In episode 2, the team discusses little known facts about the 1983 classic: Twilight Zone: The Movie
Twilight Zone: The Movie is a 1983 American anthology science-fiction fantasy horror film produced by Steven Spielberg and John Landis as a theatrical version of the 1959–64 TV series The Twilight Zone, created by Rod Serling. The film stars Vic Morrow, Scatman Crothers, Kathleen Quinlan and John Lithgow with Dan Aykroyd and Albert Brooks in the prologue segment. Burgess Meredith, who starred in four episodes of the original series, took on Serling's position as narrator. In addition to Meredith, six actors from the original series (William Schallert, Kevin McCarthy, Bill Mumy, Murray Matheson, Peter Brocco, and Patricia Barry) had roles in the film.
The film is a remake of three classic episodes of the original series and includes one original story. Landis directed the prologue and the first segment, Spielberg directed the second, Joe Dante the third, and George Miller directed the final segment. Dante recalled that in the film's original conception the three stories would be interwoven with characters from one segment appearing in another segment, but later problems with the film precluded this.
The film garnered notoriety before its release for the tragic stunt helicopter crash which took the lives of Vic Morrow and two child actors, Myca Dinh Le and Renee Shin-Yi Chen, during the filming of the segment directed by Landis. The two child actors were hired illegally. Their deaths led to a high-profile legal case, although at the end of the trial no one was found to be criminally culpable for the accident.
The film starts with a driver and his passenger driving very late at night, singing along to Creedence Clearwater Revival's cover of "Midnight Special" on a cassette, and the song ends when the tape breaks. The driver talks about a scary game he finds amusing: he switches off the car's headlights and drives in the dark. After the passenger admits that he is uncomfortable, the driver laughs it off and keeps the lights on. With no tape or radio, the pair start a Name That Tune game with television theme songs such as Sea Hunt and Hawaii Five-O, and eventually the classic theme to The Twilight Zone. The conversation turns to what episodes of the series they found most scary, such as Burgess Meredith in "Time Enough at Last" and other classics. The passenger then asks the driver, "Do you want to see something really scary?" The driver obliges and reluctantly pulls over. The passenger turns his face away, then turns back around having transformed into a monster and attacks the driver.
The scene then cuts to outside the car as the familiar Twilight Zone opening theme music and monologue begin (spoken by the film's narrator, Burgess Meredith):
"You unlock this door with the key of imagination. Beyond it is another dimension. A dimension of sound. A dimension of sight. A dimension of mind. You're moving into a land of both shadow and substance of things and ideas. You've just crossed over into... The Twilight Zone."
The film's only original segment was the first, directed by John Landis. It is loosely based on the original Twilight Zone series episode "A Quality of Mercy", with the opening narration borrowing from "What You Need" and "A Nice Place to Visit". The narrator starts with this monologue:
You're about to meet an angry man: Mr. William Connor, who carries on his shoulder a chip the size of the national debt. This is a sour man, a lonely man, who's tired of waiting for the breaks that come to others, but never to him. Mr. William Connor, whose own blind hatred is about to catapult him into the darkest corner of the Twilight Zone.
Bill Connor is an outspoken bigot who is bitter after being passed over for a promotion in favor of a Jewish co-worker. Drinking in a bar after work with his friends, Bill utters racial slurs towards Jews, Blacks, and Asians. A Black man sitting nearby asks him to stop, embarrassing Bill's friends. Bill leaves the bar angrily, but when he walks outside, he finds himself in occupied France during World War II. He is spotted by a pair of SS officers patrolling the streets, who ask him if he is Jewish. A chase ensues, and Bill ends up on the ledge of a building, where he is shot in the arm by one of the officers.
He falls from the ledge and abruptly finds himself in the rural South during the 1940s. There a group of Ku Klux Klansmen sees him as an African American whom they are about to lynch. Bill is scared and confused; he vehemently tells them he is white.
While trying to escape the Klansmen, he jumps into a lake and finds himself in a jungle during the Vietnam War, being fired at by American soldiers, one of whom throws a grenade at him. (After this encounter, one of the soldiers says, "I told you guys we shouldn't have shot Lieutenant Neidermeyer!", a reference to National Lampoon's Animal House, in which Doug Neidermeyer is said to have been fragged by his own troops.)
Instead of killing him, the grenade thrown by the soldiers throws him into occupied France again. There he is captured by the same two Nazi officers chasing him and put into an enclosed railroad freight car, along with other Jewish prisoners. Bill sees his friends and screams for help, but they cannot see him or the train as it pulls away.
Note: Originally, this segment was supposed to end with Bill returning to his own time after redeeming himself by saving the lives of two Vietnamese children during a helicopter raid on their village. The aforementioned scene was dropped due to the death of Morrow and two child actors during filming.
