Curiously, though, what with Kennedy, Marshall and Palpaberg haunting theatres with ALWAYS as the New Year and decade began, it initially seemed like the Nasty Nineties were not going to be a whole lot different than the Angry Eighties. This same old same old impression was increased by the august Academy Award show in the Spring of ’90, which saw four Oscars-including for Best Picture-awarded to the twilit, allegorical and CGI free Bruce Beresford docufeature film DRIVING MISS DAISY (1989), rather than the twilit, allegorical, CGI free and GETTING STRAIGHT evoking Spike Lee indie docufeature joint DO THE RIGHT THING (1989). However, the Oscars won by DRIVING MISS DAISY implicitly 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 at the end of the film 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 and the hoped for arrival of a daylit and CGI enhanced new decade free from the Twilight Zone.
Indeed, the presence of Akroyd as her resigned son Boolie Werthan implicitly reaffirmed the allegorical intent of DRIVING MISS DAISY, given his appearance in the Landis created prologue of TWILIGHT ZONE: THE MOVIE. Of course, this hopeful message was in complete contrast to the combative message that year of Lee, who had implicitly called upon indie film art for film art’s sake film artists like himself to continue the dread allegorical Zone Wars and fight the power of beastly blockbuster loot lusting film artists in DO THE RIGHT THING. Significantly, Bigelow implicitly agreed with Beresford, for she kicked off a twilit new year and decade on January 26, 1990 by having the implicitly Reitman linked NYPD Officer and Detective Megan Turner-played by Jamie Lee Curtis-triumph over the implicitly Landis linked New York Stock Exchange (NYSE) gold trader and psychotic serial killer Eugene Hunt-played by Ron Silver-in the fearless, twilit, allegorical and CGI free indie docufeature film BLUE STEEL (1990), an implicit allegorical intent affirmed by the film’s allusions to AN AMERICAN WEREWOLF IN LONDON, GHOSTBUSTERS, THE BLUES BROTHERS and TRADING PLACES.
Audiences also clearly agreed with Bigelow 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 appeared to be back to the beastly CGI enhanced blockbuster filmmercial in the Nineties, the beastly CGI enhanced blockbuster filmmercial that had led to the bitter and combative rupture between film artists for film art’s sake and commercial film artists for blockbuster loot lusting sake and their respective audiences in the late Seventies in the first place…and straight to the hell of the TZ disaster. Indeed, this beastly CGI enhanced blockbuster direction was affirmed by the arrival of and enthusiastic reception given to the second prominent Dick pic, the twilit, allegorical, truly beastly, blockbuster, exuberantly violent and CGI enhanced Verhoeven docufeature film TOTAL RECALL (1990), which arrived in theatres on May 31, 1990 and was inspired by the allegorical Dick short story “We Can Remember It For You Wholesale” (April ’66), Martian Time Slip and DUNE.
“A man is defined by his actions,
not his memory.”
Curiously, the film saw Schwarzenegger’s implicitly Stinkious linked secret agent Douglas Quaid aka Hauser aka Brubaker, and his equally indomitable and Linda Ronstadt resembling sweetheart Melina-played by Rachel Tictoin-team up to lead resolute Rebels to victory over the implicitly Lynch linked and melange evoking terbinium obsessed corporate overseer of the Arrakis and Tatooine evoking Mars Federal Colony, Vilos Cohaagen-played by Cox-and usher in a brave new world of CGI enhanced film art on Mars in an eucatastrophic climax that evoked the creation of the brave new CGI world of Genesis in STAR TREK II: THE WRATH OF KHAN-a brave new CGI world that would hopefully avoid devolving into a PKD-style Martian ghetto-an implicit interest in Lynch and Stinkious affirmed by the film’s allusions to BLUE VELVET, the Classic Trilogy, DUNE, RAIDERS OF THE LOST ARK and THX 1138. Significantly, the success of the implicitly Stinkious toasting film not only implicitly affirmed that audiences now approved of the slathering CGI enhanced blockbuster beast, but also implied that their low opinion of Stinkious was already changing and improving at the beginning of the Nineties. An approval of the CGI enhanced blockbuster beast at least implicitly reaffirmed on June 15, 1990 by the success of the twilit, allegorical and CGI enhanced Kennedy, Marshall and Palpaberg produced Dante docufeature debacle GREMLINS 2: THE NEW BATCH (1990), a film which implicitly roasted Reitman in the form of millionaire New York businessman Daniel Clamp-played by John Glover-and which was distinguished only by being worse than GREMLINS.
However, despite the disappointing and mystifying success of GREMLINS 2: THE NEW BATCH and of ALWAYS, BATMAN, COMING TO AMERICA, INDIANA JONES AND THE TEMPLE OF DOOM and TOTAL RECALL and the implication that Folsey jr., Kennedy, Landis, Marshall, Palpaberg and Stinkious had been embraced again by audiences and the TZ disaster left behind since the end of the TZ trial, twilit, allegorical and CGI free indie film art like BLUE STEEL and the implicitly Bigelow addressing Besson indie docufeature film LA FEMME NIKITA (1990)-and telefilm art, like the memorable and innovative twilit, allegorical and CGI free Lynch telemoving painting series TWIN PEAKS (1990-91)-that raged against the beastly CGI enhanced blockbuster machine featured prominently that year and grew in popularity over the course of the Nasty Nineties. Indie rage and angst that continued in the world of literary art that summer, for Bradbury implied that the sight and sound of his youthful alter ego coming to grips with and then ultimately releasing a traumatic car crash involving a twilit trio of two men and one women linked to Maximus Studios in 1954 L.A. symbolized releasing the equally traumatic TZ disaster and its twilit trio of two males and one female just in time for a daylit neo eon of CGI enhanced film art in the Nineties at the end of the twilit and allegorical indie docufiction novel A Graveyard For Lunatics (1990), a novel released on July 2, 1990 that was a sequel of sorts as it continued the tragicomic adventures of the main characters first met in Death Is A Lonely Business. Soon after, Emperor Palpaberg rewarded Marshall for his quisling help in evading twilit justice by teaming up again with co-producer Kennedy and with John Goodman-who played fire team leader and trainer Al “Yakity Yak” Yackey in ALWAYS-on the twilit, allegorical, CGI enhanced and implicitly Cameron and Lynch addressing Marshall docufeature film ARACHNOPHOBIA (1990), released on July 18, 1990.
