Chapter 8: The Last Charade


        Indeed, the dread allegorical Zone Wars continued in 1985.  Without the Gardevil, however, as the films of 1984-especially DUNE, GREMLINS and INDIANA JONES AND THE TEMPLE OF DOOM-were so disappointing and/or infuriatingly and insultingly stupid, that I gave up on film art and abandoned the Temple Theatre when I graduated from high school that year.  A bittersweet graduation, given the fury over the TZ disaster and the dread Zone Wars and the lack of jobs, fittingly summed up by ‘Bittersweet’, a song by the Hoodoo Gurus from their recording, MARS NEEDS GUITARS (1985).  And so I forgot about film art and went off into the world and struggled to do my best, but got nowhere like most members of my generation.  It looked that was it for film art, but for some reason I returned to the Temple Theatre in 1997 to watch the CGI enhanced Special Editions of the Classic Trilogy, judging them to be safe because all of their screenplays had been written, and all of their principal photography had been done, prior to the TZ disaster.  They impressed and intrigued me enough that I returned to the Temple Theatre in 1999 and 2002 for STAR WARS EPISODE I: THE PHANTOM MENACE and STAR WARS EPISODE II: ATTACK OF THE CLONES.  Noticing to my surprise that both allegorical films continued the same dread Zone War struggle that I had left furiously behind in 1985, and that both films despondently and angrily blasted Palpaberg and bitterly lamented the decision to work with Kennedy, Marshall and the Emperor on INDIANA JONES AND THE TEMPLE OF DOOM, I decided to return to the Temple Theatre to watch such allegorical Palpaberg films as A.I. (2001) and MINORITY REPORT.  Realizing to my equally surprised and furious dismay that both films also continued the Zone War struggle and that MINORITY REPORT was filled with all sorts of infuriatingly and disturbingly guilty implications of foreknowledge of and wrongdoing in the TZ disaster, I decided to track down all of the twilit and allegorical films I had not seen since 1985-with particular attention to anything directed or produced by Kennedy, Lord Stinkious, Marshall and Palpaberg-to try to figure out what had happened since 1985.


Not surprisingly, I discovered that Lord Stinkious quickly released another allegorical film that desperately tried to soothe audiences-particularly young audiences-enraged by the insulting stupidity, poor quality and guilty implications of wrongdoing in CARAVAN OF COURAGE and INDIANA JONES AND THE TEMPLE OF DOOM.  Unfortunately for audiences, this dismal Stinkious executive produced, Jim and Ken Wheat directed and implicitly Lynch and DUNE roasting allegorical telefilm, THE BATTLE OF ENDOR (1985), was only noteworthy for stinking even worse than CARAVAN OF COURAGE and INDIANA JONES AND THE TEMPLE OF DOOM.  Lord Stinkious also acted as an anonymous producer and adviser on Murch’s allegorical and implicitly Cameron bashing film, RETURN TO OZ (1985)-wherein young Dorothy returned to Oz and triumphed over Nicol Williamson’s evil and implicitly Cameron linked Nome King, an implicit intent underlined by the fact that Dorothy was played by Canadian actress Fairuza Balk-another Lord Stinkious linked film that tanked at the box office in 1985.  Making it a perfect time for Tim Burton to appear on the scene with his sexually ambiguous and implicitly Stinkious roasting first allegorical feature film, PEE WEE’S BIG ADVENTURE (1985), a film that implicitly linked George Walton ‘G. W.’ Lucas jr. to P. W. ‘Pee Wee’ Herman.


Clearly, Lord Stinkious would have to work hard to convince the world that he was not a twilit and insidious Dark Lord, as hard as C. Thomas Howell’s implicitly Stinkious linked Jim Halsey had to work to defeat his twilit and homicidal Dark Side, John Ryder-played by Hauer, linked to July of 1982 forever via his role as Roy Batty in BLADE RUNNER-at the end of the twilit, allegorical and Lord Stinkious addressing Robert Harmon film, THE HITCHER (1985), whose monstrous hitchhiker evoked the equally monstrous hitcher in the Landis prologue of TWILIGHT ZONE: THE MOVIE.  Significantly, THE HITCHER saw Leigh appear as Nash, the embodiment of film art, in one of her first twilit film roles.  As Nash was killed by Ryder in the film, Harmon implied his belief that the TZ disaster had killed not just the film art of Morrow, but all film art.  However, luckily for Leigh, her character Agnes, also the implicit symbol of film art, triumphed over the twilit and disastrous year of 1982 and lived to tell tale in a new Dark Age that summed up the new Dark Age of film art with the help of the courageous and determined tenacity of Tom Burlinson’s young, Cameron resembling and ironically named Prince Steven at the end of the twilit and allegorical Paul Verhoeven film, FLESH + BLOOD (1985).  Literally triumphing over the twilit and disastrous events of 1982, as the film’s leading baddies, Martin and Karsthaus, were played by Hauer and Brion James, linked to the summer of 1982 forever via their roles as Batty and Leon in BLADE RUNNER.  In addition, their associate, Summer, was played by John D. Johnston, who played the co-pilot in the Miller episode of TWILIGHT ZONE: THE MOVIE.  A triumph that implied that Verhoeven was more optimistic about the future of film art than Harmon.


An optimistic future for film art that would likely not include Lord Stinkious.  This sense that the Skyrocking Lord Stinkious era was indeed over was summed up by the dismissive release of the shallow, superficial, Luke Skywalker resembling and implicitly Stinkious linked teenaged American punk, Butch Walker-played by John Wildman-by his Canadian cousin, Sandy Wilcox-played by Margaret Langrick-at the end of the allegorical and implicitly Stinkious bashing Sandy Wilson film, MY AMERICAN COUSIN (1985).  Indeed, the film alluded so often to AMERICAN GRAFFITI-even including lines of dialogue from that film-that MY AMERICAN COUSIN came across as a Canadian remake of AMERICAN GRAFFITI set in the sunny Okanagan of British Columbia-OKANAGAN GRAFFITI-affirming the implicit Stinkious roasting intent of this fine film.  The sarcastically and bitterly twilit and allegorical Mike Hodges film, MORONS FROM OUTER SPACE (1985), a raucous and riotous roast of Lord Stinkious,  reiterated that the Lord Stinkious error was over.  While better than THE BATTLE OF ENDOR, the failure of the Coppola and Stinkious executive produced and allegorical Paul Schrader film, MISHIMA: A LIFE IN FOUR CHAPTERS (1985), perhaps because of its uncertain allegorical intent, also signalled that the Lord Stinkious era was over. 

For at times the four chapter film appeared to link Ken Ogata’s Japanese writer Mishima Yukio and his madcap and doomed plot to lead a coup that would re-establish the high minded Emperor as the head of Japan to an allegorical roast of Kubrick and his dedication to the equally high minded artbuster, complete with allusions to DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB, LOLITA, and PATHS TO GLORY to support that allegorical intent.  However, Mishima’s devotion to the Emperor and the allusions to THX 1138 in Chapter One, AMERICAN GRAFFITI in Chapter Two and STAR WARS EPISODE IV: A NEW HOPE in Chapter Three also linked Mishima to Lord Stinkious.  This implied that Lord Stinkious was bitterly roasting himself and linking Mishima’s failure to inspire the Japanese military to rise up and join him in his attempt to re-instate the Emperor in a coup d’etat and his subsequent seppuko, in the end, to the failure of Lord Stinkious to also ignite the masses with STAR WARS EPISODE IV: A NEW HOPE and his subsequent fall from grace.  Indeed, Mishima committed ritual samurai suicide on November 25, 1970, a date which evoked November 19, 1970, the Black Thursday when Warners cancelled their five picture deal with American Zoetrope and demanded their development money back after seeing THX 1138, underlining the link of Lord Stinkious to Mishima.  This ambiguity no doubt explained why MISHIMA did not find an audience.  For while a Lord Stinkious bashing film was in tune with the tenor of the times, a Kubrick bashing film was not, given that Kubrick had been implicitly praised as a saviour of film art in DUNE, 2010: ODYSSEY TWO and WAR GAMES, and urged to return with another magnificent artbuster film that would cleanse the universe and bring harmony back to the Temple Theatre. 


While MISHIMA was unsuccessful, it was a fitting time to return to the Temple Theatre with a Japanese film.  For Kurosawa also returned with his twilit and allegorical film, RAN (1985), to warn the furiously battling young directors of the dread Zone Wars that if they did not watch out and come to their senses, they could all die in the brutal struggle.  All die like the three bitterly quarrelling Ichimonji brothers, Jiro, Saburo and Taro-played by Jinpachi Nezu, Rya Daisake and Akira Terao, respectively-a twilit trio of royal sons implicitly linked to Spielberg, Cameron and Lord Stinkious who died in the brutal battles they waged against each other to become head of the Ichimonji family after their implicitly Morrow linked father, Hidetora-played by Tatsuya Nakadai-stepped down and appointed Taro the new Lord.  RAN also allowed Kurosawa to complete his Marksman Trilogy, which began with Dersu Uzala, the Kurosawa linked indigenous sharpshooter with his trusty hunting rifle, peaked with the lone and baby faced military sniper of KAGEMUSHA who mortally wounded Lord Shingen, and ended with the anonymous military snipers who killed Saburo and Taro on the bloody Zone War battlefields of RAN.  Curiously, like Lord Stinkious, Spielberg also rushed out films in 1985 that desperately tried to soothe and win back audiences horrified by GREMLINS and INDIANA JONES AND THE TEMPLE OF DOOM, particularly his second film in the three film deal with Warners, the twilit and allegorical Kennedy, Marshall and Quincy Jones produced film, THE COLOR PURPLE (1985). 


For THE COLOR PURPLE was just the opposite of GREMLINS and INDIANA JONES AND THE TEMPLE OF DOOM.  The very opposite, for unlike those two films, THE COLOR PURPLE was a soft, sad, slow paced, low key and mostly talking head period drama revolving around the lives of Afro-Americans in Georgia in the early twentieth century completely lacking in the kinds of dangerous and flashy on set effects, explosions and stunts seen in GREMLINS, INDIANA JONES AND THE TEMPLE OF DOOM, and TWILIGHT ZONE: THE MOVIE.  Not entirely lacking in twilit ambience, however, as the southern location evoked the KKK parts of the Landis episode of TWILIGHT ZONE: THE MOVIE.  The film was also based on the popular allegorical Alice Walker novel, The Color Purple (1982), openly linking THE COLOR PURPLE to the fateful and disastrous year of 1982.  The title of the film also evoked the allegorical and Richard L. Bare directed telefilm, ‘The Purple Testament’ (1960), from the first season of the original TWILIGHT ZONE, reaffirming its implicitly twilit intent.  It was also noticeable that Margaret Avery’s Shug Avery, Whoopi Goldberg and Desreta Jackson’s old and young Celie Harris Johnson, and Oprah Winfrey’s Sofia were implicitly linked to Landis, Palpaberg and Coppola, the three film artists most traumatized by the twilit and disastrous events of 1982, throughout the film.  Thus, their redemption in the eyes of their community by the end of the film after enduring many dark and difficult years symbolized Palpaberg’s hope that Coppola, Landis and himself would endure some dark years but be embraced again by society, in the end. 


In addition, the fact that Celie’s two children, Adam and Olivia-played by Jadili Johnson and Daphaine Oliver, respectively-were stolen from her at the beginning of the film and then returned to her as young adults-played by Peto Kinsaka and Lelo Masamba, respectively-from the Twilight Zone of Africa at the end of the film implicitly symbolized that another desperate redirection of reality on the part of Palpaberg that saw another symbolic Chen and Le pair returned from the dead and alive and well was happening again, as at the end of INDIANA JONES AND THE TEMPLE OF DOOM.  This continued Palpaberg’s attempt to manipulate audiences and persuade them that the TZ disaster did not happen, and that Chen and Le did not die.  Unfortunately, and strangely, despite the fact that only a year had passed since the outrage over GREMLINS and INDIANA JONES AND THE TEMPLE OF DOOM, foolish and fickle audiences actually accepted this equally infuriating offering, implying that they were indeed welcoming Palpaberg back to the fold as he implicitly hoped in the film.  As in 1984 with GREMLINS, Palpaberg also reached out to audiences in 1985 with films on which he acted as an executive producer, such as the Kennedy, Marshall and Palpaberg executive produced and Zemeckis directed allegorical film, BACK TO THE FUTURE (1985), which was just as bad as THE BATTLE OF ENDOR. 


For its attempt to have the implicitly Lord Stinkious linked Dr. Emmet Brown and the implicitly Palpaberg linked George McFly-played by Christopher Lloyd and Crispin Glover, respectively-triumph over Thomas F. Wilson‘s implicitly Cameron linked Biff in a product placement filled time travelling ‘adventure’ that evoked the time travelling antics of T1 to confirm its implicit Cameron roasting intent was a resounding failure.  Indeed, the film’s shameless shilling of Calvin Klein jeans and open worship of the power of the love of money made it as much as a filmmercial as E.T., THE EXTRATERRESTRIAL and GHOSTBUSTERS, and one that did little but pave the way for the movie merchandise avalanche of a dinosaur film to come.  Which did not stop Kennedy, Marshall and Palpaberg from acting as executive producers on another desperate attempt at twilit cinematic exorcism with the allegorical and Ozian themed Barry Levinson film, YOUNG SHERLOCK HOLMES (1985), a mysterious and murderous allegorical film which fittingly featured a sound effects editor named Gary Wright, presaging the arrival of the Gardevil in another eerie and prescient memory of the future.