"Kick the Can"
It is sometimes said that where there is no hope, there is no life. Case in point: the residents of Sunnyvale Rest Home, where hope is just a memory. But hope just checked into Sunnyvale, disguised as an elderly optimist, who carries his magic in a shiny tin can.
An old man named Mr. Bloom has just moved into Sunnyvale Retirement Home. Upon his arrival, he sits around kindly and smiles as he listens to the other elders reminisce about the joys they experienced in their youth. Mr. Bloom implies to them just because they are old does not mean they cannot enjoy life anymore, and that feeling young and active has to do with your attitude, not your age. He tells them that later that night, he will wake them and that they can join him in a game of kick the can. All agree; however, Leo Conroy disagrees, saying that now that they are all old they cannot engage in physical activity and play the games they once did as children.
That night, while Mr. Conroy sleeps, Mr. Bloom gathers the rest of the optimistic residents outside and plays the game, during which they are magically transformed into childhood versions of themselves. Although they are extremely ecstatic to be young again and engage in the activities they once enjoyed so long ago, they also realize that being young again means you not only experience the good aspects of life again, but also the bad. They request to be old again, which Mr. Bloom grants to them. Leo Conroy wakes up and witnesses one resident, Mr. Agee, who still remains young, and says that he wants to go with him before the boy runs off. Conroy realizes that he does not have to stop enjoying life because of his old age.
The segment ends with Conroy outside happily kicking a can around the yard, having learned being young at heart is what really matters, while Mr. Bloom leaves Sunnyvale and moves into another retirement home... implying that he will repeat spreading his good-natured magical skills for other distraught senior citizens.
"It's a Good Life"
The third segment, a remake of the episode, "It's a Good Life", was directed by Joe Dante. Its opening narration is borrowed, in part, from "Night Call." The name of the main character Helen Foley is from the original series episode, "Nightmare as a Child". The narrator starts with this monologue:
Portrait of a woman in transit: Helen Foley, age 27. Occupation: schoolteacher. Up until now, the pattern of her life has been one of unrelenting sameness, waiting for something different to happen. Helen Foley doesn't know it yet, but her waiting has just ended.
Note: Rod Serling attended Binghamton Central High School in Binghamton, New York, and the real Helen Foley was his drama teacher. His respect for her brought him back to Central High for many years to have a conversation with the students in Ms. Foley's public speaking class and to address a student assembly in the auditorium.) 
Mild-mannered Helen Foley, traveling to a new job, visits a rural bar for directions. While talking to the owner Walter Paisley, she witnesses Anthony—a young boy playing an arcade game—who is being blamed by a pair of locals (one of whom, Bill Mumy, portrayed Anthony in the original episode) for "accidentally" causing interference on the TV by slapping the side of the game machine. When one of the men pushes Anthony away from the game and pulls the plug, Helen comes to the boy's defense...which only results in Anthony fleeing out of the restaurant. This prompts heavy sarcasm from the bully's disapproving friend, Tim: "Oh, that was good. That was real good." As Helen leaves, she backs into the boy with her car in the parking lot, damaging his bicycle. Helen offers Anthony a ride home.
They eventually arrive at Anthony's house, which is a replica of the house from Mouse Wreckers. When Helen arrives, she meets Anthony's family: Uncle Walt (McCarthy, who starred in "Long Live Walter Jameson"), sister Ethel (Cartwright), and Anthony and Ethel's mother (Barry, who starred in "I Dream of Genie" and "The Chaser") and father (Schallert, who played a role in "Mr. Bevis"). Anthony's family seems overly welcoming, but Helen at first dismisses this. Anthony starts to show Helen around the house (while the family rifles through Helen's purse and coat); there is a television set in every room showing cartoons. She loses Anthony and comes to the room of another sister, Sara. Helen calls out to the girl, who is in a wheelchair and watching a television displaying Bimbo's Initiation, and gets no response. Anthony appears and explains that Sara had been in an accident; Helen isn't able to see that the girl has no mouth.
After the tour, Anthony announces that it is time for dinner, which consists of Anthony's favorite foods: including ice cream, candy apples, potato chips, and hamburgers topped with peanut butter. Confused at first at how the family eats, Helen thinks that this is a birthday dinner for Anthony. Ethel complains at the prospect of another birthday; Anthony glares at her, and her plate flies out of her hands onto the ground. Helen hurriedly attempts to leave, but Anthony urges Helen to stay and see Uncle Walt's "hat trick". Helen is stunned to see that a top hat has suddenly appeared on top of the television set. Uncle Walt is very nervous about what could be in the hat, but he pulls an ordinary rabbit out of it. The family members are relieved, but Anthony insists on more, and a large, cartoon-ish mutant rabbit springs from the hat. Helen screams, and Anthony orders it to go away. As she attempts to flee, she falls and spills the contents of her purse, and Anthony finds a note slipped in from one of the Fremonts stating "Help us! Anthony is a monster!" When the family points the finger at Ethel, she reveals to Helen that Anthony intentionally let himself get run over, and that he plans on keeping her with him with the Fremonts. Anthony puts Ethel into the television set where she encounters a cartoon wolf who then turns into a large cartoon dragon and proceeds to chase her through cartoon Hell. Ethel tries to escape the cartoon demons in the process, only to get eaten by the cartoon dragon.