Significantly, the film saw the implicitly Lynch linked small town doctor Ross Jennings-played by Daniels-triumph over a plague of deadly poisonous spiders that threatened the town of Canaima as well as the implicitly Cameron linked spider expert Doctor James Atherton-played by Julian Sands-with the help of the intrepid and implicitly Palpaberg linked bug exterminator Delbert McClintock-played by Goodman-an implicit allegorical intent affirmed by the film’s allusions to ALIENS and BLUE VELVET. Curiously, the spider assault began soon after Jennings arrived in Canaima to replace the town’s retiring doctor, Sam Metcalf, who was played by Henry Jones, the same Henry Jones whose name had already linked Indiana Jones to the TWILIGHT ZONE via his guardian angel character J. Hardy Hempstead in the implicitly Serling roasting telefilm “Mr. Bevis” of the original TWILIGHT ZONE telefilm series.
Ironically, but fittingly, after being implicitly toasted in ARACHNOPHOBIA, Lynch scored a confident and memorable victory for twilit, allegorical and CGI free indie film art for film art’s sake over twilit and CGI enhanced beastly blockbuster film art when he returned to the Temple Theatre a little less than a month after the release of ARACHNOPHOBIA on August 17, 1990 with the twilit, allegorical, CGI free, Ozian themed and implicitly Sir Scott addressing indie moving painting WILD AT HEART (1990). How equally fitting that only days later on August 22, 1990, Allan Moyle confirmed that a confident and righteously furious era of indie film art had indeed begun and celebrated the twentieth anniversary of GETTING STRAIGHT with the twilit, allegorical, CGI free and implicitly Coppola addressing “rant and roll” indie docufeature film PUMP UP THE VOLUME (1990).
“Well, look at where the Sixties got them, huh?
…I’m a member of the
why bother generation myself…
(nonetheless) find your voice
and use it.”
Significantly, the film saw and heard the angry, frustrated, despondent, cynical, confused and implicitly Coppola linked pirate radio teen DJ Mark “Happy Harry Hardon” Hunter-played by Christian Slater, who openly linked the film to Coppola via his role as Preston Tucker jr. in TUCKER-triumph over the implicitly Kennedy, Marshall and Palpaberg linked and insidious Hubert Humphrey High School Principal, Loretta Creswood, HHH guidance counsellor, David Deaver, and HHH vice principal, Mr. Murdock-played by Annie Ross, Robert Schenkkan and Andy Romano, respectively-at the end of the film, setting the stage for the arrival in the Temple Theatre of film art created by equally angry, frustrated, despondent, cynical, confused and triumphant Gen X film artists like Sofia Carmina (SCC) Coppola, Bruce McDonald and Quentin Tarantino in the Nineties, and for the arrival of equally angry, frustrated, despondent, cynical, confused and triumphant bloggers, podcasters and the poor ol’ cyberanting Gardevil, that pesky and perspicacious Zone War scholar and real life Veteran of the Psychic Wars whose mind was not for rent by any studio or government in the internet era.
Fittingly, given all of the many allusions to GETTING STRAIGHT in PUMP UP THE VOLUME, Moyle also implied on another level that he was coming to the rescue of Rush for the implicit roasting he received in the prologue of INDIANA JONES AND THE TEMPLE OF DOOM. Indeed, the fact that the latter film was created by Kennedy, Marshall and Palpaberg, the main implicit targets of PUMP UP THE VOLUME, and the fact that Hunter also tangled with Federal Communications Commission (FCC) chairman Arthur Watts-played by James Hampton-who evoked Stinkious as well as Robert Watts, producer of INDIANA JONES AND THE TEMPLE OF DOOM, reaffirmed the implication that Moyle was also roasting the third Indy film in PUMP UP THE VOLUME. As for Salman Rushdie, he reaffirmed on September 27, 1990, soon after the release of PUMP UP THE VOLUME that literary art was a integral part of the dread allegorical Zone Wars by doing his best to free the world and its film art from the Twilight Zone at the start of the Nasty Nineties like King tried to do the year before in The Dark Half in his twilit and allegorical indie docufiction novel Haroun And The Sea Of Stories (1990), which saw the feisty and implicitly Lord Stinkious linked boy Haroun free all of the stories of the world from a twilit malaise, allowing daylight and stories on subjects other than the dread allegorical Zone Wars to return to the world. Bradbury implicitly reaffirmed the fictional side of the dread allegorical Zone Wars that year with the twilit and allegorical indie docufiction novel A Graveyard For Lunatics (1990), which continued the TZ disaster themed murderous mystery that began in Death Is A Lonely Business.
For his part, Simon Wincer also favoured a lean, mean and CGI free style in his twilit and allegorical indie docufeature film QUIGLEY DOWN UNDER (1990), which arrived in the Temple Theatre on October 19, 1990.
Significantly, this film saw Tom Selleck’s implicitly Stinkious linked Wyoming sharpshooter Matthew Quigley travel from San Fran to Australia and gun down Alan Rickman’s Evil, callous and implicitly Palpaberg linked Anglo-Australian ranch owner Elliot Marston, in the end, after discovering that Marston had hired Quigley to kill Aborigines. This exorcised from the Temple Theatre the sight of an implicitly Stinkious linked gunslinger killing settlers for the implicitly Palpaberg linked Canton in HEAVEN’S GATE, making it appropriate that QUIGLEY DOWN UNDER was released in the tenth anniversary year of HEAVEN’S GATE. A thoughtful implicit cinematic exorcism not lost on Lord Stinkious, as he soon used Wincer as a director on a young Indy telefilm series to come.