        A curious film that primarily fused BACK TO THE FILMMERCIAL, GREMLINS, INDIANA JONES AND THE TEMPLE OF DOOM and RAIDERS OF THE LOST ARK with THE WIZARD OF OZ, YOUNG SHERLOCK HOLMES ostensibly followed the adventures of Sherlock Holmes and John Watson when they met in their mischievous youth at an all boys boarding school in England.  However, YOUNG SHERLOCK HOLMES engaged in the usual additional subterfuge on the allegorical level.  Indeed, the unusually tall Holmes and Watson-played by Nicholas Rowe and Alan Cox, respectively-were implicitly linked to Palpaberg and Dante throughout the film.  Curiously, the unusual height of the young Holmes allowed him to tower over his schoolmate, the dastardly and implicitly Cameron linked Dudley-played by Earl Rhodes-in a way that he did not in real life.  This towering stature made it implicitly clear that Palpaberg thought he still towered over Cameron in the world of film art, despite the success of THE TERMINATOR, continuing the symbolic roasting of Cameron already seen in the person of the hapless Biff in BACK TO THE FUTURE.  Significantly, however, and unlike BACK TO THE FUTURE, roasting Cameron and putting the young upstart in his place was not the main allegorical point of YOUNG SHERLOCK HOLMES.  Instead, the film revolved around solving the mystery of the murders of a twilit trio of older men, two of whom were implicitly linked to film artists who had roasted Palpaberg in their films of 1982-84, thus allowing the Emperor to take revenge for their allegorical attacks. 


Indeed, Patrick Newett’s Mr. Bentley Bobster evoked Jones, who had implicitly aroused Palpaberg’s wrath with characters sarcastically linked to him in such allegorical films as MONTY PYTHON AND THE HOLY GRAIL and MONTY PYTHON AND THE MEANING OF LIFE.  For his part, Nigel Stock’s exuberantly eccentric and Brown evoking inventor Rupert T. Waxflatter was implicitly linked to Sir Attenborough, who had roasted Palpaberg in GANDHI.  Of course, this was an ominous link of a symbolic Palpaberg to a twilit trio of murders rather than fatal accidents, implying again that Chen, Le and Morrow had been killed on the Landis set of TWILIGHT ZONE: THE MOVIE-and an ominous link of a young hero to murderous mystery that returned years later in a murderous and mysterious young Indiana Jones telefilm series executive produced by Lord Stinkious to come.  Intriguingly, solving the mystery of the three murders led Holmes and Watson to deduce that the three men were murdered by their school’s fencing instructor, Mr. Rathe-played by Anthony Higgins-leader of a secret, sinister and subterranean Egyptian cult located underneath the boys school-in another Temple Theatre of Doom that evoked Mola Ram, the Thugees and the Temple Theatre of Doom of INDIANA  JONES AND THE TEMPLE OF DOOM-and his Wicked Witch of the West linked sister, Mrs. Dribb-played by Susan Fleetwood.  Significantly, Holmes halted the human sacrifice he encountered soon after discovering this second subterranean Temple Theatre of Doom, allowing a Palpaberg linked character to be seen preventing murder rather than simply watching it as Short Round did in INDIANA JONES AND THE TEMPLE OF DOOM, implicitly affirming that Kennedy, Marshall and Palpaberg were using the film to restore the reputation of Emperor Palpaberg.


It was also noticeable that Rathe was implicitly linked to Meyer, director of STAR TREK II: THE WRATH OF KHAN, implying that Palpaberg was getting back at Meyer for roasting him in the form of Ricardo Montalban’s evildoing Khan in that film.  Indeed, the fact that Rathe looked and sounded like the ‘wrath’ in STAR TREK II: THE WRATH OF KHAN underlined the link and the implicit intent of YOUNG SHERLOCK HOLMES.  In fact, Holmes and Watson resembled Spock and Kirk as much as they did Spielberg and Dante, reaffirming the link to STAR TREK II: THE WRATH OF KHAN.  The fact that Meyer had written an allegorical Holmes novel called The Seven-Per-Cent-Solution (1974), also reiterated that implication.  It was a somehow fitting link to STAR TREK II: THE WRATH OF KHAN and its eager embrace of the genesis of a brave new world of CGI enhanced film art, for the eager embrace of CGI continued in YOUNG SHERLOCK HOLMES.  For a fearsome CGI knight composed of frames from a stained glass window that the perhaps Lean linked Reverend Nesbitt-played by Donald Eccles-saw in an hallucinogenic vision that led to his death affirmed that Kennedy, Marshall and Palpaberg were just as committed to developing and using CGI to solve the TZ disaster as Lucas.  In fact, the CGI knight was provided by the nascent Pixar Computer division of ILM, underlining that Kennedy, Marshall, Palpaberg and Stinkious were all in agreement about CGI.  A commitment clearly shared by Dante, who used TRON evoking CGI also created by ILM to enhance the space sequences of his equally twilit, boyish and allegorical film, EXPLORERS (1985). 


Fittingly, EXPLORERS began with the implicitly Lord Stinkious linked Ben-played by Ethan Hawke-waking up from a CGI filled and TRON evoking dream that he then worked to turn into reality with the help of the implicitly Dante and Palpaberg linked Wolfgang and Darren-played by River Phoenix and Jason Presson, respectively.  Their quest was helped by the fact that over the course of the film, Darren and Wolfgang slowly began to enter and share Ben’s CGI enhanced dreams at night, allowing the twilit trio to be of one mind about the quest to create CGI enhanced film art.  Of course, this quest to make CGI enhanced dreams a reality openly symbolized the quest of Dante, Palpaberg and Stinkious to make CGI enhanced film art a reality so as to prevent any more TZ disasters happening on film sets.  Indeed, the home made spaceship with its CGI filled computer monitors the trio made and blasted off into space with openly symbolized the hope of all three men that they would take a commanding and leading role in the new era of CGI enhanced film art.  Indeed, this new twilit trio survived the TZ disaster evoking aquatic crash landing of their CGI linked spaceship on its return to Earth, implicitly affirming the hope of Dante that CGI would help Palpaberg, Stinkious and himself survive the fallout over the TZ disaster once film artists had learned to master CGI enhanced film art. 


In fact, as EXPLORERS was not executive produced by Kennedy, Marshall, Palpaberg and Stinkious, Dante made clear that was throwing his lot in with the CGI hopes of the twilit quartet on his own initiative in EXPLORERS.  And tragicomically predicting the future in more ways than one in another memory of the future, for Robert Picardo’s goofy alien Wak Wak all too presciently presaged a Jar Jar to come in the allegorical film art of Lord Stinkious.  CGI things to come that were also presciently presaged in the allegorical Petersen film, ENEMY MINE (1985), for the CGI space battles and Bilateral Terran Alliance space fighters returned in the Naboo space fighters and the climatic space battle in STAR WARS EPISODE I: THE PHANTOM MENACE.  Incidentally, Howard took the opposite route in his twilit, allegorical and E.T., THE EXTRATERRESTRIAL evoking film, COCOON (1985).  For instead of linking Stinkious and Palpaberg to kids, he linked them to two retired seniors, Art Selwyn and Joe Finley-played by Ameche and Hume Cronyn, respectively-who were paired with the Coppola linked Ben Luckett-played by Wilford Brimley.  Significantly, this twilit trio left Earth with their CGI enhanced extraterrestrial friends in the end after accidentally draining the aliens’ cocoons of their life rejuvenating energy, implying that Howard was urging Emperor Palpaberg and Lord Stinkious to leave behind their sly fi films and head off in new directions-or that the Coppola, Palpaberg and Stinkious era was just plain over.  An interest in Kennedy, Marshall, Palpaberg and Stinkious and children also seen throughout the pensive, sombre and twilit Miller and George Ogilvie directed allegorical film, MAD MAX BEYOND THUNDERDOME (1985), no doubt explaining why the ‘Miller Lite’ film was as unpopular as EXPLORERS. 


Despite this unpopularity, Miller and Ogilvie alluded to INDIANA JONES AND THE TEMPLE OF DOOM and to all four episodes of TWILIGHT ZONE: THE MOVIE in the film-particularly Miller’s own episode-affirming that the film was being used to come to grips with the disaster.  Indeed, THE ROAD WARRIOR evoking post-apocalyptic wasteland that we returned to was openly linked to the new post-TZ disaster apocalypse film art wasteland.  The triumph of Gibson’s Scarecrow ‘raggedy man’ Rockatansky over Paul Larsson’s Blaster in the Twilight Zone cadenced and linked Thunder Dome gladiator cage in the Hollywood linked Bartertown also implicitly affirmed that Miller and Ogilvie used the film to triumph over and leave behind the TZ disaster-and Tina Turner’s Wicked Witch of the West linked Auntie Entity.  And symbolically triumph over Cameron, for the Nikko linked Ironbar-fittingly played by Angry Anderson-the head of security for Auntie Entity, evoked Cameron.  The two Georges also implied a desire to free young audience members bummed out by the disaster, as the Munchkin linked Lost-and confused-Boys and Girls of the Outback that Rockatansky saved and led to freedom were linked to equally lost and confused X gang audience members throughout the film.  Unfortunately, the children were led by Helen Buday’s Kennedy evoking Savannah Nix, a link that was box office poison in 1985 given the outrage over the TZ disaster.  Last but not least, Miller no doubt also used MAD MAX BEYOND THUNDERDOME to come to grips with the eerie death of his longtime friend and producer Byron Kennedy in a helicopter crash less than a month after the release of TWILIGHT ZONE: THE MOVIE.  An implicit interest in coming to grips with the anger, shock and confusion caused by the TZ disaster shared by Gilliam throughout his righteously furious, twilit, chaotic, quixotic, malfunctioning, madcap, sarcastic, allegorical and “1984” evoking film, BRAZIL (1985).


        Not surprisingly, BRAZIL continued Gilliam’s rants against blockbuster film, clueless commercialism and movie tie-in merchandise.  Indeed, the explosion that tore through a bystander and a bank of televisions all showing a banal commercial for ducts in a shop display case at the beginning of the film linked the film to TIME BANDITS and the block of concentrated Evil that exploded at the end of that film and killed the cluelessly consumerist parents of Kevin.  This explosive link immediately made clear that Gilliam was again striking back at the Dark Forces of blockbuster and commercial film as much as at the equally explosive TZ disaster.  The return of Palin, Purvis, Jim Broadbent, Katherine Helmond, Ian Holm, Charles McKeown and Peter Vaughan as the implicitly Landis linked Jack Lint, Dr. Chapman, Dr. Jaffe, Mrs. Ida Lowry, Mr. Kurtzmann, Lime and Mr. Helpmann, respectively, underlined the link, recalling their roles as a Vincent, Wally, a television game show host, Mrs. Ogre, Napoleon, a theatre manager, and Mr. Ogre in TIME BANDITS.  Their return also linked the film to the Last Good Year in a way that confirmed that BRAZIL lamented the passing of a more care free era. 


The presence of Pryce as depressed, repressed and implicitly Ron Howard linked bureaucrat Sam Lowry also implied that the twilit and despondent film addressed SPLASH, with the bleak ending of BRAZIL a deliberate splash of cold water on the upbeat ending of SPLASH.  Indeed, the presence of Kim Greist as Hannah lookalike and love interest, Jill Layton, affirmed the implicit Howard and SPLASH addressing intent of the film.  Gilliam’s commitment to winning back the trust of viewers was also underlined by the presence of Robert de Niro’s Harry Tuttle, a fearless and independent repair man whose Terry Gilliam sounding and looking name and nature recalled Gilliam and his own fearless and independent approach to film art.  As well as openly confirmed the twilit intent of the madcap film, as the surname of Tuttle evoked that of William Tuttle, makeup man on the original TWILIGHT ZONE.  Curiously, Tuttle was also the surname of a bit character named Mr. Tuttle-played by Jack Perkins-in NIGHT SHIFT, openly linking the film to 1982 in another affirmation of the implicit twilit intent of the film.  Alas, Tuttle was literally destroyed by paperwork, in the end, no doubt reflecting Gilliam’s own fear that the TZ disaster would lead to a persnickety crackdown on indie film artists like himself, an implication underlined by the fact that De Niro and Gilliam were both lone Americans in England.  Seeing Sam’s mother, the Wicked Ida Lowry, flirt shamelessly with a young male extra who looked like Edward VIII at one of her parties was also fitting, reminding us that the Duchess of Kent had inspired the film version of the Wicked Witch of the West, and preparing us for her death on April 24, 1986.