Helen attempts to escape only to have the door open up to a human eye. She closes it quickly only to see Anthony at the top of the stairs pleading with her to stay. She then is led back into the room to see a demonic creature break free from the television set, proceeding to torment the adults like a cartoon character. She demands that Anthony make it disappear. In a fit of irritation, Anthony makes the entire house disappear, and his family with it, leaving himself and Helen literally nowhere. Anthony explains that, since they were not happy living with him anymore, he sent them all back where they came from. Now, at last, Anthony realizes the horrific loneliness that comes with being omnipotent. For a change, he expresses the tremendous insecurity and pain that seethes within him, instead of burying it.
Helen offers to be Anthony's teacher, and also his student. Together, she says, they can find uses for his power for which he has never dreamed. Having been confronted with the true end results of his reign of terror, Anthony welcomes Helen's offer and makes her car reappear. Both ride off toward her new home and job. As the car travels through a desert landscape meadows filled with bright flowers spring up alongside the road in the car's wake.
Note: In this segment, the television sets play clips from Mouse Wreckers (Hubie and Bertie, 1949), Feline Frame-Up (Marc Anthony, Pussyfoot, and Claude Cat, 1954), Bimbo's Initiation (Betty Boop, 1931), Feed the Kitty (Marc Anthony and Pussyfoot, 1952), The Power of Thought (Heckle and Jeckle, 1948), Behind the Meat-Ball (Fido, Hector, 1945), It's Hummer Time (McKimson Cat, Hector, 1950), Case of the Missing Hare (Bugs Bunny, 1942), The Great Piggy Bank Robbery (Daffy Duck, 1946) and Quasi at the Quackadero (Quasi, Anita, and Rollo, 1975).
"Nightmare at 20,000 Feet"
The fourth segment is a remake of the episode "Nightmare at 20,000 Feet", directed by George Miller. Its opening narration is borrowed, in part, from "In His Image." The narrator starts with this monologue:
What you're looking at could be the end of a particularly terrifying nightmare. It isn't. It's the beginning. Introducing Mr. John Valentine, air traveller. His destination: the Twilight Zone.
While flying through a violent thunderstorm nervous airline passenger John Valentine is in an airplane lavatory as he tries to recover from what seems to be a panic attack. The flight attendants attempt to coax Valentine from the lavatory, and they repeatedly assure him that everything is going to be all right, but his nerves and antics disturb the surrounding passengers.
As Valentine takes his seat, he notices a hideous gremlin on the wing of the plane and begins to spiral into another severe panic. He watches as the creature wreaks havoc on the wing, damaging the plane's engine, losing more control each time he sees it do something new. Valentine finally snaps and attempts to break the window with an oxygen canister. After being wrestled to the ground by another passenger (an off-duty security guard), Valentine takes the passenger's gun and shoots out the window (causing a breach in the pressurized cabin), and begins firing at the gremlin. This only serves to catch the attention of the gremlin, who rushes up to Valentine and promptly destroys the gun. After a tense moment, in which they notice that the plane is landing, the gremlin grabs Valentine's face, then simply scolds him for spoiling its "fun" by wagging its finger in his face. The creature leaps into the sky as the airplane begins its emergency landing.
On the ground as a straitjacketed Valentine is carried off in an ambulance claiming to be a hero, the police, crew, and passengers begin to discuss the incident writing off Valentine as insane. However, the aircraft maintenance crew soon arrives and everyone gathers to examine the unexplained damage to the plane's engines complete with claw marks.
The fourth segment ends with a scene reminiscent of the prologue. Valentine is in an ambulance when the driver (the same car passenger played by Aykroyd from the prologue) starts playing Creedence Clearwater Revival's "Midnight Special". The driver turns and says "Heard you had a big scare up there, huh?" Valentine nods, but says he is glad it's over. The driver continues with a grin, "Wanna see something really scary?" Valentine's eyes widen with fear as the ambulance continues driving into the night. The scene fades out to a starry night sky accompanied by Serling's opening monologue from the first season of The Twilight Zone:
There is a fifth dimension, beyond that which is known to man. It is a dimension as vast as space, and as timeless as infinity. It is the middle ground between light and shadow, between science and superstition, and it lies between the pit of man's fears and the summit of his knowledge. This is the dimension of imagination. It is an area which we call the Twilight Zone.
Twilight Zone: The Movie. (2016, October 24). In Wikipedia, The Free Encyclopedia. Retrieved 20:45, October 24, 2016, from https://en.wikipedia.org/w/index.php?title=Twilight_Zone:_The_Movie&oldid=746024063