Curiously, but fittingly, given that the film art for film's art sake Lynch surged back to life in 1990, Marvel and Albert Pyun implicitly linked Lynch to the resurrected and “Good for Goodness” sake Steven “Steve” Rogers aka “Captain America"-played by Matt Salinger-and had him triumph over the implicitly Coppola linked “Red Skull”-played by Scott Paulin-in the twilit, allegorical and CGI free super satirical indie docufeature film CAPTAIN AMERICA (1990), a film released on December 20, 1990 and based on characters created by Joltin’ Joe Simon and Jolly Jack Kirby for Timely/Marvel Comics that, alas, reaffirmed that Marvel was indeed striking back at DC/Warners and the DC Extended Universe (DCEU) with their own Marvel Cinematic Universe (MCU) as they had implied the year before with the release of THE PUNISHER. Just as curiously, Coppola also implicitly exorcised Palpaberg from the Temple Theatre when he returned to the Temple Theatre on December 25, 1990 with Carmine, SCC, Talia, Beggs, Canonero, Keaton, Malkin, Murch, Pacino, Puzo, Roos, Rota, Tavoularis, Fred Fuchs-co-producer of TUCKER-and Don Novello-who played Stan the film man in TUCKER-and the twilit, allegorical and CGI free indie docufeature film MARIO PUZO’S THE GODFATHER PART III (1990).
“Now that you’re so respectable,
you’re more dangerous than ever.”
Indeed, the sight and sound of the film beginning with the haunting Main Theme playing over a blank black screen implicitly affirmed that Emperor Palpaberg was again the target of the final film in the Godfather Trilogy, as dialogue or music playing over a blank black screen at the beginning of a film like JAWS or CLOSE ENCOUNTERS OF THE THIRD KIND was a famous characteristic of the film art of Palpaberg. A Palpaberg again implicitly linked to Michael Corleone-played again by Pacino-who did his best to leave behind a life of crime for a law abiding life as legal head of global real estate giant Immobiliare. Significantly, this attempt went wrong in 1979, when his implicitly Landis linked nephew and illegitimate son of Sonny Corleone, the implicitly Landis linked Vincenzo “Vincent” Mancini-played by Andy Garcia-entered his life and was hired by him to be his right hand man. An appropriate year, for it reminded us that things also began to go wrong for Palpaberg in 1979, the year Landis showed up in a cameo in the box office flop 1941. Indeed, things went so bad for Corleone, that Mancini soon developed an illicit relationship with his cousin and Corleone’s daughter, Mary-played by a SCC who had blossomed into a beautiful, confident, curvaceous and sensual young woman.
Curiously, midway through the film, Mancini gunned down the violent and implicitly Kubrick linked Joey Zasa-played by Joe Mantegna-in a hit filled with allusions to ANIMAL HOUSE and the Landis episode of TWILIGHT ZONE: THE MOVIE to affirm the implicit link of Mancini to Landis, implying that Coppola was not fond of FULL METAL JACKET. At this point, Michael passed on control of the Corleone family to Mancini, who, as the renamed Vincenzo Corleone, planned and oversaw the film’s final murders of villians like Immobiliare CEO Don Ilcio Lucchesi-played by Enzo Robutti-and the implicitly Bertolucci linked indie Sicilian assassin Mosca-played by Mario Donatone-intercut with a performance of the allegorical Pietro Mascagni opera CAVALLERIA RUSTICANA (1890), at the Teatro Massimo in Sicily, murders intercut with an opera that evoked the murders of Schultz and his associates intercut with Williams dancing at the Cotton Club at the end of THE COTTON CLUB and the intercut murders planned and overseen by Michael at the end of MARIO PUZO’S THE GODFATHER intercut with his nephew being baptised, bringing the Godfather Trilogy full bloody circle.
Significantly, as one of those hits was on the implicitly Cox linked Archbishop Gilday-played by Donat Donnelly-Coppola also implied that he was striking back at Cox for roasting Stinkious in WALKER like Burton implicitly did in BATMAN. Quite a change in attitude towards Landis, given that the name of Vincenzo Corleone/Mancini reminded us that the implicitly Landis linked Vincent “Vinnie” Dwyer was gunned down near the end of THE COTTON CLUB. Thus, the fact that Corleone’s attempt to lead a legal life with the help of Mancini failed and led to the murder of Mary on the steps of the Teatro Massimo after the performance of CAVALLERIA RUSTICANA, in the end, when the malevolent Mosca shot her dead instead of Corleone in the counter hit at the end of the film ordered by Don Lucchesi, Coppola implied that he believed that Palpaberg’s lusts for mainstream success and beastly global blockbuster profits and his relationship with Landis had killed his film art and himself, given that Corleone keeled over and off a chair dead in the final shot of the film. And so, the implicitly Palpaberg linked Corleone died like the implicitly Palpaberg linked Schultz at the end of THE COTTON CLUB but art was not allowed to triumph over gangster Evil as at the end of that film, kicking off the Nineties on a deadly note.
Significantly, on April 26, 1991, children loving Disney kicked off the new film year by implicitly agreeing with Coppola that the time had come to embrace Landis again, thereby openly affirming that they were indeed welcoming the child killing Landis back to the film family as they had implied in THE LITTLE MERMAID, by having their Touchstone Pictures division-which had made SPLASH with Howard-release the twilit, allegorical and CGI enhanced Landis docufeature film OSCAR (1991), which was inspired by the allegorical Claude Magnier play OSCAR (1958), and again made in collaboration with Ameche, Bernstein, Currie, Nadoolman, Riegert, Wulff and Mark Metcalf-who played militant Omega House snob Doug Niedermeyer in ANIMAL HOUSE.
Curiously, given that the tragicomic attempt of Dirty Thirties mobster Angelo “Snaps” Provolone-played by Stallone-to go straight evoked the attempt of Coreleone to go straight in MARIO PUZO’S THE GODFATHER PART III, Landis implicitly roasted Coppola in the screwball comedy. Indeed, the film’s allusions to DEMENTIA 13, LIFE WITHOUT ZOE, MARIO PUZO’S THE GODFATHER PART III, THE COTTON CLUB and TUCKER, the fact that Provolone’s bored and frustrated daughter Lisa-played by Marisa Tomei-resembled and was implicitly linked to SCC, the fact that Provolone’s implicitly Kubrick linked bodyguard Connie-played by Chazz Palminteri-had a name that evoked Talia’s Connie in the Godfather Trilogy, the appearance of Ameche-who was name dropped in MARIO PUZO’S THE GODFATHER PART III-as Father Clemente and the presence of Vincent Spano as the luvstruck “Little” Anthony Rossano affirmed the film’s implicit interest in roasting Francis and SCC, for Spano played the shy, sensitive, thoughtful and implicitly Cronenberg linked Steve in RUMBLE FISH. Alas, the film’s humour was defused by the bizarre and ironic implication that Landis used the film to urge the main film artists of the era to aspire to higher goals such as luv rather than Oscar fortune and glory or killing people on your film sets, okay?