        And so Kennedy, Marshall, Palpaberg and Stinkious continued the dread allegorical Zone Wars in 1985, and film artists like Gilliam and Kurosawa rose up to take them on.  With its allusions to AN AMERICAN WEREWOLF IN LONDON, CREEPSHOW and the Landis episode of TWILIGHT ZONE: THE MOVIE, Wallace Shawn also implied that he was addressing Landis and the TZ disaster in his twilit and allegorical play, AUNT DAN AND LEMON (1985), making it implicitly clear that the world of live theatre would be a part of the dread allegorical Zone Wars.  George P. Cosmatos also addressed Landis by implicitly linking him to Stallone’s haunted Vietnam War vet John Rambo and allowing him to confront and exorcise his demons by returning to Vietnam, surviving the explosive attack on a village, piloting the helicopter that brought the American POWs to safety, and triumphing over Charles Napier’s implicitly Morrow linked Marshall Murdock and Martin Kove’s implicitly Palpaberg linked Ericson at the triumphant and liberating end of the twilit and allegorical film, RAMBO: FIRST BLOOD PART TWO (1985).  Making it a fitting year for Landis to return and strike back at his detractors in the film art community in the twilit, Folsey and Landis executive produced and Jonathan Lynn directed allegorical film, CLUE (1985).  Intriguingly, while CLUE evoked the allegorical William Castle directed film, HOUSE ON THE HAUNTED HILL (1959), the title of CLUE linked the film to the twilit and disastrous year of 1982 via Bridges’ character Clu in TRON.  Of course, this CLUE was a murder mystery, based on the murder mystery board game of the same name from Parker Brothers.  Significantly, the familiar main murder suspects in CLUE were linked to some of the main players in the TZ disaster, linking a few of the main players to deliberate murder again rather than fatal accidents as in GREMLINS, INDIANA JONES AND THE TEMPLE OF DOOM and YOUNG SHERLOCK HOLMES. 


CLUE also proved that Landis could desperately manipulate reality as much as Kennedy, Marshall, Palpaberg and Stinkious in his post-1982 films, for none of the three alternate endings had the accident prone and Landis linked Mr. Green-played by Michael McKean-commit the six murders.  Instead, in one of the three alternate endings, we discovered that it was the Kennedy linked Miss Scarlet-played by Lesley Ann Warren-who committed the film’s six twilit murders.  In another one of the endings, we found out that it was the Marshall linked butler, Wadsworth-played by Tim Curry-who committed the murders.  Curiously, after thrashing Kennedy and Marshall in CLUE, Landis reached out to Marshall and Palpaberg the same year in his own twilit and Folsey co-produced allegorical film, SPIES LIKE US (1985), which was kind of a light hearted fusion of DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB and WAR GAMES.


Indeed, Landis linked Marshall and Palpaberg to Emmett Fitz-Hume and Austin Millbarge-played by Chevy Chase and Akroyd, respectively-two bumbling but lovable American spies who initially seemed doomed to failure and death in their top secret mission to find and disable a doomsday missile in the Soviet Union, but struck back in the end to save the day-and the world.  The implication was that Landis was pleased with the support Marshall and Palpaberg had given him in GREMLINS and INDIANA JONES AND THE TEMPLE OF DOOM, and was reaching out to give them some allegorical support in turn in SPIES LIKE US.  Indeed, Landis alluded to INDIANA JONES AND THE TEMPLE OF DOOM and THE MAN WHO WOULD BE KING in SPIES LIKE US to affirm that implication.  While also implicitly roasting Folsey and himself at the same time, for Fitz-Hume and Millbarge were sent on their doomed mission by Mr. Keyes and Mr. Ruby-played by William Prince and Bruce Davison, respectively-two senior operatives in suits back in Washington who evoked Folsey and himself.  Curiously, these two duplicitous and callous senior operatives and their Cameron and Stinkious linked military allies, General Stine and General Miegs-played by Steve Forrest and Tom Hatten, respectively-were defeated in the end when Fitz-Hume and Millbarge turned the tables on them and saved the world, evoking Valentine and Winthorpe III’s victory over the equally callous and duplicitous Duke Brothers at the end of TRADING PLACES.  An ironic triumph over a character linked to Landis that occurred again in his other twilit and allegorical film of that year, the Allingham executive produced and Ozian themed film, INTO THE NIGHT (1985).


A strange and surreal film, INTO THE NIGHT saw Jeff Goldblum’s young Stinkious resembling, Tin Man linked and insomnia suffering Ed Okin-his surname spelling Niko backwards, linking him to Nikko and Toto, and also an anagram of kino, the German word for cinema, linking him to film art-leaving behind his sleepless bed and his unfaithful wife-as unfaithful as Marcia Lucas, implicitly affirming Okin’s link to Lord Stinkious, and played by Stacey Pickren-and wandering off into the tempestuous darkness of a hot summer’s night in L.A.  Of course, this wandering nighttime odyssey evoked Henderson’s wandering nighttime odyssey one final summer’s night in Modesto in AMERICAN GRAFFITI, reaffirming the link of Okin to Stinkious, a link reaffirmed by the film’s allusions to THX 1138.  Unlike Henderson, however, Okin soon met his beautiful and Dorothy linked blonde dream queen, Diana, played by Michelle Pfeiffer.  And rescued her from an evil Ozian quartet of bumbling but murderous Iranian ‘Savak’ assassins who rampaged throughout the film like four flying monkey linked and tragicomic Terminators.  Significantly, the four Iranian Stooges were trying to capture Diana to recover six priceless Persian emeralds-six emeralds that evoked the six films Stinkious made before he crashed and burned with INDIANA JONES AND THE TEMPLE OF DOOM as much as the Emerald City-for their Wicked Witch of the West linked boss, Shaheen Parvizi-played by Irene Papas-a curious femme fatale whose name and influence evoked Kathleen Kennedy, but whose face and hair evoked Stanley Kubrick. 


Significantly, the four bumbling assassins evoked New Hollywood directors.  Indeed, the one played by Beruce Gramian evoked Coppola, the one played by Michael Zand evoked Lord Stinkious, the one played by Hadi Sadjadi evoked Martin Scorsese, and the one insanely played by Landis evoked himself.  Thus, by having the Lucas linked Okin triumph over the Savak linked to Lord Stinkious and Parvizi and rescue Diana and the emeralds, in the end, Landis implied his hope that Stinkious would triumph over his Dark Side and the bad spell he was going through at the moment and strike back at his detractors with a good and financially successful film.  Of course, this allegorical implication was destroyed by the insane and infuriating sight of him killing throughout the film with carefree and psychotic abandon in his role as one of the Iranian assassins.  For this bizarre and over the top murderous mayhem convinced audiences that he was indeed a directo, destroying his reputation even further.  Making few care when he returned to the Temple Theatre the following year with his Folsey co-produced and SEVEN SAMURAI evoking twilit and allegorical film, THREE AMIGOS (1986).  With good reason, for the ridiculously upbeat and optimistic film that saw three silent film stars-Dusty Bottoms, Lucky Day and Ned Nederlander, perhaps linked to Landis, Folsey and Akroyd, and played by Chase, Steve Martin and Martin Short, respectively-face down and defeat the Coppola linked El Guapo-played by Alionso Arau-and his New Hollywood linked Mexican thugs and liberate the town and citizens of Santa Poca, Mexico in 1916 was completely out of place and unbelievable after INTO THE NIGHT, and an infuriatingly confident and carefree film from Landis, given that the TZ trial finally began in September of 1986.


Of course, like Landis, Lord Stinkious also had a dismal year in 1986 as he continued to stink up the place.  Unlike Landis, however, Stinkious acknowledged that he had indeed lost his way and transformed into Lord Stinkious by linking himself to the equally lost and confused Howard the Duck-variously played by Peter Baird, Ed Gale, Jordan Prentice, Tim Rose, Steve Sleap, Lisa Sturz, Mary Wells and Chip Zien-in the Stinkious executive produced and Willard Huyck directed allegorical film, HOWARD THE DUCK (1986).  Indeed, the BREEDERS OF THE LOST STORK film poster on the wall of Howard’s apartment at the beginning of the film openly linked Howard to Lord Stinkious.  The poster also linked the beginning of the film to the last good year of 1981, implying that the worm hole that suddenly yanked Howard out of his comfortable and peaceful life on Duck Planet and sucked him through time and space to Cleveland, Ohio symbolized the TZ disaster, the decision to work with Kennedy, Marshall and Palpaberg on the Indy sequel, and the resounding failures of CARAVAN OF COURAGE, INDIANA JONES AND THE TEMPLE OF DOOM, STAR WARS EPISODE VI: RETURN OF THE JEDI and THE BATTLE OF ENDOR, all of which destroyed the peace and harmony of Lord Stinkious and dragged him off to a strange and hostile new world. 


A righteously hostile new world that rejected this new offering from Lord Stinkious even more furiously and dismissively than it did INDIANA JONES AND THE TEMPLE OF DOOM and STAR WARS EPISODE VI: RETURN OF THE JEDI.  No doubt due to the fact that Lord Stinkious tried to make light of his situation in the film, and to the fact that by linking himself to Howard, Stinkious incorrectly implied that his problems were as beyond his control as the problems that beset Howard instead of caused by his own actions.  The ducked up situation was not helped by the fact that the film ended with a battle with a Dark Overlord possessed Dr. Walter Jennings-played by Jeffrey Jones, who linked the character and film to Lord Stinkious via his role as the Emperor in AMADEUS-which evoked the ending of the equally hated STAR WARS EPISODE VI: RETURN OF THE JEDI, implying that Huyck and Stinkious were trying to exorcise that film in this film.  This furious rejection of Lord Stinkious continued when he responded to COMPANY OF WOLVES by executive producing the Henson directed, Ozian themed and Spielberg supporting allegorical film, LABYRINTH (1986)-a curious collaboration indeed, given that Henson and Oz had furiously roasted Stinkious in THE DARK CRYSTAL, and one that evoked the equally curiously and unlikely collaborations of Stinkious and Palpaberg. 


A sweet and gentle, listless and wistful fantasy film that summed up the listless and wistful mood of the times, LABYRINTH saw Jennifer Connelly’s Dorothy linked and Sarah Connor evoking Sarah journey into an Ozian fantasy world.   Here she linked up with another Ozian threesome and triumphed over Bowie’s implicitly Jordan linked Jareth the Goblin King and rescued her young and Palpaberg resembling half-brother, Toby-his name evoking Hooper, linking the film to POLTERGEIST and 1982 (indeed, in many ways the film seemed like a fantasy version of POLTERGEIST) and played by Toby Froud, son of Brian Froud, designer of LABYRINTH and THE DARK CRYSTAL-from the insidious grip of Jareth.  Given the implicit link of Toby to Palpaberg, the implied hope with this rescue of Toby and the return of the ‘Little Boy Lost’ to reality was that Palpaberg would also soon free himself from the twilit grip of the TZ disaster and return health and harmony to his life.  This implied hope was emphasized by the film’s wistful allusions to RAIDERS OF THE LOST ARK and the Last Good Year. 


While LABYRINTH was noticeably rejected by most angry audience members, a rage perhaps increased by the fact that the long awaited TZ trial finally began on September 3rd of that year, it was noticeable that the film was prescient.  For after the end of the long and tumultuous trial, health and harmony would, indeed, return to the life and film art of Emperor Palpaberg.  A harmony that was helped by the fact that Schuman, the production secretary of the Landis episode of TWILIGHT ZONE: THE MOVIE and the first witness of chief prosecutor and deputy District Attorney Lea P. D’Agostino and chief LAPD investigator Sergeant Tom Budds, provided well meant but unknowingly false testimony concerning incriminating statements that she thought she had heard Folsey and Landis make in the days before the TZ disaster on the witness stand on the first day of the trial.  This unknowingly false testimony threw the TZ trial into confusion, baffled the jury, had D’Agostino on the witness stand the third day to defend herself against charges of perjury, and sunk the case for the prosecution by the end of the first week-if not on the very first day-as jurors were uncertain if witnesses were telling the truth (Labrecque, 135-55).  Clearly, however, J.K. Rowling was impressed with LABYRINTH, for the owl emissary from the fantasy world and the name ‘Hogwart’ returned in her Harry Potter novels, implying that the novels were her own allegorical and literary salvoes in the dread Zone Wars.  Curiously, outraged audiences also rejected Sir Scott’s own twilit and allegorical fairy tale, LEGEND (1986), another sweet and gentle fantasy film and response to COMPANY TO WOLVES that also tried to return harmony to the Temple Theatre by rescuing two unicorns linked to Chen and Le from Curry’s Stinkious linked Lord of Darkness-despite openly outing Stinkious as a Dark Lord!  That same year, angry audiences also furiously rejected Howard’s sympathetic attempt to make up for the GREMLINS disaster by projecting Dante in a Good Light in his allegorical film, GUNG HO (1986).  Audiences underlined their anger at Dante by embracing Cameron again when he exchanged waves of alien evoking flying piranhas for waves of gremlin evoking aliens in his equally angry, allegorical and Ozian themed film, ALIENS (1986).


