Entries tagged with a: av club

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Sueltame_Pasado on Eerie Indiana

The best genre TV shows on Amazon Prime https://t.co/27d5Q5lmky
— The A.V. Club (@TheAVClub) September 18, 2020

nooooooooo se acuerdan de eerie, indiana? yo me acuerdo que lo veía y me gustaba pero no me acuerdo absolutamente nada más https://t.co/rxzc6KGLah
— Ziggy (@Sueltame_Pasado) September 18, 2020

geniales, había uno que era que la vecina vendedora en reuniones tupper tenia a toda la familia engatuzada y dormían en tuppers (!) Otro de los gemelos que como no se habían recibido habían quedado en un espacio limbo temporal. Ohh los 90
— Rzz (@Rzz_zzz) September 18, 2020

Eerie Indiana estaba en YouTube al menos en 2013. Me la acordaba de memoria igual. Lo mejor de lo mejor.
— daliasoyyo (@daliasoyyo) September 18, 2020

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The AV Club on Eerie Indiana

The best genre TV shows on Amazon Prime https://t.co/27d5Q5lmky
— The A.V. Club (@TheAVClub) September 18, 2020

In 1991, José Rivera and Karl Schaefer co-created Eerie, Indiana, a kid-friendly spin on Twin Peaks and The Twilight Zone about a boy named Marshall Teller (played by Omri Katz) who lives with his family in a small town infested with monsters and unexplained phenomena. Joe Dante was brought in as a creative consultant and frequent director, since this kind of premise—wholesome Americana undercut by the bizarre—is Dante’s stock in trade.

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hauntedavenport on Eerie Indiana

Eerie, Indiana was a few dimensions ahead of its time https://t.co/MpqFBl8dyb via @theavclub
— The Haunted Davenport Podcast (@hauntedavenport) July 1, 2020

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Noel Murray on Eerie Indiana

When DC Comics decided to reboot Superman in the mid-’80s—the first of many reboots to come—editor Julius Schwartz agreed to let an eager Alan Moore write the last adventure of the “old” Superman, in a story called “Whatever Happened To The Man Of Tomorrow?” As a way of hedging their bets, Moore and DC dubbed it “an imaginary story,” reviving a concept DC writers often used in the ’50s and ’60s when they wanted to play around with the Superman mythology without wrecking continuity. But Moore threw a curveball in his opening caption, writing, “This is an Imaginary Story… aren’t they all?” This has become a well-quoted line, cited by anyone easily irritated by the way science-fiction/fantasy/adventure fans become preoccupied over what’s “real” or what isn’t in their favorite fictional universes. For some, though, when Alan Moore wrote that line, he committed a crime against fiction.

Do storytellers have an obligation to maintain suspension of disbelief? Some people love it when a creator reminds the audience that what they’re reading or watching is nothing more than an elaborate fake, while others feel betrayed by that kind of willful goofery, wondering why they should invest time and interest in characters and situations that even the authors don’t take seriously. Being flip is risky.

That probably explains why Joe Dante has had such a rocky career. Weaned on wiseass Warner Bros. cartoons and endearingly fakey B-movies, Dante has always been a proponent of gags over realism, pushing his tongue deeply into his cheek in movies like Piranha, Small Soldiers, and the Gremlins series. Check the credits of any TV anthology series produced after 1980, and chances are Dante directed an episode or two, usually taking on scripts with quirky or mind-bending aspects, such as the Amazing Stories episode “The Greibble,” in which a voracious Seussian children’s-book character comes to life and terrorizes a suburban home, or the Night Visions episode “The Occupant,” about a woman who thinks an intruder has been rearranging the furniture in her house, until she learns that it isn’t her house, and she’s the intruder.

In 1991, José Rivera and Karl Schaefer co-created Eerie, Indiana, a kid-friendly spin on Twin Peaks and The Twilight Zone about a boy named Marshall Teller (played by Omri Katz) who lives with his family in a small town infested with monsters and unexplained phenomena. Joe Dante was brought in as a creative consultant and frequent director, since this kind of premise—wholesome Americana undercut by the bizarre—is Dante’s stock in trade. In the 18th episode of Eerie, Indiana’s lone 19-episode season, Dante also makes an appearance, playing himself: the harried director of an episode of Eerie, Indiana.

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AVClub on TVLand

Hey hep cats, your old pal TV Land would like to rap for a bit about its latest stab at reinvention. You see, TV Land’s been “catching a vibe” on “The Twitters” that you might think it’s an old people channel, exclusively for fogeys! But really, nothing could be further from the truth, according to network executive Kim Rosenblum, presumably speaking from under a backwards-turned baseball cap, Capri Suns akimbo.

I hope that signals that they'll be adding cool hip tv land content for cool young people, like Parker Lewis Can't Loose or Eerie, Indiana!

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The OA fans are dancing up some pretty wild conspiracy theories about the show's cancellation

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To wit: The show’s second season finale ended with a very meta twist, as the titular OA (Brit Marling, who also created the show, with Zal Batmanglij), whose aforementioned magic dancing drives much of the series plot, ends up teleporting to a world where she’s…Brit Marling, star and co-creator of a TV show called The OA. And while we feel duty-bound to point out that this is also the plot of one of the last episodes of Eerie, Indiana—get on it, clueseekers!—that reveal has led fans to wonder if the show has really been canceled after all, or if they’re all just trapped in some sort of meta-fictional web. As propagated on Reddit—and now, admittedly, in articles exactly like this one—the theory suggests that it’s time for fans to take their magical dancing out into the real world as an act of faith to revive the show. (It doesn’t help that Jason Isaacs, who plays the series antagonist—and also, of course, actor Jason Isaacs—recently posted a video of himself showing off every step of the mystical choreography.)

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RobotMaths on season three of the OA

Wow. So the premise of OA season 3 is Eerie Indiana's episode "Reality Takes A Holiday". Don't click if you don't want spoilers. https://t.co/4rRbiP3ckQ
— RobotMaths (@robotmaths) March 26, 2019

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AV Club reviews Eerie, Indiana finale, Reality Takes a Holiday

Sometimes a single TV episode can exemplify the spirit of its time and the properties that make television a unique medium. A Very Special Episode presents The A.V. Club’s survey of TV at its most distinctive.

When DC Comics decided to reboot Superman in the mid-’80s—the first of many reboots to come—editor Julius Schwartz agreed to let an eager Alan Moore write the last adventure of the “old” Superman, in a story called “Whatever Happened To The Man Of Tomorrow?” As a way of hedging their bets, Moore and DC dubbed it “an imaginary story,” reviving a concept DC writers often used in the ’50s and ’60s when they wanted to play around with the Superman mythology without wrecking continuity. But Moore threw a curveball in his opening caption, writing, “This is an Imaginary Story… aren’t they all?” This has become a well-quoted line, cited by anyone easily irritated by the way science-fiction/fantasy/adventure fans become preoccupied over what’s “real” or what isn’t in their favorite fictional universes. For some, though, when Alan Moore wrote that line, he committed a crime against fiction.

( Read more... )