Enraging audiences yet again and putting them in the mood for some serious Zonebusting, no doubt partly explaining why the twilit, allegorical, CGI enhanced, Ozian themed and implicitly Lynch roasting Cameron indie docufeature Zonebuster TERMINATOR 2: JUDGMENT DAY (1991), was the smash hit of the year when it was released on July 3rd, 1991, implicitly reaffirming what the success of TOTAL RECALL had implied the year before, that audiences wanted to celebrate with CGI enhanced spectacle again, despite having developed a taste for low budget and f/x free indie film art. Curiously, a week after the release of T2, Bigelow also had the implicitly Coppola and Stinkious linked FBI Special Agents Angelo Pappas and John “Johnny” Utah-played by Busey and Keanu Reeves, respectively-triumph over the implicitly Lynch linked rebel surfer, martial artist and bank robbery gang leader Bodhi-played by Patrick Swayze-and his gang in the twilit, allegorical and CGI enhanced indie docufeature artbuster POINT BREAK (1991), released on July 10th, 1991.
As for Gilliam, the sight and sound of the implicitly Palpaberg linked Doctor Henry Sagan and the implicitly Stinkious linked shock DJ “Wolfman” Jack Lucas-played by Robin Williams and Bridges, respectively, the latter permanently linked to the fateful and fatal July of ’82 via his roles as Flynn/Clu in TRON, the former permanently linked to July 23, 1982 via his role as Garp in THE WORLD ACCORDING TO GARP-bringing health and harmony back to their traumatized lives with the help of a makeshift Grail Quest that led to the capture of a symbolic Holy Grail at the end of the twilit and allegorical indie animaction film THE FISHER KING (1991) implied the hope of Gilliam that Palpaberg and Stinkious would release the TZ disaster and get their lives and film art back on track and succeed again in the Nineties, a film released on September 27, 1991 whose implicit Palpy and Stinky addressing intent was affirmed by the film’s allusions to EXCALIBUR and INDIANA JONES AND THE LAST CRUSADE.
Significantly, on September 29th, 1991, Dis implied their approval for Cameron that year and implicitly urged him not to get too cocky and arrogant kid in the twilit, allegorical and CGI enhanced Gary Trousdale and Kirk Wise hand animated film BEAUTY AND THE BEAST (1991), for the film saw the implicitly Cameron linked Beast-played by Robby Benson-triumph over the implicitly Stinkious linked Gaston-played by Richard White-and win the hand of the lovely, quirky and implicitly Bigelow linked Bell-played by Paige O’Hara-in the end. For their part, after implicitly dismissing CGI on earlier interstellar voyages like Cameron, the legendary crew of the storied USS Enterprise implicitly released their misgivings on December 3rd, 1991 by fighting off implicitly duplicitous and reactionary celluloid film art purists amongst the Federation and cautiously embraced a fully human but CGI enhanced film art future in the twilit, allegorical and CGI enhanced Meyer docufeature film STAR TREK VI: THE UNDISCOVERED COUNTRY (1991), fittingly directed by Meyer, given that he oversaw the Genesis of a brave new world of CGI enhanced film art in STAR TREK II: THE WRATH OF KHAN. Then Palpy teamed up again with Kahn, Kennedy, Marshall and Williams and returned to the Temple Theatre on December 11, 1991 just in time for Christmas yet again as he had done with ALWAYS, EMPIRE OF THE SUN and THE COLOR PURPLE with the twilit, allegorical, CGI enhanced and POPEYE evoking docufeature film HOOK (1991), inspired by the allegorical Sir J.M. Barrie play Peter Pan (1904).
“The children were screaming!”
Significantly, while from a distance HOOK seemed like a Light children’s film, on closer inspection the film had much Darker undercurrents. For the sight and sound of the adult and implicitly Palpaberg linked Peter Pan, initially known as Peter Banning-played by Williams-flying off into the Twilight Zone of Neverland to defeat the exuberantly infamous pirate leader Captain James Hook-implicitly linked to either Miller, given the film’s allusions to MAD MAX BEYOND THUNDERDOME, THE ROAD WARRIOR and the Miller episode of TWILIGHT ZONE: THE MOVIE, or Altman, given that he resembled Altman and that the film came across as a remake of POPEYE, and played by Hoffman-his implicitly Coppola linked right hand man Smee-played by Hoskins-and his thuggish film pirates and to rescue a surrogate My-Ca and Renee in the form of his son and daughter Jack and Maggie Banning-played by Charlie Korsmo and Amber Scott, respectively-who were stolen away from their sleeping beds to Neverland by Captain Hook in a spooky and POLTERGEIST evoking sequence that openly linked the film to the twilit and disastrous year of 1982 implied that Palpy was desperately trying to use the film to finally and symbolically free My-ca and Renee from the Twilight Zone, exorcise the TZ disaster and kick off a whole new era of CGI enhanced film art in the Nineties at last.
Alas, the possibility that Emperor Palpaberg was amongst the crowd of revellers who did nothing to stop the use of Myca and Renee and watched the TZ disaster unfold from across the Santa Clarita River was ominously and infuriatingly raised again in the film. For late in the film a sombre Jack said “…he wouldn’t save us…He was there and we were there, and he wouldn’t try” when prompted by Hook to remember how Banning was too paralyzed with a fear of falling from a ship’s mast to rescue Jack and Maggie from a hanging net trap soon after their arrival in Neverland while a TZ disaster evoking crowd of pirate revellers shouted away, implying that Spielberg had been on the Landis set the night of the disaster but had done nothing to stop the use of Myca and Renee. Indeed, Emperor Palpaberg affirmed that Banning, a successful lawyer, implicitly symbolized his TZ disaster haunted self by having Williams act, dress and talk like him throughout the film, complete with similar rimless glasses with round frames, a baseball hat, his famous fear of flying and a head secretary and a cellphone duelling juniour lawyer at his legal firm who resembled and were implicitly linked to Kennedy and Marshall. Banning’s two children, and his blonde wife, Moira-played by Caroline Goodall-reminded us that Spielberg was also married to blonde Capshaw and had two children as well by this time, reaffirming the implicit link of Banning to Palpaberg and implying that the Emperor felt even more guilty about the deaths of Myca and Renee now that he was married and had two children of his own. So guilty that he used HOOK to desperately try to make up for his implicit inaction the night of the TZ disaster. Disturbing implications that were noticed by Lord Stinkious, for allusions to HOOK and its Main Theme returned in STAR WARS EPISODE II: ATTACK OF THE CLONES and an implicit interest in Palpaberg in general soon turned up in a Stinky indie telefilm series.