Less a sequel of ALIEN and more a reply to GREMLINS with nods to GALAXY OF TERROR, OUTLAND, RAMBO: FIRST BLOOD PART TWO and 2010-in fact, one of the final lines of dialogue is inspired by the latter film-Cameron implied that the return of Weaver’s Glinda evoking Ripley to the twilit and forbidding planet of LV-246 with a platoon of cynical Colonial space marines-led by William Hope’s implicitly Corman linked Lieutenant Gorman-to free the last colonist, Carrie Henn‘s Dorothy linked Rebecca-‘Newt’-Jorden from hordes of gremlin evoking and machine tampering biomechanical aliens and their implicitly Palpaberg linked Wicked Queen symbolized the battle to free audiences of their fears and worries of further TZ disasters and money lusting blockbuster beasts and return their faith in film art.  Indeed, the 2 hour and 37 minute running time of the SPECIAL EDITION implicitly underlined that Cameron was determined to exorcise the 237 TZ disaster with ALIENS.  In addition, while her name evoked Renee and Myca, the rescue of Rebecca also implied a rescue of the film art of Cameron, as she and her brother, Jimmy-played by Christopher Henn-resembled Cameron-and evoked Jimmy and Margaret in LIQUID SKY, linking them to indomitably and irresistibly idiosyncratic film art, indeed.  Cameron also implied that he wanted to use ALIENS to exorcise Cronenberg or Dante from the Temple Theatre, for Paul Reiser’s insidious and alien protecting Weyland-Yutani Corporation Special Director Carter J. Burke not only had a name that evoked Cronenberg and an appearance and dimunitive height that evoked Dante-and a title that evoked film art directors-he was ironically killed by the rampaging gremlins while trying to save them for the Corporation at the end of the film.  The fact that Ripley was woken up from cryogenic hibernation and persuaded by Burke to wake up audiences to the potential of film art again by leading and surviving the triumph over the aliens and their blockbuster beast of a Wicked Queen also implied a triumph for Landis and his film art, as Ripley suffered from nightmares at the beginning of the film that evoked the nightmares of Kessler in AN AMERICAN WEREWOLF IN LONDON and of Reese in THE TERMINATOR. 


Significantly, the popularity of the effects filled and visually spectacular ALIENS was unusual in 1986.  For that year audiences preferred low budget and effects free films that did not remind them of effects filled films like TWILIGHT ZONE: THE MOVIE, like Peter Faiman’s humorous ode to Landis in the form of Paul Hogan’s Landis linked Michael J. ‘Crocodile’ Dundee in his twilit, allegorical and Ozian themed film, CROCODILE DUNDEE (1986).  Curiously, CROCODILE DUNDEE saw the return of LIQUID SKY’s Carlisle as the black clad Wicked Witch of the West linked transvestite, Gwendoline, whose humourous defeat by Dundee underlined that the film was doing its best to break audiences and film art free from 1982.  Audiences also flocked to other low budget and effects free film art like Lynch’s righteously furious, surreal and twilit allegorical moving painting, BLUE VELVET (1986), and the callous, confused and twilit allegorical Tim Hunter film, RIVER’S EDGE (1986).  The latter summed up how lost audiences and film artists were at the time, and curiously linked well with BLUE VELVET as it featured a Lynch resembling and murderous teen antagonist in Daniel Roebuck’s Samson and an appearance by Hopper-the baddie Frank Booth in BLUE VELVET-as the feckless Feck.  In fact, Lynch was implicitly inspired to exorcise RIVER’S EDGE with the similar, quieter and gentler allegorical telefilm series, TWIN PEAKS (1990-2). 


Audiences also enjoyed the equally low budget, effects free, wistfully twilit and allegorical Rob Reiner film, STAND BY ME (1986)-which, curiously, was also a kinder and gentler version of the callous and demented RIVER’S EDGE, and one based on the eerily prescient and allegorical King novella, ‘The Body’, from DIFFERENT SEASONS.  Significantly, the body of the boy, Ray Brower-played by Kent Lutrell-that was eventually discovered by Will Wheaton’s implicitly Lucas linked Gordie LaChance and his three Ozian friends was played by a youthful stuntman who resembled King.  This link reminded us that Screamin’ Stephen was linked to the film art of 1982 forever via his lonesome character Jordy Verrill in the second episode of CREEPSHOW, implying that by finding and releasing Brower, Reiner was trying to release 1982 at the end of STAND BY ME.  On top of the film art of Cameron, Hunter, Lynch and Reiner, audiences also flocked to Coppola’s allegorical film, PEGGY SUE GOT MARRIED (1986). 


Significantly, the sight of Kathleen Turner’s Hollywood linked Peggy Sue Kelcher Bodell reaching out to soothe three troubled teenage boys linked to Burton, Cameron and Lord Stinkious-Michael Fitzsimmons, Charlie Bodell and Richard Norvik, played by Kevin J. O’Connor, Cage and Barry Miller, respectively-in this thoughtful and moving allegorical response to BACK TO THE FUTURE, MY AMERICAN COUSIN, SPLASH and THE TERMINATOR-with a pinch of AMERICAN GRAFFITI and VALLEY GIRL thrown in for good measure.  And a good dash of fiery CARRIE-particularly in the class reunion that began the film-making it fitting that PEGGY SUE GOT MARRIED was released in the tenth anniversary year of CARRIE.  Disaffected audiences also liked Oliver Stone’s twilit and allegorical film, PLATOON (1986), which was another back to the basics, low budget and effects free film like BLUE VELVET, CROCODILE DUNDEE, LE DERNIER COMBAT, PEGGY SUE GOT MARRIED, THE HITCHER and THE OUTSIDERS which implicitly confirmed that audiences had turned against big budget and effects laden films in their righteously twilit wrath.


PLATOON was clearly inspired by remembering that the TZ disaster was forever linked to the Vietnam War as it happened on a recreated Vietnam War village set, causing Vietnam vet Stone to link the battling Zone War directors of New Hollywood to a group of American soldiers battling their way through a tour of duty in Vietnam.  As most of these New Hollywood linked soldiers were killed over the course of PLATOON-particularly in the final battle with the implicitly X gang linked Vietcong-Stone implied that the TZ disaster had not just tarred the directors of New Hollywood with the same brush, but had killed their ability to be true film artists, as well, effectively ending the New Hollywood era.  For as Charlie Sheen’s greenhorn Private Chris Taylor put it, in two of the most memorable lines of the entire dread allegorical Zone Wars, ‘…I think that, looking back, we did not fight the enemy, we fought ourselves.  And the enemy was in us’.  Clearly, audiences and the august Academy agreed, given the popularity of PLATOON and the four Oscars the film was awarded at the ceremony.  Significantly, the same audiences also began to already celebrate the disappearance of the TZ disaster dominated era by celebrating the disappearance of the Landis linked Phantom-played by Michael Crawford-at the end of Andrew L. Webber’s twilit and allegorical pop opera, THE PHANTOM OF THE OPERA (1986), anticipating the not guilty verdict at the end of the TZ trial the following year.


Surprisingly, however, the end of the New Hollywood era was a sentiment implicitly not shared by Kubrick.  Indeed, after blasting Kurosawa for blasting him in KAGEMUSHA in the first half of the film, most of his New Hollywood linked American soldiers survived their tour of duty-including Matthew Modine’s Landis linked Joker-in Vietnam in the second half of his twilit and allegorical Vietnam War film, FULL METAL JACKET (1987).  And were last seen singing the Mickey Mouse Club theme as they marched through the darkness after symbolically breaking free from the TZ disaster by killing a Vietnamese girl sniper-played by Ngoc Le.  A carefree march that implied that Kubrick thought that whatever the result, when the TZ trial was over, the film artists of New Hollywood would simply return to big budget beastly blockbuster filmmercials supporting movie tie-in merchandise campaigns without a guilty backward glance.  A prescient prediction, as Landis and his four co-defendants were found not guilty of manslaughter at the end of the TZ trial on May 29, 1987.  An infuriating and disappointing verdict that sent a message to film artists and the studios that it was indeed time to return to the big budget, special and visual effects and product placement filled filmmercials and their movie tie-in merchandise campaigns that had been mostly put on hold since 1983 and the furious rejection of STAR WARS EPISODE VI: RETURN OF THE JEDI.  God, fate and karma appeared to agree, for a day after the disappointing verdict, a helicopter crash on the Phillipines set of the twilit and allegorical Aaron Norris film, BRADDOCK: MISSING IN ACTION III (1987), killed four and injured five cast and crew members.


Indeed, Big Time Studio signalled that intention in 1987 with the allegorical Garry Marshall film, OVERBOARD (1987), which saw Goldie Hawn’s plutocratic Joanna return to a blissful life of wealth and shopping after briefly turning away from the good consumerist path when an unexpected fall led to a brief spell of insomnia.  A return to commercial daze that Marshall clearly hoped would include a profitable Lord Stinkious, for Russell’s mischievous Dean Proffitt-the Crocodile Dundee evoking rascal who had taken gleeful advantage of Joanna’s amnesia to convince her that she was his poor wife and not a married plutocrat-was implicitly linked to Lord Stinkious throughout the film.  Indeed, even after her memory returned, Joanna still preferred the proffittable Dean, making it implicitly clear how hopeful Marshall was that Stinkious would also stop stinking up cinemas and return to making and releasing profitable allegorical film art.  Verhoeven also implied his support of Lord Stinkious by having Detroit Police Officer Alex Murphy-played by Wellers-come back from the dead as a lonesome bachelor and THX 1138 evoking Robocop to take on and take out a group of human gremlin criminals-led by the implicitly Dante and Lynch linked Boddicker and Jones, played by Kurtwood Smith and Ronny Cox, respectively-like a Good Terminator and return peace and harmony to the Temple Theatre and kick off a brave new CGI enhanced film art era at the end of the twilit and allegorical film, ROBOCOP (1987).


A neo-commercial film era that would hopefully leave behind the dread Zone Wars as well, for Bigelow warned film artists that if they did not stop launching twilit salvoes at each other, they risked becoming trapped in the Twilight Zone before darkness fell forever, like the hapless vampires of her cautionary and allegorical film, NEAR DARK (1987).  A message that Cox implicitly agreed with, for with Farben Oil moving in to an implicitly Hollywood linked Western town after its implicitly Zone War film artist linked outlaws killed each other in the closing shootout that ended all bloody goody Westerns-particularly Spaghetti ones-Cox also implicitly warned film artists in his mordant allegorical film, STRAIGHT TO HELL (1987), that if they did not watch out, they would destroy themselves fighting the Zone Wars and the only ones who would benefit would be the energy companies that owned the studios, who would continue making money with a fresh batch of eager beaver film artists straight out of film school eager to make the latest version of Hollywood.


Thus, it was actually ironic that Bertolucci linked Lord Stinkious to the deposed last Emperor of China that year to join Wilson in affirming that the Stinkious era was over in his allegorical film, THE LAST EMPEROR (1987).  And that Cox implicitly linked the rise and fall of Lord Stinkious to the failure of Ed Harris’ implicitly Stinkious linked Colonel Walker to establish and maintain a Skywalker Ranch evoking puppet American Republic in Nicaragua in the mid-nineteenth century in his second allegorical film that year, WALKER (1987).  Or that John McTiernan implicitly agreed, for the implicitly Cameron linked Dutch-played by Schwarzenegger-triumphed over the Fett and Vader evoking and implicitly Lucas linked Predator-played by Kevin P. Hall-at the end of the ALIENS and RAMBO: FIRST BLOOD PART TWO evoking film, PREDATOR (1987).  And that Gary Goddard linked Lord Stinkious to Frank Langella’s insidious Dark Lord Skeletor, defeated in the embattled and desperate end by the Gardevil linked He-Man-played by Dolph Lundgren-in his allegorical mega B film, MASTERS OF THE UNIVERSE (1987). 


For a CGI enhanced film art era was rising from the ashes of the old-literally, as Huston died on August 28, 1987-a new era symbolized by the CGI linked Kosmic Key in MASTERS OF THE UNIVERSE.  A CGI enhanced film art era that other film artists would soon begin to implicitly hope would include a Skyrocking new film by Lord Stinkious that would break film art free from the Zone and truly kick off the new era.  A CGI enhanced and neo-commercial era that would also clearly include Palpaberg, given the popularity of his last film in the three film deal with Warners, the twilit, Cameron bashing and Kennedy, Marshall and Palpaberg co-executive produced and allegorical Christmas 1987 release, EMPIRE OF THE SUN (1987).


It was easy to see why Kennedy, Marshall and Palpaberg took an interest in adapting the autobiographical and allegorical J.G. Ballard novel, Empire of the Sun (1984), the second post-TZ disaster Palpaberg film based on a novel published in the critical 1982-84 period.  For Empire of the Sun was linked to the critical 1982-84 years by being set in and around Shanghai, China between the time of the Japanese attack in December 1941 to the end of the Japanese occupation in August 1945, evoking the Shanghai prologue of INDIANA JONES AND THE TEMPLE OF DOOM and the Chinatown beginning of GREMLINS.  The crowded but peaceful streets of Shanghai before the Japanese invasion-particularly in the wealthy and exclusive International Settlement, the European Imperialist enclave of the city, home to the British family of Christian Bale’s Cameron lookalike, Jim ‘Jamie’ Graham-also evoked the 1982-84 years.  For the initially quiet streets implicitly symbolized the idyllic years in Hollywood before the TZ disaster, and also recalled the crowded streets of Los Angeles in BLADE RUNNER, openly affirming the film’s interest in the twilit and disastrous events of the summer of 1982.  Indeed, Jim’s mother-played by Emily Richard-at the family photograph cluttered piano at the beginning of the film evoked Rachael at Deckard’s family photograph cluttered piano midway through BLADE RUNNER, while his father-played by Rupert Frazer-looked like Sir Scott, confirming the film’s link to BLADE RUNER and the twilit and disastrous July of 1982.  The chaotic crowds and fighting between Japanese invaders and Chinese freedom fighters in the streets of Shanghai after the invasion in December 1941 also recalled the chaotic crowds and fighting in the paranoid and anti-Japanese invasion streets of Los Angeles in December of 1941 in 1941, reiterating the link of the early part of the film to the idyllic years in Hollywood before the TZ disaster. 


