The CBS Home Entertainment separate February 18, 2020 DVD and BD releases of S1 of the CBS All-Access original series "The Twilight Zone" proves once again that CBHE, All-Access, and this site are of the same mind; we all want to keep the Silver (and Golden) Age of Television alive in the public consciousness.
This joint effort includes recent (ongoing) (reviewed) CBSHE releases of the classic 20-season western "Gunsmoke" and (reviewed) releases of the All-Access original series "Star Trek: Discovery." One need not be a rocket scientist to predict that CBSHE will release DVD and BD sets of "Picard" S1 from All-Access this summer.
"Zone" premiering on All-Access on April 1, 2019 further proves that that streaming service pays the classics the respect to which they are entitled.
The press materials for our topic du jour expertly convey the style and the substance of this "Zone" from producer/narrator Jordan Peele, whose Oscar and Emmy bring him halfway to being an EGOT. "Originally airing from 1959 to 1964, "The Twilight Zone" became a worldwide phenomenon as it used socially conscious storytelling to explore the human condition and culture of the times. The godfather of sci-fi series, the show explored humanity's hopes, despairs, prides and prejudices in meatphoric ways that conventional dramas could not."
"Point of Origin" perfectly conveys the above and shows how Team Peele keeps things fresh. Ginnifer Goodwin of "Once Upon A Time" delivers an Emmy-worthy performance as a one-percenter "Real Houswife" who stands by as her South-of-the-Border maid/nanny gets dragged off by immigration. The subsequent insult to that injury relates to the Goodwin character bragging to her fellow Stepford Wives that she tried to fend off the feds.
A portion of the rest of the story is that Goodwin finds herself caught up in the same system as her mother's little helper; in true "Zone" fashion, twists galore ensue.
We get an even stronger "Zone" vibe in "Replay." This variation of "Groundhog Day" has the black mother of an incoming college freshman use a "Warehouse 13" caliber enchanted camcorder to repeatedly turn back time to find a way to avoid a fatal encounter with a racist Virginia state trooper, The final showdown is an awesome melange of the '60s-era Civil Rights Movement and the 21st-century power of social media. The sad overall commentary is that not every segment of American society has come a long way, Baby.
The following "Zone" trailer reinforces that this is your granddady's series but that Millennials will like it as well.
S1 E1 is a variation on the Billy Mumy OS classic "It's a Good Lfe" that revolves around the Mumy character banishing anyone who offends him into "the cornfield." The update has a struggling comedian develop the power to "Wonderful Life" anyone whom he desires out of existence; of course, he goes a little power mad. The standard (but always extraordinary) episode-ending twist is straight out of the OS.
The inarguably most entertaining S1 episode also has a strong "Village of the Damned" vibe with equally heavy overtones of "The Omen" and the AWESOME 1968 cult classic "Wild in the Streets" about a post-adolescent rock star running for president with ultimately SPECTACULARLY trippy "Zone" style results. The variation in "The Wunderkind" is that John "Harold" Cho plays a George Stephanopolous clone who ends up running the presidential campaign of 11 year-old Oliver Foley (Jacob Tremblay of "Room").
The first note as to "Wunderkind" is that it reinforces that Tremblay, who shines in "Room," has a long successful career ahead of him. The second note is that the "Wild" style music-video that CBSHE includes in the copious special features is a set highlight. On a more general note, this episode is a "Zone" style fable that reminds viewers of the evils as to electing a ego-maniacal celebrity president.
Arguably, no "Zone" rebooot would be complete with a version of the William Shatner classic "Nightmare at 30,000 Feet." This time, the gremlin is inside the plane; the lesson in this one with heavy shades of "Lost" and lesser ones of "The Lord of the Flies" is that the road to Hell is paved with good intentions.
The season-finale is a perfect example of going out of an apt note. In the event that this is the end of the story, it concludes the series with a wonderful bang. In the event of a second season, which is the case, it leaves us wanting more.
It initially is business as usual, including Peele (per usual) stepping into the narrator shoes of Serling. Things take a meta left turn as it is revealed that Team Peele is filming a "Zone" episode. The focus then shifts to a current writer/childhood OS fan finding herself sucked into the series' titular dimension. The ONLY disappointment is that the identity of the titular Blurryman is so predictable that "Scooby" fans could deduce who is the "villain."
The aforementioned plethora of extras include behind-the-scenes features on each episode and the series itself. We also get "Remembering Rod Serling," which puts the OS in wonderful perspective.
The morale to all this is that they CAN and SHOULD make 'em like they used to.