Thus, by having Banning recapture the magic of life and childhood innocence and magic by learning how to fly again with the help of the power of the imagination, the CGI enhanced Tinkerbell-played by Julia Roberts-and the irrepressible Lost Boys, led by their implicitly Lynch linked indie leader Rufio-played by Dante Basco-allowing him to transform back into a confident and playful Peter Pan who rescued Jack and Maggie and liberated them from Hook, his pirates and the Neverland Zone, in the end, Palpaberg implicitly expressed his hope that he too would recapture the magic of life, learn how to fly again with the help of the power of the imagination and CGI, and transform back into a confident and playful Peter Pan film artist who would exorcise the ghosts of Myca and Renee and free them, Morrow, audiences, film art, film artists, the Temple Theatre and himself from the Twilight Zone...forever. Literally, for the defeat of Hook symbolically broke the chain to 1982, given that Hoffman had played Michael “Tootsie” Dorsey in the allegorical Pollack docufeature film TOOTSIE (1982).
Indeed, the fact that HOOK was released in the tenth anniversary year of the Last Good Year of film art affirmed that Emperor Palpaberg was desperate to fly again with daylit Skyrocking confidence as he had with RAIDERS OF THE LOST ARK in 1981. And no doubt eager to “hook” viewers on movie tie-in merchandise once more, as he would do with his next film. Curiously, Palpaberg’s hopes were clearly shared by audiences, for they enthusiastically embraced the film, despite its disturbing implications that Palpaberg had been on the Landis set the night of the TZ disaster but had done nothing to stop it. Not surprisingly, film artists were not so blind or forgiving, and began to implicitly and furiously roast Palpaberg and HOOK in their film art starting all too fittingly in 1992, the tenth anniversary year of the TZ disaster. Indeed, with the sad and shocking sight and sound of the implicitly Palpaberg linked Leland Palmer-played by Ray Wise-raping his teenaged and implicitly Madonna linked daughter Laura-played by Sheryl Lee-in her bedroom, and then raping and killing her, in the end, Lynch led the way in implicitly replying to HOOK, roasting Palpaberg with righteous fury and responding to being implicitly linked to Rufio in the twilit, allegorical and CGI free indie moving painting TWIN PEAKS: FIRE WALK WITH ME (1992), first released in Nippon in May of ‘92.
Howard implicitly agreed with Lynch and implied his hope that Landis would rise up to defeat Palpaberg in the Nineties when he teamed up with Williams and had the poor and implicitly Landis linked Irish peasant and hopeful American immigrant Joseph Donelly-played by Tom Cruise-defeat the wealthy and implicitly Palpaberg linked Irish Protestant aristocrat Stephen Chase-played by Thomas Gibson-take his girl Shannon-played by Nicole Kidman-and finally win the land he had craved all his life in the triumphant Oklahoma end of the twilit and allegorical docufeature film FAR AND AWAY (1992), released on May 18, 1992. Alas, Landis also used Palpaberg’s implicit guilty revelations in HOOK to take the heat off himself, for when he returned to theatres with a more macabre and biting take on keystone gangsters for his twilit tenth anniversary salvo, the sight and sound of the implicitly Palpaberg linked undercover cop Joey Gennaro-played by Anthony LaPaglia-developing an amorous partnership with vampiress Marie-played by Anne Parillaud-and wiping out the implicitly Sir Scott linked Pittsburgh Mafia leader Salvatore “Sal the Shark” Macelli-transformed into an undead vamp by a bite from Marie, and played by Robert Loggia-and his gang of implicitly film artist linked thugs-including the implicitly Kubrick linked Tony, played by Palminteri-Landis sarcastically implied the belief of Landis that HOOK had affirmed that Spielberg had indeed become one with his Dark Side when he teamed up again with Nadoolman, Oz and Palminteri on the twilit, allegorical and CGI free docufeature film INNOCENT BLOOD (1992), released on September 25, 1992.
Alas, the sight of Macelli’s smoking, charcoaled head falling from his burnt shoulders and rolling up to Gennaro’s foot when he was finally killed, in the end, was a macabre reminder of the grim fate of Morrow that reminded us all that Palpaberg was not the only one to blame for the TZ disaster. Curiously, Disney implicitly toasted Landis again in their own tenth anniversary offering, having the implicitly Landis linked Aladdin-voiced by Scott Weinger-team up with the implicitly Morrow linked Genie-voiced by Williams-to free themselves from the curse of the TZ disaster with a triumph over the implicitly John Waters linked Evil sorcerer Jafar-voiced by Jonathan Freeman-at the end of the twilit, allegorical and CGI enhanced Ron Clements and John Musker hand animated film ALADDIN (1992), released on November 8, 1992.
Significantly, while also embracing macabre and biting satire and alluding to the allegorical Tod Browning film DRACULA (1931), for his tenth anniversary salvo, Coppola implicitly roasted another target when he returned to his horrorshow DEMENTIA 13 roots-dark roots always lurking in the shadowy corners and ready to explode in violence in the horror of everyday life in his regular films, particularly the Godfather Trilogy and THE COTTON CLUB-when he teamed up again with Fuchs and Waits and implicitly replied to BEAUTY AND THE BEAST with the sensual and erotic twilit, allegorical and CGI enhanced indie docufeature film BRAM STOKER’S DRACULA (1992), a film released on November 10, 1992.
“I am only looking for the cinematograph.
I understand it is a wonder
of the civilized world.”