Of course, the setting in an Asian war also recalled the disastrous Vietnam War village set of the Landis episode of TWILIGHT ZONE: THE MOVIE.  The film’s portrayal of life in a Japanese civilian internment camp near Shanghai after the wealthy European Imperialists were rounded up and sent there after the invasion reiterated the link to the Landis episode of TWILIGHT ZONE: THE MOVIE, for it reminded us that Morrow’s Connor was sent to a concentration camp at the end of that episode.  The Soochow Internment Camp and its imprisoned children also evoked the Thugees’ child slave labour camp in INDIANA JONES AND THE TEMPLE OF DOOM, linking the child prisoners to Chen and Le and the Japanese commandant, Sgt. Nagata-played by Masato Ibu-to Landis, and the guards to his twilit and disastrous film crew again.  Three young Japanese kamikaze pilots seen leaving on their last mission on an airfield next door to the camp evoked the TZ disaster trio.  Last but not least, Jim, the film’s poor little English rich lost boy protagonist, recalled not just Cameron but Landis linked lost boy Agee in the Palpaberg episode of TWILIGHT ZONE: THE MOVIE, Landis linked Dalim Zingh in INDIANA JONES AND THE TEMPLE OF DOOM, and the Palpaberg and Dante linked Holmes and Watson in YOUNG SHERLOCK HOLMES, confirming that Kennedy, Marshall and Palpaberg were simply continuing where they had left off in 1985. 


And using the film to come to grips with Cameron, who had followed up his success with THE TERMINATOR with even more success with ALIENS.  Indeed, Jim not only looked like Cameron, he was as obsessed with knowledge and technology-particularly fighter planes-as Cameron.  His perpetual naïve and innocent ways no matter what horrors and privations he experienced also implied that Kennedy, Marshall and Palpaberg were gently mocking him as a naïve innocent who had yet to experience a major critical disaster now living amongst the more seasoned and cynical film artist veterans of the dread Zone Wars like themselves.  A naïve innocent who clearly had to watch out for them, for Jim was cynically manipulated by John Malkovich’s duplicitous and scheming civilian American prisoner, Basie, throughout the film.  Curiously, while Basie looked and talked like Howard-as if Kennedy, Marshall and Palpaberg were using the film to also blast Howard for COCOON-he acted and dressed like Palpaberg, confirming that Palpaberg was using the film to address Cameron and his fury over the TZ disaster.  And coming to grips with the implicit roasting Kurosawa gave Cameron, Palpaberg and Stinkious in RAN, given that Takatoro Kataoka’s Kamikaze Kid, a Japanese boy who lived on the airfield next door and dreamed of being a kamikaze pilot, looked like Kurosawa.  The fact that Basie was joined in his machinations by his Marshall evoking friend, Frank-played by Joe Pantoliano-reiterated the implication that Basie symbolized Palpaberg.  Significantly, the link of Basie and Frank to Palpaberg and Marshall also gave additionally twilit and ominous symbolic significance to the most cynical and callous instance when the two manipulated Jim. 


This callous and twilit instance occurred when Basie persuaded the wide-eyed and exuberant Jim to crawl through an unfenced and marshy area of the internment camp to prove whether or not their Japanese captors had indeed mined the area to prevent escape.  Significantly, while Jim crawled obediently through the marsh, Basie, Frank and their fellow American prisoners gathered indifferently around a barrack window to watch and bet on Jim’s progress.  This raucous and callous crowd evoked the crowd that had gathered across the Santa Clarita River to watch the final scene of the Landis episode of TWILIGHT ZONE: THE MOVE and the sacrifice scenes in the subterranean Temple Theatres of Doom in INDIANA JONES AND THE TEMPLE OF DOOM and YOUNG SHERLOCK HOLMES, linking Basie, Frank and the rest of the American prisoners to the earlier crowds and implying that Palpaberg as well as Marshall had been amongst the crowd and watched the TZ disaster unfold.  This ominous implication was increased by the fact that Frank was not standing by Basie watching Jim make his fateful crawl through the marsh in the novel, as was killed by Japanese officers soon after he had been introduced to readers early in the novel-only in the film did Frank stand by Basie watching Jim, as in life Frank could have stood by Palpaberg.  The sight of the Landis linked camp commandant Sgt. Nagata prowling through the marsh after Jim also reminded us that it was well known that Landis was standing in the Santa Clarita River with a bullhorn directing the final scenes of his episode, confirming Nagata’s link to Landis…and leaving only Palpaberg who could be linked to Basie.  In short, the sequence implied that Emperor Palpaberg was confessing to having been on the Landis set of TWILIGHT ZONE: THE MOVIE, to having done nothing to stop Folsey, Landis and Marshall from using Chen and Le, and to having watched the disaster happen before him…something he had always denied in reality. 


Luckily for Jim, he survived his marsh crawl, allowing Emperor Palpaberg to desperately recreate reality and bring Myca back to life, yet again.  Perhaps this survival worked, and the sense that the end of the Pacific War and the liberation of Jim from the Soochow Internment Camp equated with the liberation of film art from the Zone and the end of the dread Zone Wars with the not guilty verdict for Landis and his four co-defendants earlier that year.  For despite this open recreation of the TZ disaster and the dire implication that Palpaberg had watched it unfold beside Marshall-and the fact that Jim was returned to his Rachael and Sir Scott evoking parents in the end after his liberation, returning the film to BLADE RUNNER and the summer of 1982-EMPIRE OF THE SUN was a popular and critical success, returning the insidious Emperor to power…Insidious developments that made it all too fitting that Landis returned the following year to celebrate his freedom with a sweet, gentle and CROCODILE DUNDEE evoking roast of newcomer Spike Lee-who had arrived on the scene two years earlier with his twilit and allegorical film, SHE’S GOTTA HAVE IT (1986)-in the symbolic form of Murphy’s naïve, innocent and Lee linked immigrant waif Prince Akeem-whose name evoked Spike Lee but spelled Meeka backwards, evoking Myca Le-in the allegorical Landis film, COMING TO AMERICA (1988).  A popular and critical success that implied that audiences wanted to the leave the TZ disaster behind, and a success that Lord Stinkious no doubt lusted for when he returned to with the Stinkious produced and Howard directed twilit, Ozian themed and allegorical fantasy film, WILLOW (1988). 


Intriguingly, WILLOW was a sweet, soft and CGI enhanced fantasy film that was a curious fusion of the Classic Trilogy, DRAGONSLAYER, EXCALIBUR, INDIANA JONES AND THE TEMPLE OF DOOM, JABBERWOCKY, MONTY PYTHON AND THE HOLY GRAIL, SNOW WHITE AND THE SEVEN DWARFS, The Lord of the Rings, and TIME BANDITS made partly in New Zealand that laid the ground for the Tolkien inspired fantasy epics from Sir Peter Jackson to come.  WILLOW was also aimed at young families instead of angry teens and young adults in an implicit attempt to reach out and reassure young parents and their children that Lord Stinkious was not Lord Stinkious, and that the Temple Theatre was still a safe and harmonious place for children.  Indeed, Howard and Lord Stinkious underlined that implicit intent by having Davis’ implicitly Reitman linked wannabe Munchkin sorcerer’s apprentice, Willow Uvgood, spend the entire film valiantly protecting and ultimately saving a good, Dorothy linked and Howard and Stinkious resembling baby girl sorceress named the Elora Danan-the ‘Elora’ linking her to era and L.A., and, hence, implying that she symbolized a new era of Hollywood film art, and played by both Ruth and Kate Greenfield-whom legend foretold would arrive to liberate the world from Jean Marsh’s Emperor, Evil and Wicked Witch of the West linked sorceress, Queen Bavmorda. 


Intriguingly, the Wicked Queen Bavmorda also looked like perspicacious American film critic, Pauline Kael, a link to Kael openly made by General Kael, her Nikko and Vader evoking right hand man and symbolic head flying monkey-played by Stinkious stunt regular Roach-implying that the film was also roasting and exorcising Kael as well as kicking off a new CGI enhanced film art era.  And fellow American film critics Gene Siskel and Roger Ebert, implicitly seen and heard in the critical fire breathing form of the dread and two headed Siskebert.  Setting us up for the end, as Willow proved his wizardly worth by combining with Patricia Hayes’ Glinda linked Good Witch, Raziel, and Val Kilmer’s Gilliam linked master swordsman, Madmartigan, to defeat the Wicked Bavmorda before she sacrificed the Elora Danan to the Dark gods in the latest Temple Theatre of Doom in her Black Castle, bringing peace and harmony to the land in the climatic conclusion.  A conclusion that reaffirmed the hopes of Howard and Stinkious that WILLOW would indeed come to the support of Gilliam and Reitman, exorcise the TZ disaster, end the dread Zone Wars and nasty critical reviews, and kick off that magical new era of CGI enhanced film art with a new generation of younger audiences now that the TZ trial was over, in the end.  Luckily for Lord Stinkious, audience members agreed, as WILLOW was a success like EMPIRE OF THE SUN.  Unlike the other major film executive produced by Lord Stinkious in 1988, the twilit and allegorical Coppola film, TUCKER (1988).


Significantly, TUCKER railed against the critics of both directors, struck back at the TZ disaster, and confidently predicted posthumous vindication for both visionaries.  For the film implicitly likened the experience of being moved by the horrific TZ disaster to spur the development of CGI enhanced film art to prevent fatal film set disasters to irrepressible American inventor Preston Tucker’s dream of creating safer and more accident resistant cars after being moved by newspaper stories of horrific car accidents, car accidents that also evoked the Great Crash of ‘62.  Bridges’ Tucker underlined the link to the year of the TZ disaster, recalling his roles as Kevin Flynn and Clu in TRON.  Coppola and Stinkious also likened the experience of being tarred with the same twilit brush by association with Palpaberg and prevented from continuing to enjoy success as film artists to the experience of Tucker being struck down by his association with the Palpaberg linked Abe Karatz-a convicted embezzler played by Martin Landau-and prevented from building and selling his dream car of the future-the Tucker Torpedo-by a corruption case launched by the duplicitous machinations of the Big Three automakers and the US Government.  However, despite the powers arrayed against him and his presumed guilt by association, Tucker won his case, and some of his innovations-like padded dashes and seat belts-were adopted after his death and are used to this day.  This implied the hope of Coppola and Stinkious that they would also be triumphant and vindicated in the end, and that some of their cinematic innovations-like CGI, multi-narrative films and THX sound-would also continue to be used after they were gone.  A hope that was rejected in 1988, as Lord Stinkious was still looked on with fear and loathing that year.


Of course, the obsessive interest in vintage cars and tinkering with them to make them faster and flashier-and jumpin’ Joe Jackson’s jivin’ soundtrack-also evoked the boss cars of AMERICAN GRAFFITI and the rocket car of THX 1138, continuing the interest in cars in the film art of Lord Stinkious.  In addition, Tucker’s closing rant against corporatism in his sham financial misappropriation trial evoked Mishima’s anti-corporate rant at the end of MISHIMA, openly linking Mishima to Tucker and TUCKER to the last Coppola-Stinkious collaboration, reaffirming the implication that Mishima symbolized Lord Stinkious on one level.  Unlike Mishima’s rant, however, Tucker’s rant was successful, implying that Coppola and Stinkious were hopeful that they would leave behind the twilit difficulties of the Eighties and succeed again in the Nineties.  Indeed, Tucker’s rant also evoked a speech in PATTON that saw Patton apologize for slapping a wounded soldier in a hospital and accusing him of cowardice, underlining that Coppola and Lord Stinkious were now eager to get back into the battle again.  In fact, Coppola and Stinkious reiterated their strengthened ties in 1988 by supervising the release of Godfrey Reggio’s surreal and allegorical cinematic meditation, POWAQQATSI: LIFE IN TRANSFORMATION (1988).  The exuberant and full throttle energy of the film and of the irrepressible and indomitable Tucker also combined to imply that despite how audiences were treating him and his film art, Lord Stinkious was equally upbeat about his chances for success with the conclusion of the TZ trial.


A quietly confident and upbeat optimism that was implicitly shared by Besson after the success of his first two films and on open display when he replied to SPLASH and roasted Palpaberg in his Ozian themed and allegorical film, THE BIG BLUE (1988).  For the little director that could celebrated his triumphs over Cameron, Lord Stinkious, Palpaberg and Sir Scott in his first two films by having  Jean-Marc Barr‘s little and Besson linked champion free diver Jacques Mayol beat the big, beastly, blockbuster and Spielberg and Zone linked free diver, Enzo Molinari-played by Reno, and wearing the same rimless glasses with round lenses to reaffirm his link to Spielberg as he did in his role as the nasty Black Knight of LE DERNIER COMBAT-with a Fourceful 400 metre dive to become world champion.  Of course, this Fourceful 400 m dive also sent a message to Lord Stinkious that the Force was now with Besson, and that he was still on track to top Stinkious as the messianic French J.D. Jedi of film art.  And confident that he was also at one with suspicious and wary audiences as the universe, for Mayol swam away with suspicious and audience linked dolphins, in the end, evoking the sight of Bauer swimming away with Madison the mermaid at the end of SPLASH.


