Zoning Out: “Mr Denton on Doomsday”

maxresdefault (3)“Mr Denton on Doomsday” is quite interesting as it is the first time that the show leaves the modern-day setting that it had in the first couple of episodes. It’s also the first of the episodes to have a real cast of characters beyond the main character, or the antagonist. It’s a nice opening up of the world that the show can inhabit. On my first viewing I enjoyed it but mostly thought it was just fine, a little disposable, but as I thought more and more about the episode I came to appreciate what it’s doing. See, at its core “Mr Denton on Doomsday” is taking what is a pretty straight forward western story and using it as a way to talk about addiction in a subtle way for the time.

The episode begins with the titular Denton, played by Dan Duryea, drunk and being taunted by one of the other gunslingers in the town to sing for a drink. After diving in the dirt for a broken bottle of booze he finds a gun, appeared there by a mysterious man in black. Denton, a former expert duelist, picks up the gun and finds that his shooting touch has returned although he swears he isn’t in control. He embarrasses and defeats the gunslinger, and decides to get sober.

twilight-zone-mr-denton-on-doomsdayHowever, Denton feels no joy at this, explaining that the reason he had become an alcoholic was that he once was a great shooter perhaps the best in the west. People came from far and wide to challenge him, and the stress and pressure led him to drink, culminating in a moment in which he shot a sixteen year old. After that he hung up his guns and sunk to a low point. Knowing that now that he has picked up the gun again more will come to challenge him, he sobers up in order to die with dignity.

Finally, a challenge comes. Denton realizing that he will probably die tries to slink out in the night. As he walks through town he comes across the man in black from before. He reveals himself to be Henry J. Fate, a name that is way too on the nose for the role he plays, and offers Denton an elixir that will make him the fastest shot in the world for about ten seconds. As he draws his gun against the challenger he sees that he also has a bottle of the elixir. They both draw and shoot each other in their shooting hand. The doctor tells them that neither of them will shoot again, and the episode ends with Fate leaving town and tilting his hat to Denton.

MV5BMWZiZDRhYjEtZTViOS00MDRmLTlkNjAtY2JhOTcwNzg5OWVkL2ltYWdlXkEyXkFqcGdeQXVyMDgyNjA5MA@@._V1_The episode for the most part is competent and while the first two episodes were actors showcases this one belongs to Rod Serling. He turns a story that takes western motifs and uses them to talk about addiction and recovery. This is expressed through Denton, who we first meet as an addict, an alcoholic, who has turned in one addiction, violence, for another. Through the episode we watch his recovery, his relapse, his low point, and finally a turning point where he finally decides to get well. It’s an episode that rewards looking deeper into it and succeeds because of its script. Perhaps not as good as “Where is Everybody?”, it is still an excellent episode. and well worth a watch.

Rating: 8/10

The Twilight Zone

Season One Episode Three: “Mr. Denton on Doomsday”

Written by Rod Serling

Directed by Allen Reisner


TV Review: GLOW Season 1


At one point during the penultimate episode of the first season of GLOW, Netflix’s new show from creators Carly Mensch and Liz Flahive, a character states about wrestling that they’ve “come close to getting what all the fuss is about”. That’s how I felt throughout the shows strong freshman effort. I don’t watch wrestling, I don’t know much about wrestling, and I don’t think I’ll ever be a wrestling fan. It’s not because I dislike wrestling, it’s just not something that holds much interest for me. But when the wrestling truly begins in earnest in GLOW it is genuinely captivating and exciting. Mensch and Flahive, along with executive producer Jenji Kohan create wrestling scenes that manage to be funny while also informing character and advancing the plot. It’s just a shame that it takes so long to get to them.

GLOW the TV show is loosely based on real-life Gorgeous Ladies of Wrestling, a women’s professional wrestling league begun in 1986 and lasting in some form or another until the present day. It begins with struggling actress Ruth Wilder (Allison Brie) receiving an invitation to audition in 1985 for an all women wrestling show. Directed by Sam Sylvia (Marc Maron), a sleazy former exploitation film director and produced by Sebastian “Bash” Howard (Chris Lowell), a trust fund kid paying for the league with his parents money, the fictional GLOW gathers together a bunch of misfits and follows them as they struggle to launch their wrestling league.

If a group of misfits try to do something unique and struggle to overcome outside barriers while also learning to accept the others in the group sounds like a bit of a sports film cliche, that’s because it is. However, GLOW uses this setup as a springboard to showcase a variety of captivating and compelling supporting characters. Characters such as Sheila “the She-Wolf” (Gayle Rankin) who always appears dressed as well, a she-wolf, or Carmen “Machu Picchu” Wade (Britney Young) who simply wants to follow in her wrestling family’s foot steps feel like they have real reasons to want to wrestle, to fit in somewhere. Maron hilariously steals every scene he’s in, and Lowell adds depth to a someone that could have been a stock rich kid character. It’s a real joy to watch these actors play off of each other and this interaction provides many of the shows plentiful laughs. When GLOW wants to be funny, it can be really funny.


It is when GLOW wants to be more dramatic that it can grind to a halt. Chief among these is the shows most annoying subplot, the fallout between Ruth and her best friend Debbie Eagan (Betty Gilpin) after Ruth has a brief affair with Debbie’s husband Mark (Rich Sommer). Debbie, a former soap drama actress, eventually joins GLOW as it’s lead wrestler and main draw while also attempting to reconnect with her estranged husband. While Gilpin’s performance as Debbie is great, managing to be both funny and heartfelt, the scenes devoted to her attempting to save her marriage feel like something that has been done a million times before.