Indeed, the sight and sound of the insightful and implicitly Sir Scott linked Professor Abraham Van Helsing-played by Hopkins-guiding the implicitly Guy Maddin and his film art linked Jonathan and Mina Harker-played by Keanu Reeves and Winona Ryder, respectively-and the implicitly Burton linked Doctor Jack Seward, the implicitly Howard linked Lord Arthur Holmwood and the implicitly Murch linked Quincey P. Morris-played by Richard E. Grant, Cary Elwes and Bill Campbell, respectively-to an eucatastrophic triumph over the violence obsessed and implicitly Cameron linked Count Dracula-played by Gary Oldman-and his simpering, implicitly Palpaberg linked and voracious lunatic quisling Renfield-played by Waits-at the end of the film implicitly affirmed that Coppola replied to Disney with BRAM STOKER’S DRACULA, an implicit allegorical intent affirmed by the film’s allusions to BEAUTY AND THE BEAST, T1 and T2. All of which implicitly impressed the august Academy, as they awarded BRAM STOKER’S DRACULA three Oscars for Best Makeup, Costume Design and Sound Editing, respectively.
Significantly, BRAM STOKER’S DRACULA was inspired as much by DRACULA and the allegorical F.W. Murnau film NOSFERATU THE VAMPIRE (1922)-indeed, the film implicitly pondered the history of the vampire film as much as it did Cameron, affirmed by the sight and sound of Drac seducing Mina in a cinematograph theatre in 1897 London-as it was by the allegorical Stoker indie docufiction novel Dracula (1897), a novel which implicitly linked the blood hungering Dracula to the Great Hunger famine in Ireland during 1843-1847. Indeed, Lucy Westenra-implicitly linked to Kennedy in BRAM STOKER’S DRACULA, and played by Sadie Frost-the most significant victim of Dracula after he arrived in London, implicitly affirmed that the Dublin born and bred Stoker was using the novel to come to grips with the Great Hunger.
For Westenra’s Celtic red hair linked her to Ireland rather than England. Her name reaffirmed her implicit link to Ireland, as the letters for Lucy almost evoked the first letters of Leinster, Ulster, Connaught and Munster, the four provinces of Ireland. The fact that her surname was a scrambled up version of “Westerna” or “Western Land” reaffirmed her implicit link to Ireland, as only the Emerald Isle was to the west of the United Kingdom. The fact that being repeatedly bit by Dracula caused Westerna to slowly and inexplicably waste away like she was starving to death also affirmed the implicit Ireland addressing intent of Dracula, reminding us of the millions of Irish citizens who starved to death or fled the unfortunate island during the Great Famine years. Thus, the desperate attempt of Jonathan “Jon” Harker to defeat Dracula implicitly symbolized the desperate attempt of Abraham “Bram” Stoker to exorcise the horror of the Great Hunger. As for Lord Stinkious, he implied that suspicious misgivings about Spielberg were also plaguing him, for they were on open display when he returned to the public eye on television as executive producer of the twilit, allegorical and CGI enhanced indie docufeature telefilm series THE ADVENTURES OF YOUNG INDIANA JONES (1992-96).
Indeed, the YOUNG INDY adventures began the worried implicit obsession with betrayal by Palpaberg that dominated all of the later work of Lord Stinkious. The fact that the telefilm series revolved around the young Indy implicitly reaffirmed that the series would address Palpaberg, as the Indy Trilogy was directed by Palpy and young Indy’s adventures evoked the young Indy adventure that kicked off INDIANA JONES AND THE LAST CRUSADE. Lord Stinkious also implicitly affirmed his twilit misgivings by releasing the YOUNG INDY telefilms in 1992, the tenth anniversary year of the TZ disaster. In fact, the first episode of the series debuted on March 3, 1992, only two days from the tenth anniversary of the death of Belushi on March 5, 1982. These links to the twilit and disastrous year of 1982 also supported the fact that it had been the TZ disaster that spurred the development of CGI to prevent more film set disasters, a development that continued in the YOUNG INDY adventures as Lord Stinkious asked ILM to use the series “…to experiment with low-resolution digital effects…alongside San Francisco-based computer-graphics company Western Image (to extend or create buildings and add) multiple horses, soldiers and crowds” to expand upon and populate scenes (Hearn pp.170-75).
Fittingly, these youthful indie adventures took place in the early decades of the twentieth century before the adult film adventures and saw the young Indy meet and influence all sorts of important figures of the Twentieth century. Significantly, while originally released on television between 1992-96, the YOUNG INDY adventures were then re-edited and re-released on video in time to join a flood of STAR WARS EPISODE I: THE PHANTOM MENACE merchandise for Christmas of 1999. Many of the individual one hour telefilm adventures were fused with another from the same year to form a continuous two hour telefilm on the 1999 videos. These telefilms were also released in a definite chronological order of chapters, underlining that Lord Stinkious wanted the YOUNG INDY adventures to be seen and interpreted in a certain way. Initially, these adventures did not include the child Indy telefilms starring Cory Carrier, who resembled Danny Pintauro, who had played Tad in CUJO. However, in 2007-08, the full telefilm series including the adventures featuring Carrier’s ten year old Jones were released on DVD in three boxed sets, finally completing the indie YOUNG INDY saga.
Significantly, the opening twilit, allegorical and CGI enhanced Tim O’Brien and Michael Schultz telefilm CHAPTER 1: MY FIRST ADVENTURE, immediately linked the YOUNG INDY saga to the Last Good Year of film in 1981 with the arrival of Tablian’s Demetrios Claw, an explosive expert with a HOOK evoking hook for a right hand who was a member of an Egyptian dig involving the Jones family in 1908. For Tablian played Barranca in RAIDERS OF THE LOST ARK, linking the series to the implicit rape of hidden Temple Theatres, reaffirming that Lord Stinkious was using the YOUNG INDY adventures to address Emperor Palpaberg and the TZ disaster. The kidnapping of the boy Indy by child slavers later in CHAPTER 1: MY FIRST ADVENTURE-the first of his many worrisome disappearances-also linked the telefilm series to the child slaving film thugs of INDIANA JONES AND THE TEMPLE OF DOOM, reiterating that the YOUNG INDY saga was obsessed with the films of Palpaberg and the TZ disaster.