However, despite these two memorable roasts, a confident commitment to struggling through a difficult time and starting over that was also on display when Kennedy, Marshall and Palpaberg celebrated the end of the TZ trial by teaming up with Lord Stinkious as executive producers of the twilit and allegorical Don Bluth animated film, THE LAND BEFORE TIME (1988).  Significantly, as with WILLOW, this outrageously and ridiculously light and innocent children’s film from the killers of two children tried to win over younger families to the cause of Kennedy, Lord Stinkious, Marshall and Palpaberg.  The four film artists also used THE LAND BEFORE TIME to come to grips with their troubled lives since 1982.  Indeed, the successful efforts of lost boy and girl dinosaurs, Littlefoot and Cera-voiced by Gabriel Damon and Candice Houston, respectively-to escape unexpected tyrannosaurus rex attacks and continental cataclysms and reach the safety of the lush and peaceful Great Valley implicitly symbolized the battle the four had fought since 1982 to escape the TZ helicopter crash, the fury of audiences and critics, and seismic shifts in the Hollywood hierarchy with the arrival of Besson and Cameron, and reach a safe and peaceful new haven free from the Twilight Zone-as well as pointed the way to CGI enhanced live action dinosaur films from Palpaberg to come.  A hope shattered by another helicopter crash on another Phillipines set of another allegorical Norris film, STRANGLEHOLD: DELTA FORCE II (1989), that killed five and injured three cast and crew members on May 16, 1989, not long before the release of the twilit and allegorical, Ozian themed, Lord Stinkious and Marshall executive produced and Palpaberg film, INDIANA JONES AND THE TEMPLE OF DOOM (1989).


Significantly, the film began with the image of a desert mountain that evoked the mountain that kicked off RAIDERS OF THE LOST ARK and implied the raised spirits of Kennedy, Marshall, Palpaberg and Stinkious since the end of the TZ trial and the success of EMPIRE OF THE SUN and THE COLOR PURPLE.  Then INDIANA JONES AND THE LAST CRUSADE began with another prologue adventure, and one that evoked FINIAN’S RAINBOW like the prologue adventure that kicked off RAIDERS OF THE LOST ARK.  In a significant departure from tradition, however, this one was set in the childhood of Ford’s Jones, immediately linking the film to EMPIRE OF THE SUN and implying that Palpaberg would revisit and continue themes developed in that film.  This childhood prologue also reiterated that Kennedy, Lord Stinkious, Marshall and Palpaberg were still starting over in the post-TZ disaster years and reaching out to younger families and their children in order to win them over to their cause as in CARAVAN OF COURAGE, EMPIRE OF THE SUN, HOWARD THE DUCK, LABYRINTH, THE BATTLE OF ENDOR, THE LAND BEFORE TIME and WILLOW, as well as pointed the way to the Young Indy telefilm series.  This prologue also explained how Jones received his trademark chin scar, fedora and whip.  For while on a Boy Scout expedition on horseback to classic Ford country in Utah’s Monument Valley in 1912, Phoenix’ young Indy discovered an evil Ozian quartet of illicit treasure hunters-led by a Great Oz linked leader in a fedora who looked like Palpaberg and was played by Richard Young-digging away in an underground-and, curiously, Sarlaac Pit evoking-INDIANA JONES AND THE TEMPLE OF DOOM-style mine in a desert cliff cave.  Significantly, the young Jones soon fled the cave with their find, the fabled Cross of Coronado, a gold cross that evoked the gold maternity idol of the South American subterranean Temple Theatre in the prologue adventure of RAIDERS OF THE LOST ARK.  The gold cross also reminded us that THE STUNTMAN was filmed on Coronado Island located in the bay off San Diego, linking this prologue to the last idyllic and successful years prior to the TZ disaster. 


After fleeing with the cross, Jones was chased by the feisty treasure hunting quartet onto a pandemonium circus train, linking the quartet and the film to INDIANA JONES AND THE TEMPLE OF DOOM again by way of the mine car chase at the end of that film, while also evoking Mr. Dark’s carnival train in SOMETHING WICKED THIS WAY COMES.  This allusion to the Palpaberg linked Mr. Dark and his black top hat reinforced the implication that the fedora leader of the evil Ozian quartet chasing Indy was linked to Palpaberg.  Here a pitched battle between Jones and the Evil Ozian quartet erupted.  Fleeing into one car containing the House of Reptiles, Jones crawled along a gangway over a tank of crocodiles that recalled the crocodiles in the chasm at the end of INDIANA JONES AND THE TEMPLE OF DOOM.  Soon after, Jones fell into a water filled tank in this car.  Suddenly, a huge snake rose between his legs, linking his phallic fear of snakes and women to a fear of film set disasters, critical attacks and financial setbacks.  An escape into another car led to a close encounter with a not too Cowardly circus Lion, another reminder that this was an Ozian themed film. 


Luckily, this MGM logo evoking lion was held back from attacking Indy by a whip whose first snap cut his chin, leading to his scary trademark Scarecrow scar.  This scary scar re-established him as the film’s symbolic Scarecrow, and reminded us that INDIANA JONES AND THE TEMPLE OF DOOM was a bloody disaster for Palpaberg and Stinkious.  Escaping into another car, Jones found himself in Dr. Fantasy’s Magic Caboose.  The Professor Marvel-like name of this caboose reminded us that Marshall usually performed magic shows under the name of Dr. Fantasy at the party that concluded each of his films, missing only the one that was not held after the completion of TWILIGHT ZONE: THE MOVIE.  This reminded us of Dr. Fantasy’s comic shop and Sheriff Frank in GREMLINS and Frank in EMPIRE OF THE SUN, reiterating that Marshall had the support of Palpaberg.  Indeed, the continued supportive allusions to Marshall underlined that Emperor Palpaberg was appreciative of his underling’s refusal to talk about the TZ disaster, and prepared us for a Palpaberg produced and neo-gremilin filled allegorical Marshall film to come.


Escaping from the circus train, Jones fled back to the house of his father, Dr. Henry Jones sr., the stern Scotsman with the Welsh surname of Jones played by Connery.  This led to a symbolic male rape scene, for the Cross of Coronado was taken from Jones by the local sheriff and given to the treasure hunting quartet.  Intriguingly, they passed it on to a wealthy American gentleman in a white suit-played by Tim Hiser-who evoked Colby’s Buzz Collins in FINIAN’S RAINBOW and also looked like Rush, reaffirming the implicit link of this prologue adventure to THE STUNTMAN and 1980 and the last good years of film.  It was a significant scene, and one that returned sexual disease to the films of Lord Stinkious and underlined that the Ozian Force had not been with Kennedy, Marshall, Palpaberg and Stinkious since the TZ disaster.  For Marc Miles’ sheriff looked like L. Frank Baum, confirming that the treasure hunting foursome was an Evil elemental Ozian quartet.  This elemental status also implied that taking away the four armed Cross of Coronado from Jones equated with taking away the Ozian themed and elemental crown of harmony and success from Lord Stinkous after the TZ disaster and the resounding failure of INDIANA JONES AND THE TEMPLE OF DOOM and STAR WARS EPISODE VI: RETURN OF THE JEDI, implying that Jones symbolized Lucas again as in INDIANA JONES AND THE TEMPLE OF DOOM.  Indeed, giving up the cross to the evil Great Oz and Palpaberg lookalike in the fedora reminded us that the career of Lord Stinkious had tanked since he had agreed to work with Kennedy, Marshall and Palpaberg on INDIANA JONES AND THE TEMPLE OF DOOM after the TZ disaster, while the careers of Kennedy, Marshall and Palpaberg had inexplicably rebounded after the success of EMPIRE OF THE SUN.  Palpaberg clearly sympathised with Stinkious, for the Palpaberg lookalike gave his fedora to Indy, evoking Basie’s cynical manipulation of Jim in EMPIRE OF THE SUN.  However, as Palpaberg had implicitly admitted to being on the Landis set and watching the TZ disaster unfold at the end of EMPIRE OF THE SUN, it was clearly a twilit and tainted directo fedora, indeed.


Curiously, despite all of the good reasons not to get too close to Emperor Palpaberg or to accept any hats from his symbolic personifications, Indiana Stinkious accepted the directo fedora.  Clearly, at this point in his life, Lord Stinkious was so desperate for success he did not care how tainted that success was.  And clearly Lord Stinkious hoped that success on film would occur in reality, for as the twilit fedora was pressed down on Indy’s head by the symbolic Palpaberg, the scene dissolved into a triumphant adult conclusion to the defeated childhood prologue that saw Ford’s Jones defeat the older White Suit-now played by Paul Maxwell-and his henchmen and recover the Cross of Coronado, his virility and his elemental Ozian harmony after a brawl aboard the SS Coronado on a dark and stormy night at sea.  This elemental triumph led to an explosion that sunk the SS Coronado, an explosive sinking that did away with White Suit and his henchmen but left Jones ironically swimming away with the healing and harmonizing Cross of Coronado, implying the hope of Lord Stinkious that the diseased and disharmonious years since 1982 were being sunk and left behind and that health, harmony, fame and fortune were returning with this latest Indy film.  Indeed, the rest of the film was devoted to a symbolic quest for Oscar glory, implicitly affirming that Lord Stinkious was hoping to reboot his film art career with a little help from Emperor Palpaberg and this Indy trimax.  This reversed the situation at the time of the release of RAIDERS OF THE LOST ARK, when the skyrocking Lord Stinkious had curiously come to the aid of Emperor Palpaberg, and also reaffirmed that Indy was linked to Stinkious in this film as in INDIANA JONES AND THE TEMPLE OF DOOM.


Indeed, no sooner did the adult Indy return to teaching at that eastern college and another meeting with Brody, as at the end of the prologue adventure that began RAIDERS OF THE LOST ARK in another confirmation that Lord Stinkious wanted to rescale the heights of fame and fortune he had achieved in 1981, then Jones was whisked away by a sinister and twilit trio of men to a meeting with the less sinister but still suspicion arousing and wealthy socialite, Walter Donovan.  Significantly, Donovan was linked to Lean, perhaps for implicitly coming to the support of Landis in A PASSAGE TO INDIA.  This link was underlined by the fact that he was played by the Lean resembling Glover, who had played the Lean linked General Veers in STAR WARS EPISODE V: THE EMPIRE STRIKES BACK.  Significantly, Donovan persuaded Jones to head off on a quest for the Holy Grail, a quest that evoked the difficult quest for the equally elusive Oscar and allegorical films like EXCALIBUR and MONTY PYTHON AND THE HOLY GRAIL that addressed that Oscar quest as well as the equally intrepid Jedi Knights of the Classic Trilogy, affirming that Lord Stinkious was indeed using the film to reboot his career and return to the glory of 1981.  Intriguingly, and unlike RAIDERS OF THE LOST ARK, this time Brody joined the quest, perhaps a nod to Marshall and his willingness to help out Stinkious again as co-executive producer.  Significantly, this Jones and Brody duo and their quest to solve the mystery of the location of the Holy Grail and the disappearance of Jones’ father, Dr. Henry Jones sr.-whose portrayal by Connery reaffirmed the implicit interest in recapturing the glory of 1981 by way of his character Agemmenon in TIME BANDITS-also evoked the pair of Holmes and Watson in YOUNG SHERLOCK HOLMES.


An apt allusion, as Jones and Brody were soon in a Venice Beach evoking Venice, a sojourn in Venice that evoked the allegorical and Venice set Lean film, SUMMERTIME (1955)-which was an implicit reply to Federico Fellini for the roasting Lean implicitly received in the form of Franco Fabrizi‘s Fausto Franceso in the allegorical film, I VITELLONI (1953)-to implicitly affirm the Lean addressing intent of the film.   Here the two old colleagues and friends explored an old church converted into a library for clues to the location of the Grail and the whereabouts of Jones sr., a converted church with intrepid knights on stained glass windows that the evoked the CGI knight leaping from a stained glass window in a church and terrifying Reverend Nesbitt to death in YOUNG SHERLOCK HOLMES.  While luckily for Jones and Brody no blockbuster CGI enhanced beasts attacked them, they and their new colleague, the Austrian archeaologist Dr. Elsa Schneider-a beautiful and L.A. linked blonde played by Allison Doody who evoked the insidious Dr. Schneider in FUTURE WORLD and the equally beautiful, blonde and Hollywood linked American spy Karen Boyer, played by Donna Dixon, in SPIES LIKE US-were almost killed by all too human attackers.  Curiously, these human attackers, a mysterious and red fez wearing group of Middle Eastern men known as the Brotherhood of the Cruciform Sword, evoked not just all of the audiences, critics and film artists that had been ambushing Emperor Palpaberg and Lord Stinkious since 1982 and destroying their film careers, but the equally mysterious, persistent, deadly and Landis linked Savak of INTO THE NIGHT. 


Indeed, their leader, Kazim-played by Kevork Malikyan-looked a bit like Landis, albeit a kinder and gentler one, affirming the link to Landis.  This link implied that the film was also being used to repair the damage Landis had done to his reputation by insanely linking himself to the head of the Savak in INTO THE NIGHT, evoking the damage control done for Landis with Dalim Zingh in INDIANA JONES AND THE TEMPLE OF DOOM.  Luckily for the neo-twilit trio of Brody, Jones and Schneider, however, they managed to fight off the hostile and nasty Brotherhood in a way that Lord Stinkious clearly hoped to do with his many critics in reality with this film.  They also discovered the tomb of the Sir Attenborough linked Grail Knight, Sir Richard-a dead Grail Knight who evoked the Grail Knights of EXCALIBUR, reminding us that EXCALIBUR did not just address Lord Stinkious, but was released in the Last Good Year of film before the TZ disaster-hidden in the sewer catacombs beneath the converted church, and vital insights into the locations of the Holy Grail and Jones sr.


