot is in his role as Pip throughout the episode. The way he plays the character, you can tell he’s more than happy to guide Rocky throughout his “domain” but he’s also visibly holding quite a deal back (as we’ll see shortly).

The biggest clue of all to what’s going on can be found in Rocky’s unnatural luck. What seemed to be a heavenly blessing is actually a curse, because try as he might Rocky can’t stop winning, no matter what game he plays! That might not sound so bad, but think about it: imagine you’re playing a game and all you do is win, time after time for DAYS at a time. That would get boring wouldn’t it? Well, after a month in “Heaven” that’s exactly what happens to Rocky; the gangster is bored out of his skull because he’s getting everything he ever wanted with absolutely no risk involved, an intolerable situation for someone like Rocky, who’s thrived on risk his whole life. Rocky can’t stand being in a place, no matter how nice, where there isn’t any risk to him.

As a result of this boredom, while Rocky still believes he’s in Heaven, he finally decides he’s in the wrong place after all, and asks to go to “the other place (Hell).” And that’s when it happens, that’s when Pip delivers the immortal line that turns everything you thought you knew about this story on its head:

“Heaven? Whatever gave you the idea you were in Heaven, Mr. Valentine? This is the other place!“

How I wish I could go back and relive the first time I heard that line over again, because it really is a game changer. The idea that such a nice place could really be “the other place,” it really blew my mind. I think of all the series’ twists, this is the one that hides itself the best, right until the end anyway. Of course, in hindsight, given The Twilight Zone’s known history of unexpected twists, maybe a lot of people saw it coming after all. Regardless of whether you expected it or not, Rocky’s reaction to finding out where he’s been all this time is priceless. It’s amazing how quickly you want to leave when you find out your “Paradise” is actually a gilded cage in the middle of Hell itself.

Let me know what you think of “A Nice Place to Visit” in the comments below and have a great day!

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The Twilight Zone S5 E25: The Masks

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The Twilight Zone is noted for telling stories about a wide variety of characters, many of whom end up suffering a twisted punishment through bizarre means. “The Masks,” another 5th season episode, is an exemplar of this particular story-type. The story is set in New Orleans in the home of Jason Foster, a ridiculously wealthy, and notably blunt old man who is also dying. In any other story, you might think Jason was the one fixing to get what’s coming to him, but that thought disappears the moment you meet his relatives, who are all the very definition of “pieces of work.”

Let’s see now, there’s Emily, Jason’s daughter, who is an eternal hypochondriac (and unwitting hypocrite), always believing she is on death’s door suffering from some malady. There’s Wilfred, Emily’s husband, who only cares about money. And next to those two are the grown children Wilfred Jr., who apparently used to like torturing small animals if Jason is to be believed, and then there’s Paula. Paula is an interesting case because at first her only “sin” appears to be that she’s obsessed with her own appearance. Don’t let her fool you; later in the story she goes into a tirade about the miserable time she’s having waiting for her grandfather to die. In short, there’s little to no redeeming value in any of Jason’s kin, and the dying millionaire knows it.

Instead of simply cutting them out of the will, however, Jason decides to inflict his own punishment, perfect for the Twilight Zone. Since it is the night of Mardi Gras, everyone in the family must wear masks. But these aren’t any ordinary party masks. These are grotesque, disturbing things to look at. I often find myself wondering what color those masks were (since the episode was filmed in black and white it’s impossible to say for certain), since the colors might have added to their disturbing nature. But I digress…

You’ll also note Jason says they were made “by an old Cajun” which should be a big clue to the audience that something supernatural will happen eventually if you put them on. But Jason includes a fool-proof catch: if anyone in the family refuses to wear the masks, then all any of them will get from his estate is train fare back home. Jason knows full well his relatives are far too greedy to pass up on his fortune. So they all put the masks on (even Jason, he wears a death’s head), and they wait for midnight, when Jason says the masks can come off.

This next part is, for me, the saddest part of the episode, because as midnight approaches all of Jason’s family beg him to let them take the masks off, saying how stupid this is and how they can’t bear it. Jason then turns to them all and says:

“Have you all had your say?….is there nothing else you have to say to me?”

Having read between the lines, I’m convinced that Jason is giving his family one final chance to show him that they have at least one redeeming quality about them. If just one of them had shown some spark of caring, I really think Jason would have called it all off and let them take the masks off. But the chance is wasted on these people, and as midnight strikes, Jason finally passes away. And I don’t think it’s a coincidence he died at the stroke of midnight either. Earlier in the episode, Jason mentions that there’s a “ritual” to the wearing of the masks. While he describes it in some detail, I think he leaves a crucial detail out. I suspect, that for the ritual to take full effect, someone has to wear the death’s head and sacrifice their life at midnight. It makes sense if you think about it, most stories involving magic will tell you that powerful magic requires some form of sacrifice. And since Jason was dying anyway, it follows that he would choose a relatively quick death over suffering who knows how much longer. And if he can punish his relatives at the same time…so much the better.

And what a punishment! The reveal of what the masks have done make this one of my favorite episodes to this very day. And to those who might say “Well can’t they just get plastic surgery to fix their faces?” That’s just it, they can’t! You see, going for surgery would mean revealing their problems and flaws for all the world to see. And you saw how they all act, they’d never be able to do that. So they’re stuck with their punishment for the rest of their lives.

Let me know what you think about “The Masks” in the comments below and have a great day!

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