That is the one main problem with GLOW, that the dramatic beats of the story aren’t anything new. The league will need money, certain people will have a falling out, friendships will need to be mended, and at the last minute someone will bail them out and they will succeed against the odds, learning something about themselves through wrestling. It’s something that’s been done before. These characters are so good it does them a disservice to put them into cliched dramatic moments. It also takes time away from one of the shows real strengths, watching these characters behind the scenes of creating a wrestling show. We don’t see much them learning to wrestle until episode 5, and there isn’t a training montage until episode 7 which is also when the first real wrestling event occurs. The scenes of them learning to wrestle and wrestling in front of a crowd are such a joy that you wonder why it took them so long to get there.

That isn’t to say to that every dramatic moment the show has is bad. A late season abortion story line manages to be both funny and grounded, it feels in character and never become preachy. Another solid dramatic moment is when a character reveals that she is Sam’s daughter, a move which reveals new things about both of them and creates a new interesting character dynamic that can be interestingly explored in a future season. Even the more dramatic interactions between Ruth and Debbie can be good, with both Gilpin and Brie showcasing real dramatic skills that make you feel and empathize with both of them.


But where GLOW really shines is when it devotes its talented actors and strong characters to wrestling and comedy. While never treating the act of wrestling itself as a joke it creates situations within the ring that manage to be very funny with one notable moment being a match involving KKK members and a welfare queen. This is also one of the moments that touches upon the ability of wrestling to perpetuate negative stereotypes by showcasing them, an interesting thread that is hopefully expanded upon in further seasons. GLOW also leans into it’s 1980’s setting, never becoming a parody of the 80’s, but mining it for some really funny jokes such as a house party a drug toting robot butler.

When GLOW is firing on all cylinders it is a genuinely great show that can bring a smile to your face and make you laugh while also making you wish you could spend more time with its characters. When it’s off it can feel like a prequel to a much better show that appears right around the corner, where it isn’t bogged down by cliched dramatic beats. Luckily for us, GLOW is firing on all cylinders far, far more often than not. GLOW season 1 may be uneven at times but it creates compelling characters, memorable scenes, big laughs, and ensures that you’ll want to get back in the ring for season 2.

Rating: 8/10

GLOW Season 1 (Netflix, 2017)

Starring:  Alison Brie, Betty Gilpin, Sydelle Noel, Britney Young and Marc Maron.

Rated TV-MA

Film Review: Baby Driver

baby-driver-3For many of us music is an essential part of the way we live our lives. Music comes out of speakers at the mall, from street corners, from our headphones, and from our computers. It’s probably not surprising that I’m listening to music as I write this review. In a world where music can easily become part of the background it’s often refreshing to have a film push its music to the foreground.

Baby Driver, the newest film from British writer and director Edgar Wright (Shaun of the Dead, Scott Pilgrim vs. the World), takes that idea and ramps it up to 11. Not only does the music serve to advance the story and reveal character, as it does in Wright’s previous work, in Baby Driver the music is woven into the very fabric of the film demonstrating why Wright may be our best working technical filmmaker. Wright’s spectacular direction, expert choreography,  on beat editing, and beautiful sound come together to create what is most likely his greatest technical achievement. Throughout the film music played by the eponymous main character, a mostly silent but expressive Ansel Elgort, serves not only as the soundtrack to the various heists and action scenes but also syncs up to the movement on screen of the actors and camera. Wright has previous explored this idea in a music video for “Blue Song” by the band Mint Royale and in several scenes through out his films, most notably a scene in Shaun of the Dead where a fight with zombies is synced up to “Don’t Stop Me Now”. If this sounds like a cool idea and is one you enjoy, as I did, than you’re almost guaranteed to like this film.


But what happens in the movie itself? Baby Driver is the story of a getaway driver called Baby and follows him through a series of heists as he tries to clear his debts to Doc, played by Kevin Spacey, and tries to eventually leave his life of crime with Debora, a diner waitress played by Lily James. Through a rotating cast of criminals, including Jamie Foxx in a truly insane role, Eiza Gonzalez and Jon Hamm in one of his best film performances, Wright showcases some truly great action scenes and car chases to rival any in the past decade. These heists also serve to inform the character of Baby and his relationship to both Doc and Debora. While ultimately the plot of the film may not be anything special or new, the “one last heist” trope isn’t exactly unknown, Wright does play enough with genre conventions to make it interesting.

Where Baby Driver falls a little flat is in its characters and relationships, while Baby is a fully realized and compelling character, Debora is a flat love interest who isn’t given much back story or really a reason to fall for Baby. The same goes for several of the criminals that commit the heists, luckily Wright has enlisted great actors for theses parts with Lily James and Jon Hamm in particular saving the characters of Debora and Buddy with their considerable acting chops and charm. This is the first film written solely by Wright and perhaps it would have benefited from the having some touch ups done by his frequent co-writer Simon Pegg. That’s not to say that it’s a badly written film, far from it, Wright’s dialogue crackles with wit and provides many of the films considerable laughs. Along with Jordan Peele’s spectacular Get OutBaby Driver goes to show that there is a place for directors to mix comedy with other genre fare while still preserving the core appeal of the genre, in Get Out horror and in Baby Driver action.


Ultimately Baby Driver is a great film, blowing past its plot and character faults with its wonderful visuals, inventive use of music, strong performances, and playful style. Wright’s use of scene transitions to further the story remains second to none and his command of the camera and frame to tell a story, add comedy, and display an action scene are exceptional. Adding music into this mix creates an incredibly memorable film that is well worth watching in theaters. It may not be Wright’s best but it’s still pretty damn good.

Rating: 8/10

Baby Driver (2017)

Directed by: Edgar Wright

Starring: Ansel Elgort, Kevin Spacey, Lily James, Jon Bernthal, Eiza González, Jon Hamm and Jamie Foxx.

Rated R