 Significantly, Kazim’s tip that Jones sr. was being held hostage by the Nazis in Austria at a Bavmorda and Wicked Witch of the West evoking Castle Grunwald-literally, as Elsa and Donovan were both revealed to be in cahoots with the Nazis there-turned out to be true.  Curiously, and to our surprise, Jones sr. turned out to look like Maestro Williams, reaffirming that Lord Stinkious was hopeful indeed that the personnel that had made RAIDERS OF THE LOST ARK a success would strike gold again here in INDIANA JONES AND THE LAST CRUSADE.  But not without a battle, for after rescuing Jones sr., the two Jones boys got into all sorts of jackanapes with the pursuing Nazis that evoked the tragicomic misadventures of Fitz-Hume and Millbarge in SPIES LIKE US-including a road chase sequence that evoked a similar, Western film-style horse and wagon chase sequence in WILLOW.  Then, after travelling to Berlin to take Jones sr.’s Grail diary from the Wicked clutches of Elsa, the healing Ozian quartet of Scarecrow Jones jr., Tin Brody, Cowardly Sallah-played again by Rhyss-Davies-and Great Jones sr. eventually made it to the Temple Theatre in the hidden Canyon of the Crescent Moon-a crescent moon that reminded us that a waxing crescent moon was hanging in a cloud scattered sky the early morning of the TZ disaster-located not far from the Indian Dunes and Los Angeles cadenced city of Iskenderun in the fictional Middle Eastern Republic of Hatay, a desert location that evoked the allegorical Lean film, LAWRENCE OF ARABIA (1962), to reaffirm the implicit Lean addressing intent of the film.  Here Kennedy, Marshall, Palpaberg and Stinkious openly affirmed the Ozian themed allegorical intent of the film by having Indy pass an Ozian and elemental quartet of tests in the inner hidden Temple Theatre before he could claim the Holy Grail, an Ozian quartet of tests that recalled the difficulties Cera and Littlefoot had to pass before finally reaching the lush and peaceful Great Valley at the end of THE LAND BEFORE TIME.


Significantly, the first twilit trio of Grail tests symbolised the trials that Kennedy, Marshall, Palpaberg and Stinkious had undergone since the TZ disaster in 1982.  Indeed, the two huge, decapitating and dismembering blades of the first test-called the Breath of God-clearly symbolised the TZ disaster, linking the blades to Fire.  Spelling out the Latin version of the Jewish name of God by stepping one by one on the letters that composed that name on a lonely cobblestone path above a kazim was the second test, a test called the Word of God, a lonely path clearly linked to Earth.  The slightest mispelled misstep on this path led to a deadly fall down the chasm, implicitly evoking the lonely and rocky path trodden by Kennedy, Marshall, Palpaberg and Stinkious after the TZ disaster, a path whose slightest unwary and incautious utterance about the TZ disaster could have led to the end of their film careers.  Successfully walking that lonely and rocky road, Jones walked out of a doorway and found himself on the edge of a precipice.  This precipice reminded us of the precipice that Jones, Round and Scott found themselves perched on after they escaped from the underground labyrinth and the wall of water rushing from the Temple Theatre of Doom at the end of INDIANA JONES AND THE TEMPLE OF DOOM.  This link underlined that Kennedy, Marshall, Palpaberg and Stinkious hoped that with the success of INDIANA JONES AND THE LAST CRUSADE, they would all finally be able to leave behind the Temple Theatre of Doom forever and again reach the Temple Theatre of Light. 


The link to the end of INDIANA JONES AND THE TEMPLE OF DOOM also evoked the rope bridge across the crocodile filled chasm that awaited Jones, Round and Scott after they found themselves on the precipice.  A timely evocation, preparing us for the leap of faith and the fearless step into thin Air over another kazim that Jones had to make in order to pass the third twilit and Ozian Grail test, the Path of God.  This faithful step into thin air led the foot of Jones onto the True Path of an invisible stone bridge that led out of the Temple Theatre of Doom and across the kazim to the sacred inner chamber of a brazier and gold cup filled Temple Theatre of Light.  Thus, this faithful step clearly symbolised the hope that the four film artists were now free from the Twilight Zone, and had regained the faith of audiences and transformed the Temple Theatre of Doom back into a Temple Theatre of Light. 


Indeed, Jones passed the fourth and final Ozian elemental test by choosing the right Grail cup amongst dozens of false and dazzling fortune and glory pretenders and drank deep from the sacred waters of life, health and art, linking the final Grail test to Water, and making implicit clear the hope of Kennedy, Marshall, Palpaberg and Stinkious that they had regained the Temple Theatre of Light and their healthy and successful Ozian elemental harmony.  And were back on track for Oscar glory, for the sacred cup of Christ was the colour and the shape of an Oscar statuette.  Significantly, the Holy Grail also evoked the gold maternity idol in the hidden Temple Theatre in the prologue adventure that kicked off RAIDERS OF THE LOST ARK, reaffirming the hope of Kennedy, Marshall, Palpaberg and Stinkious that INDIANA JONES AND THE LAST CRUSADE would return them to the heady heights of success they had achieved in 1981 and bringing the Indy Trilogy full healing circle.  A healthy and successful harmony that the trailing Donovan failed to achieve after he followed Jones into the Temple Theatre of Light and rashly and brashly insisted on choosing the wrong bright and flashy chalice before Jones got a chance to reach for the Grail.  For his eager drink of water from the deadly cup of fortune and glory at any twilit and disastrous cost quickly aged him with the help of CGI and turned him into dust in front of the horrified eyes of Jones and Schneider as Kennedy, Marshall, Palpaberg and Stinkious repaid Lean for supporting Landis in A PASSAGE TO INDIA.


Not surprisingly, the correct choice of the Holy Grail by Jones satisfied and appeased the only survivor of a twilit trio of immortal English Knights who guarded the Holy Grail, a centuries old knight curiously linked to Cameron-played by Robert Eddison.  Of course, this indomitable Knight evoked the Grail Knights of EXCALIBUR, reiterating the hope of Kennedy, Marshall, Palpaberg and Stinkious that the film would recapture the magic of the Last Good Year, and anticipated a Cameron linked Jedi Knight in the Tragic Trilogy to come.  Passing the Grail tests also allowed the elemental harmony of Jones to heal his father with the holy water of the Grail, preventing him from dying of a gunshot wound inflicted by Donovan.  This miraculous healing underlined the hope that healing Ozian Force was now flowing with Kennedy, Marshall, Palpaberg and Stinkious, and that they could heal audiences again with truly fantastic films in the new decade.  And that the Temple Theatres of Doom had once more become Temple Theatres of Light. 


Soon after, Schneider fell to her doom down a new kazim created by the collapsing outer Temple Theatre after reaching greedily to seize the Grail lying tantalizingly lower down on a ledge, perhaps a blast from Lord Stinkious at Marcia for taking so much money from him in the Great Divorce of ’83, reaffirming the implication that Jones symbolized Stinkious in INDIANA JONES AND THE TEMPLE OF DOOM.  A precipitous mistake not made by Indy, when he listened to wise counselling from his father and abandoned the Holy Grail and fled the collapsing outer Temple Theatre with Brody, Jones sr. and Sallah, implying that Lord Stinkious had learned his twilit lesson and would work hard to regain the trust of audiences in the Nineties.  However, the harmonious ending conveniently ignored all of the tough questions surrounding the involvement of Kennedy, Marshall, Palpaberg and Stinkious in the TZ disaster and their relationship since the disaster, and all of the ominous implications of twilit wrongdoing they had revealed in their post-TZ disaster films.  Clearly, the rocky road continued, and the crusade was far from over.  Indeed, to underline that, the elemental Ozian quartet were last seen riding off on scout horseback into the Ford desert sunset, searching for a new Dorothy to centre and heal. 


However, Lord Stinkious got his wish, for like WILLOW, INDIANA JONES AND THE TEMPLE OF DOOM was a hit that did its best to restore the reputation of the embattled film artist.  Curiously, it was also not the only film that saw Palpaberg help out Stinkious in 1989.  For the Emperor also came to the rescue of the Lord in his other film that year, the sweet and haunting Kennedy, Marshall and Palpaberg executive produced allegorical romance, ALWAYS (1989).  For, clearly moved by his friend’s glum spirits, Palpaberg urged his friend to let go of Marcia and the past and love again in this sweet and moving film.  This heartfelt wish was seen in the story of Dreyfuss’ dead hotshot forest fire pilot, Pete Sandich, who returned to the land of the living as a Superghost after a CGI enhanced and TZ disaster evoking explosion blew up his forest fire fighting plane and took his life at the outset of the film.  Unseen but influential, Sandich guided Brad Johnson’s shy, awkward, and Clark Kent evoking pilot Ted Baker in his own forest fire flying and in his equally fiery wooing of Sandich’s own lost Lois Lane and Debbie Dunham-like lady love and fellow forest fire fighter pilot, Dorinda Durston-played by Holly Hunter.  Sandich succeeded in both goals and then let go of the two young lovers like a proud father giving his daughter away to a good husband, allowing Dreyfuss to ascend to the heavens again, as he did at the end of CLOSE ENCOUNTERS OF THE THIRD KIND.  Thus, Emperor Palpaberg entreated Lord Stinkious to let go of Marcia and Tom as well, and return to the land of the loving, in the end.  For to truly succeed in art and life, love as well as the Force must be with you…always.


This heartfelt message was underlined by the fitting return of Dreyfuss as the George Lucas cadenced pilot Pete Sandich, fittingly last seen in a Lord Stinkious film on a Magic Carpet Airlines flight in the role of Henderson at the end of AMERICAN GRAFFITI.  Indeed, Dreyfuss emphasized the link by acting, talking, walking and even laughing like an older Henderson throughout the film.  This link was also reiterated by the Platters’ hit song, ‘Smoke Gets in Your Eyes’ (1958), for the love theme of ALWAYS was last heard in a Lord Stinkious film being played during the Munchkinland homecoming sockhop in AMERICAN GRAFFITI while the first tempestuous Pete and Dorinda pair of Steve and Laurie slowdanced and discussed their impending breakup.  This theme song also reminded us that while the mechanical problems and dangerous situations the forest fire pilots fought through in the air in the film evoked GREMLINS, the horrific plane trip in the Miller episode of TWILIGHT ZONE: THE MOVIE, and the fiery TZ disaster crash itself, the many allusions in ALWAYS to 1941, AMERICAN GRAFFITI, CLOSE ENCOUNTERS OF THE THIRD KIND, DUEL, E.T. THE EXTRATERRESTRIAL, SUPERMAN, and  THE STUNTMAN evoked the good years between George and Marcia-and for Spielberg-before the TZ disaster and the Great Divorce.


A sweet and sympathetic film indeed, and the first of many post-TZ disaster Palpaberg films to acknowledge the reality of death, and the hauntin and clinging ghosts of the past.  And a film that underlined that Palpaberg was flying more confidently now that the TZ trial was over, a confidence seen in the slow mastery of fire flight by Baker, with spectral help from Sandich.  Indeed, while using forest fire fighting as an analogy for passionate and tempestuous relationships, the film also always linked the dangerous flying the forest fire pilots had to perform to dangerous stunts on film sets in general, and on TWILIGHT ZONE: THE MOVIE in particular.  This was seen in the person of Sandich, whose overconfidence in his ability to pull off the dangerous flying rescue that led to his explosive death evoked Landis and his overconfidence in his crew’s ability to pull off the dangerous mechanical effects that led to the TZ disaster.  An explosive disaster that Palpaberg was careful to make clear to audiences could already be prevented from happening again with CGI.  For when out of control flames trapped forest fire fighters on a burning mountain at the end of the film-a blazing inferno that stood in dramatic contrast to the difficult but far less dangerous and hellish climb up Devil’s Tower at the end of CLOSE ENCOUNTERS OF THE THIRD KIND-Sandich used his Superghost influence to give Dorinda the strength to fly her plane through a fiery lane of burning trees at dangerously low heights to drop a lifesaving load of water on the fires threatening the trapped fire fighters like a real life Glinda the Good.  Of course, this CGI enhanced low level but successful flight evoked Wingo’s unsuccessful low level helicopter flight through effects explosions on the Landis set shortly before the crash, making it clear that the new digital effects wizardry had already conquered the TZ disaster by 1989. 


Alas, a school bus driver named Frank-played by Doug McGrath-was allowed to save a bus load of children at one point in the film by pulling over to the side of the road before he collapsed of a heart attack, curiously linking ALWAYS to a busload of children in DUEL.  Frank was saved by a cool and calm Baker passing by in a car with Dorinda, underlining Baker’s links to Clark Kent and Superman.  This resuscitation reaffirmed that with the TZ trial over, Spielberg was now re-directing reality to show Marshall in a good light.  Indeed, this bizarre and blatant re-direction of reality evoked the sympathetic nods to Marshall in EMPIRE OF THE SUN and GREMLINS, and again prepared viewers for the arrival of Marshall’s first directorial effort the following year.  Unfortunately for Kennedy, Marshall and Palpaberg, choosing McGrath to play Frank was not a good idea, as he had sat opposite Morrow’s Connor playing Larry in the Landis episode of TWILIGHT ZONE: THE MOVIE.  As a result, McGrath’s reappearance not only did not persuade viewers to have a change of heart and embrace Frank, it reopened raw and furious twilit wounds and caused audiences to reject Frank in outraged horror-yipe! 