This implication that the YOUNG INDY adventures were addressing Palpaberg was reaffirmed by the arrival of the teenage/young adult Jones-played by Jason P. Flanery-for he looked and acted like Michael J. Fox’s McFly, linking this telefilm blast into the past to the BACK TO THE FUTURE trilogy. However, the middle name of Jones was revealed to be Wallins, evoking Walton, the middle name of Stinkious, in a way that implied that Jones symbolized Lord Stinkious rather than Friedkin in the YOUNG INDY adventures. Thus, this link to Lord Stinkious and the implicit mistrust of Palpaberg seen in the adventures implied that the naïve and idealistic decision of the teen Jones to travel to Belgium, join the Belgian Army and fight in the Great War symbolized the naïve decision of Stinkious to work with Kennedy, Marshall and Palpaberg on INDIANA JONES AND THE TEMPLE OF DOOM after the TZ disaster, and, hence, join the Zone Wars. And that the later decision of Jones to embark on embittering and heartbreaking adventures as a Belgian Intelligence agent in the international intrigue of the Great War was a metaphor for the decision of Stinkious to embark on equally embittering and heartbreaking adventures to find out who was really responsible for the helicopter crash heard around the world that set off the dread Zone Wars.
Intriguingly, this secret agent work saw Jones and the Allies manipulate the minds of Germans and Turks with written and photographic propaganda, implying that Jones and his Allies symbolized Lord Stinkious and his Skywalker Ranch gang and the Germans and Turks symbolized Emperor Palpaberg and his people, as this propaganda evoked the use of allegorical fiction, film and telefilm to manipulate audiences in the dread allegorical Zone Wars. This manipulative and secret work for the Belgian Secret Service also evoked YOUNG SHERLOCK HOLMES, turning the series into the YOUNG SHERLOCK JONES adventures. This secret work was usually performed by young Sherlock Jones under the pseudonym of Henri Defense, underlining that Lord Stinkious was on the defensive and coming to the defense of his reputation here in the YOUNG SHERLOCK JONES adventures. This defensive attitude and secret work also evoked Nishi again, almost confirming that Stinkious had joined the Palpaberg side after the TZ disaster in order to find out the truth about the disaster. Intriguingly, one of the few sadolescent YOUNG SHERLOCK JONES adventures that did not take place in Europe during WWI was the first half of the 1916 adventure in the twilit, allegorical and CGI enhanced Joe Johnston and Carl Schultz telefilm CHAPTER 6: SPRING BREAK ADVENTURE.
Curiously, while not taking place in Europe in WWI, this episode was still linked to the Great War. For over the course of this chapter, the teenaged Jones and his companions were initially led to believe that Germans were landing and picking up spies by submarine off the coast near Princeton, New Jersey. This brought Europe and Germany into the picture, and also evoked the Japanese submarine assault on Hollywood in 1941, the German submarine at the end of RAIDERS OF THE LOST ARK and the Nazi sub that tried to pick up the Needle at the end of EYE OF THE NEEDLE, openly linking the series to Landis, Marquand, Palpaberg and twilit mystery right from the beginning. Indeed, the beach that Jones staked out in hopes of seeing a surfacing German submarine evoked the beaches seen at the beginning of JAWS and 1941, implicitly linking Palpaberg and his people to the Germans right from the beginning.
And to words and reading, for here in Princeton we first met the teenage Sherlock Jones in high school, reading the allegorical Victor Appleton novel Tom Swift And His Electric Runabout (1920?), written by Edward Stratemeyer under a pseudonym that evoked Victor Morrow. A familiar choice of reading material indeed, for this fantastic fiction story about a rocket car evoked the rocketing cars and landspeeders of AMERICAN GRAFFITI, STAR WARS EPISODE IV: A NEW HOPE, THX 1138 and TUCKER, and anticipated the Deathpod Race in STAR WARS EPISODE I: THE PHANTOM MENACE. And a fitting choice, as Jones was soon tracking down the wily “German” culprits who stole the Edison Laboratory’s plans for a powerful car battery designed to replace the internal combustion engine and create pollution free rocket cars.
Significantly, however, the plans turned out to have not been stolen by wily German spies after all. Indeed, the battery plans were stolen and given to an oil company with vested interests in the survival of the internal combustion engine by the Landis resembling and implicitly linked John Thompson-played by Mark L. Taylor-an employee of the Edison Laboratory. For Thompson was angry that Thomas A. Edison-played by Richard K. Olsen-had received credit and money for the battery patent as head of the Edison Laboratory, despite the fact that Thompson had created the battery. Significantly, giving the battery plans to the New Jersey Fuel and Oil Company so that they could succeed in their quest to destroy the battery and prevent the sale and proliferation of environmentally sound electric cars evoked the Big Three’s plot to destroy the Tucker Torpedo in TUCKER.
Just as significantly, this betrayal by Thompson also implicitly linked the YOUNG SHERLOCK JONES adventures to the betrayal of Stinkious by trusted colleagues like Kennedy, Marshall and Palpaberg. For Taylor played photographer Jerry Manley in ARACHNOPHOBIA, whose death by poisonous spider bite led to the Wicked Mother spider travelling in Manley’s coffin from the jungles of Venezuela to small town Canaima, CA for alienated and mutated CGI enhanced gremlin spider mayhem in that film. Thus, by having Taylor play Thompson, Lord Stinkious implicitly affirmed that he was indeed coming to grips with Kennedy, Marshall, Palpaberg, and the TZ disaster in the YOUNG SHERLOCK JONES adventures. Indeed, no sooner did Jones retrieve the missing battery plans, capture Thompson and take Robyn Lively’s Nancy Stratemeyer-a name that evoked Nancy Allen, RAIDERS OF THE LOST ARK, and the last good year of Lord Stinkious-to the high school prom in a sleek and ruby red Bugatti rocket car, then he and his Scots-Welsh father Dr. Henry Jones sr.-played by Stinkious lookalike, Lloyd Owen–headed west to Alberquerque, New Mexico, on a spring break trip to meet his Marshall evoking and implicitly linked cousin Frank-played by Stephen Graf-implicitly reaffirming that Lord Stinkious was using the YOUNG SHERLOCK JONES adventures to come to grips with Kennedy, Marshall, Palpaberg, and the TZ disaster.