Not that audiences noticed or cared even if they did notice, as the success of ALWAYS and INDIANA JONES AND THE TEMPLE OF DOOM implied that they had forgiven and re-embraced Emperor Palpaberg and Lord Stinkious.  Alas for Stinkious, it was too little too late, as his reputation had been destroyed.  If he had only waited until the twilit furor had died down and worked with Kennedy, Marshall and Palpaberg on INDIANA JONES AND THE LAST CRUSADE as his second Indy film with the twilit trio, he probably would have been okay.  However, the implication that the success of ALWAYS and INDIANA JONES AND THE LAST CRUSADE signalled that Palpaberg was free from audience condemnation at least and now just had to worry about his own guilty conscience was reiterated by the success of the twilit and allegorical Roger Spottiswoode film, TURNER AND HOOCH (1989).  Significantly, TURNER AND HOOCH was an enthusiastic and propagandistic ode to Palpaberg that literally brought his life full healing circle.  For the film was a humourous and light hearted remake of CUJO that saw bad blockbuster beast Cujo transformed into good albeit gremlin linked and mayhem causing blockbuster beast, Hooch-played by Beasley-a, huge, ugly, powerful and intimidating dog that helped Hanks’ nitipicky, safety conscious and Palpaberg linked Cypress Beach Police Department ‘investigator’ Scott Turner track down the murderer of his owner, Amos Reed-played by John McIntire-killed by the insidious and Landis linked Zach-played by Scott Paulin.  Alas, Hoocho died of a gunshot in the process, allowing Spottiswoode to end Palpaberg’s link to the Evil and out of control blockbuster beast on a more positive note.  Positive indeed, as the success of this mission also allowed Turner to capture the love of Mare Winningham’s Margot Kidder resembling Emily Carson, the literal symbol of film art, as her name evoked Canadian painter, Emily Carr, suggesting that at least one of the five screenwriters was as Canadian as the director.  A canny Canadian connection that linked well with the return of Cameron to the Temple Theatre that year and when he replied to CLOSE ENCOUNTERS OF THE THIRD KIND, EXPLORERS, THE BIG BLUE, 2010 and the allegorical lrwin Allen film, VOYAGE TO THE BOTTOM OF THE SEA (1961), with his twilit and allegorical film, THE ABYSS (1989).


Intriguingly, with Deepcore underwater mine employees and US Navy SEALs uniting on a mission to find and to decode the mystery of the sunken submarine USS Montana, THE ABYSS evoked the US/USSR mission to rendezvous with and decode the mystery of the USS Discovery I in 2010, albeit underwater.  The Deepcore undersea mining rig that was the base of the underwater expedition also evoked the labyrinth of rooms, passages and levels of the Con-Am 27 titanium mine on Io in OUTLAND and the colony on LV-426 in ALIENS, albeit leading to contact with more benevolent and peace loving beings as on the USS Discovery I in 2010.  Curiously, however, Cameron implied that his main target was not Allen, Besson, Dante Hyams, Irwin, Palpaberg, but Carpenter, in the implicit form of Biehn’s increasingly psychotic Navy SEAL Lieutenant Hiram C. Coffey.  This interest in Besson climaxed in Coffey being terminated in an undersea submersible versus submersible battle with Mary E. Mastrantonio’s Lindsey Brigman at the end of the film that evoked the equally embattled endings of ALIENS and XENOGENESIS.  Cameron also implied that he was not happy that 2010 had ended with the film world trapped in a twilit era.  For after terminating Coffey and having Lindsey’s estranged and implicitly Stinkious linked husband, Virgil ‘Bud’ Brigman-played by Ed Harris-defuse a nuclear enhanced blockbuster bomb, THE ABYSS ended in daylight, implying Cameron’s hope that a brave new TZ disaster, Zone War free and CGI enhanced film art era would begin in the Nineties. 


Indeed, the luminescent biodigital underwater beings that may or may not have been extraterrestrial that Bud encountered after defusing the blockbuster bomb and that helped create a détente between the free world and the communist world at the EXPLORERS and 2010 evoking end of the film implicitly symbolized Cameron’s hope that a détente between the various factions of the Zone Wars and a blockbuster bomb free era would now begin in the Nineties with the arrival of CGI enhanced film art.  The fact that Deepcore employees like Leo Burmester’s Catfish De Vries evoked Cameron, Todd Graff‘s Alan ‘Hippy’ Carnes evoked Kubrick, John B. Lloyd’s ‘Jammer’ Willis evoked Marshall, J.C. Quinn’s ‘Sonny’ Dawson evoked Palpaberg and Richard Warlock’s Perry evoked Sir Scott, while US Navy Commander DeMarco-played by T. Kenneth Campbell-evoked Hyams supported this implication throughout THE ABYSS.  Last but not least, by allowing Bud and Lindsey to kiss and make up, in the end, Cameron also implied his hope that Lord Stinkious would free himself from his Dark Side and get back in J.D. Jedi black in the Nineties with some Forceful and full throttle CGI enhanced film art.  An interest in CGI enhanced film art that was, not surprisingly, rejected by Kirk and the rest of the resourceful and courageous crew of the storied Enterprise when they embraced humanity yet again after a legendary and Eden-like CGI world prophesized by Laurence Luckinbill’s Hyams and Kubrick evoking rogue Vulcan, Sybok, turned out to actually be Hell at the end of the twilit and allegorical Shatner film, STAR TREK V: THE FINAL FRONTIER (1989), continuing the anti-CGI and pro-human Trekkie crusade that began in 1983 in STAR TREK III: THE SEARCH FOR SPOCK. 


Curiously, the fine Shatner film was half as successful as the two Nimoy directed STAR TREK films, reminding us that Kirk was half as popular as Spock.  Clearly, even with directorial efforts, Shatner could not escape the curse of Spock!  Not surprisingly, Gilliam implicitly lashed out in sarcastic fury at Palpaberg’s newfound habit of desperately redirecting reality to symbolically return Chen and Le back to life in his post-1982 films with John Neville’s Baron Munchausen and his love of redirecting reality with tall tales that brought the dead back to life in the twilit and Emperor Palpaberg roasting allegorical film, THE ADVENTURES OF BARON MUNCHAUSEN (1989).  Cronenberg implicitly lashed out in even greater fury at Lord Palpaberg that same year, roasting him as a gentle Jekyll in public and a hideous Hyde behind closed doors in the form of the doomed Good and Evil Mantle twins, Beverly and Elliot-played by Jeremy Irons-in his allegorical film, DEAD RINGERS (1989).  However, it was not Cameron, Cronenberg, Folsey, Gilliam, Kennedy, Marshall, Palpaberg Shatner or Stinkious who released the most significant film of 1989, but quirky and iconoclastic newcomer Tim Burton-noticeably linked to neo-Old Hollywood like Besson, Cameron, Cronenberg and Gilliam, as he also lacked a film degree-with his twilit and allegorical film, BATMAN (1989). 


For this ridiculous film that saw Michael Keaton’s brooding and Robocop and Vader evoking-and, hence, Lord Stinkious linked-bachelor Bruce ‘Batman’ Wayne triumph over Nicholson’s product tampering, shopping preventing and implicitly Landis linked John ‘the Joker’ Napier-like the vengeful spirit of ’82, given that Keaton was linked to 1982 forever via his character Billy ‘Blaze’ Blazejowski in NIGHT SHIFT-to make Gotham City safe for shopping again openly and unabashedly expressed the implicit hope already made in GHOSTBUSTERS and OVERBOARD.  That is, that with the end of the TZ trial and the freedom of Landis and his four co-defendants, film studios and film artists could safely return to making and releasing the big budget special and visual effects enhanced films filled with product placement and accompanied by movie tie-in merchandise campaigns that had not been made with any sustained commitment since the TZ disaster and the resounding failure and rejection of STAR WARS EPISODE VI: RETURN OF THE JEDI.


Indeed, the Oscars awarded by the august Academy to Bruce Beresford’s twilit and allegorical film, DRIVING MISS DAISY (1989), affirmed that Hollywood was eager to leave behind the TZ disaster in the Nineties.  For like Lithgow, female lead Jessica Tandy was linked forever to the day of the TZ disaster through her small role as Mrs. Fields in THE WORLD ACCORDING TO GARP.  Thus, the death of Tandy’s Mrs. Daisy Werthan and the passing of her era implicitly symbolized the termination of the dread Zone Wars and the passing of the TZ disaster dominated film art era with the arrival of a new decade at the end of DRIVING MISS DAISY.  The presence of Akroyd as her resigned son Boolie Werthan implicitly reaffirmed the allegorical intent of DRIVING MISS DAISY. 

A hopeful message that was in contrast to the message that year of combative newcomer Lee, who had implicitly called upon indie film artists like himself to continue the dread Zone Wars and fight the power of commercial mainstream film artists like Burton in his ragingly allegorical film, DO THE RIGHT THING (1989).  Audiences clearly agreed with Burton and the Academy, for the massive movie tie-in merchandise campaign that accompanied BATMAN was as successful as the film, with citizens around the United Nations of Terra eagerly celebrating the ‘end’ of the twilightmare by buying anything that was stamped with the oval bat signal crest of the Batman.  And so it was back to the filmmercial in the Nineties, the filmmercial that had led to the rupture between film artists for art’s sake and commercial film artists and their respective audiences…and to the TZ disaster.  


Significantly, Disney disagreed with Burton’s rejection of Landis, implying with the triumph of the implicitly Landis linked Eric-voiced by Christopher D. Barnes-over the implicitly Morrow linked Ursula-voiced by Pat Carroll-that they were welcoming Landis and his film art back to the fold of film artists at the end of the allegorical and Ron Clements and John Musker film, THE LITTLE MERMAID (1989), one of the first CGI enhanced animated films.  Mark Goldblatt implicitly agreed with Disney, for he linked his troubled Vietman War vet hero Frank Castle-played by Lundgren-to Landis and his gangster antagonists to directors like Palpaberg and Stinkious in his twilit and Landis supporting allegorical film, THE PUNISHER (1989).



Intriguingly, the fictional side of the dread Zone Wars also implicitly continued in 1989.  For McCammon responded in outraged fury to the non-guilty verdict in the TZ trial by sending a Welsh lycanthrope/secret agent to hunt down and kill evil characters in Nazi occupied Western Europe linked to Landis, Palpaberg and Stinkious in his righteously furious and avenging allegorical WWII werewolf epic, The Wolf’s Hour (1989).  Indeed, McCammon underlined the implicit intent of his novel with allusions to AN AMERICAN WEREWOLF IN LONDON, RAIDERS OF THE LOST ARK, THX 1138 and TWILIGHT ZONE: THE MOVIE.  For his part, in the victory of literary artist Thad Beaumont over his remorseless and deadly Twilight Side, Alexis Machine, King implicitly did his best to face down and terminate the twilit and violent side of fiction and film artists and liberate the world from the Twilight Zone in time for the Nineties in his Zonebusting allegorical novel, The Dark Half (1989).  Indeed, the name of Thad Beaumont affirmed the implicit intent of the novel.  For the surname of Beaumont evoked Charles Beaumont, the third most prolific and famous writer for the original TWILIGHT ZONE. 


Barnes and Niven also tried to free the world from the Twilight Zone and get the daylit dream flowing in time for the Nineties at the end of their sequel, The Barsoom Project (1989), having Griffin hunt down and defeat the implicitly George Folsey linked Kareem Fekesh, a nefarious baddie behind a twilit trio of murders of one woman and two men that were designed to turn patrons and investors away from supporting Dream Park, and, hence, film art.  Even Moorcock implicitly tried to free Hollywood, in the symbolic form of the city of Quarzhasaat, from the Twilight Zone and restore the reputation of Lucas in the implicit form of the once famous but now scorned, solitary and despondent hero, Chamog Borm-the last legendary knight of the age of Empire, with his Luke and Leia evoking twin grey horses, Taron and Tadia-in time for the Nineties by sending Elric, the last of the Dragon Kings of Melnibone, and his sentient and duplicitous Chaos sword, Stormbringer, into the Dream Realms to rescue the legendary Pearl of daylit imagination and Varadia, the implicitly Sofia Coppola linked Holy Girl, the daughter of the implicitly Coppola sr. linked Raik Na Seem, from the Seventh Realm in the Zonebusting allegorical novel, The Fortress Of The Pearl (1989).  Indeed, the fact that Quarzhasaat, head of a southern California evoking inland empire, was misruled by the feuding Council of Seven, a governing council that saw six of its councillors ruled by the seventh, the Sexocrat, affirmed that Moorcock was addressing and roasting twilit Hollywood in The Fortress Of The Pearl, for the fact that the Sexocrat ruled the Six reminded us that sex ruled the six studios associated with Hollywood to this day.  But it was to no avail, as everything was still broken, so continue did the dread Zone Wars in the Nasty Nineties.  Significantly however, as the new decade also film artists implicitly clamor for Lord Stinkious to return with a film that would end the Zone Wars and bring harmony back to the Temple Theatre.