True to form, cousin Frank quickly led the scholarly and sober Jones off the true path and down south on a clandestine adventure to a brothel in Mexico like Marshall led Chen, Le, Morrow, audiences, film art, film artists and the Temple Theatre astray on the Landis set of TWILIGHT ZONE: THE MOVIE. While in the border town of Columbus, New Mexico, Jones was caught up in a Mexican raid on the town led by Pancho Villa-played by Mike Moroff-and chased the bandits back into Mexico on horseback. This led to a brief adventure with Villa and his revolutionary Villistas, where Jones met Ronny Coutteure’s Remy Baudouin, his future companion in the Belgian Army and Belgian Secret Service. A significant meeting, indeed, as Remy was a new older mentor with an elemental and Ozian four letter first name like Yoda, implying that the Good, healing and harmonizing Force flowed with him…always. This adventure with the Villistas also led to hearing Villa complain that “…I thought we were men, not killers-soldiers and heroes!”, a pensive comment that evoked the TZ disaster and implied that Villa and his men symbolized the haunted and once revolutionary film artists of New Hollywood after the TZ disaster. Indeed, this implication was affirmed by the fact that Villa and his Villistas were hunted down by US military forces led by General Pershing-played by Peter Marinker-throughout this part of the adventure, evoking society’s attacks on New Hollywood after the TZ disaster, implicitly symbolized by the attacks by the Socs on the greasers in THE OUTSIDERS.
A fitting reminder of Coppola, for one of Pershing’s officers was the young Lieutenant George S. Patton-played by Stuart Milligan-whose presence evoked Coppola’s co-written screenplay for PATTON. In fact, this link to Patton implied that Villa and his men and their desperate attack on a fort at Ciudad Guerroro specifically symbolized Coppola and his American Zoetrope revolutionaries and their desperate assault on Fortress Hollywood in the late Sixties and Seventies, and on the walled off minds and hearts of the public after the TZ disaster. Indeed, the implicit link of Villa and his Villistas to Coppola and American Zoetrope was affirmed by their occupation of the Mexican hacienda of William Hearst after the assault on Ciudad Guerroro. For at the hacienda Villa and his men took over the private theatre of Hearst and watched some of the films in his collection, linking them to film art and artists, and Old and New Hollywood. This allusion to the idealistic early years of American Zoetrope also linked the early adventures of the YOUNG SHERLOCK JONES series to the years before the TZ disaster, and implicitly affirmed the link of young Indy to Stinkious.
Significantly, this chapter ended with the return of Demetrios Claw, whose first name evoked the twilit trio and whose nickname, The Jackal, anticipated an important German double agent to come in the YOUNG SHERLOCK JONES adventures. Curiously, Jones had to triumph over the Claw before he could finally join Remy and ride off into the sunrise at the end of CHAPTER 6: SPRING BREAK ADVENTURE. This explosive triumph over Claw also ended the childhood of Jones and brought his early life full circle, before he headed off with Remy to Europe and the Zone Wars. Indeed, Claw had stolen a jackal figurine from the tomb of Ka while Jones raided tombs as a child in Egypt in CHAPTER ONE: MY FIRST ADVENTURE. The retrieval of the jackal figurine and the explosive triumph over Claw also recalled the explosive triumph over White Suit and the recapture of the Cross of Coronado at the beginning of INDIANA JONES AND THE LAST CRUSADE in another link of this telefilm series to that film. However, not a harmonizing link, as unlike the Cross of Coronado, the jackal clearly represented death, disease and duplicity.
Thus, Lord Stinkious kicked off the YOUNG SHERLOCK JONES adventures on a worried and twilit note. Indeed, young Jones fell off a window ledge in Great Zone War Paris while spying on the famous female spy Mata Hari-played by Domiziana Giordano-in the twilit, allegorical and CGI enhanced Rene Manzol and Nicolas Roeg adventure CHAPTER 9: DEMONS OF DECEPTION like Connor fell off a window ledge in Good War Paris in the Landis episode of TWILIGHT ZONE: THE MOVIE, openly linking the telefilm series to Landis and the TZ disaster. Even more significantly, as the series wound on, the YOUNG INDY adventures slowly began to allude more and more to INDIANA JONES AND THE TEMPLE OF DOOM. These allusions implicitly affirmed that Lord Stinkious was using the series to come to grips with his fateful and career and reputation damaging decision to work with Kennedy, Marshall and Palpaberg on INDIANA JONES AND THE TEMPLE OF DOOM. These allusions peaked in the twilit, allegorical and CGI enhanced Wincer 1917 adventure CHAPTER 15: DAREDEVILS OF THE DESERT, the twilit, allegorical and CGI enhanced Schultz and Bille August 1917 adventure, CHAPTER 16: TALES OF INNOCENCE, and the twilit, allegorical and CGI enhanced Mike Newell and Dick Maas 1918 adventure, CHAPTER 17: MASKS OF EVIL.
Significantly, the contribution of young secret agent Jones to the daredevil attack on Beersheba in the Negev Desert of what is now Israel by the Australian Lighthorsemen Regiment in CHAPTER 15: DAREDEVILS OF THE DESERT evoked not the scenes on Tatooine in STAR WARS EPISODE IV: A NEW HOPE or STAR WARS EPISODE VI: RETURN OF THE JEDI, but the fighting on Hoth in STAR WARS EPISODE V: THE EMPIRE STRIKES BACK. For the Australian and English Imperial attack on the small desert town occupied by Germans and Turks and its entrenched line of defenders reminded us of the Imperial attack on the small hidden Rebel fortress and its entrenched line of fearless defenders on Hoth. This was a significant allusion and reversal of events in STAR WARS EPISODE V: THE EMPIRE STRIKES BACK indeed, and one that implicitly underlined that Lord Stinkious was now aware that he had left behind his youthful film student Rebellion and become an artistic Dark Lord with his own film and telefilm Empire.
And a more confident one now in the Nineties with the Great Divorce, HOWARD THE DUCK, INDIANA JONES AND THE TEMPLE OF DOOM, STAR WARS EPISODE VI: RETURN OF THE JEDI and TZ disasters receding behind him, for the secret mission of Jones to ensure the success of the Allied attack by saving the vital wells in Beersheba for the Australian and English soldiers and their horses that were secretly advancing across the desert was successful. Significantly, in order to succeed in his important mission, Jones had to convince the Germans and Turks that he had stabbed to death his secret Beersheba contact Kazim-played by Vincenzo Nicoli-whose name evoked Malikyan’s Kazim, the leader of the Brotherhood of the Cruciform Sword in INDIANA JONES AND THE LAST CRUSADE. This deception was necessary so as to ensure that the Germans and Turks would throw Jones into prison and forget about Kazim, allowing Kazim to help Jones escape and prevent the wells from being blown up by the Germans and Turks. Luckily for Kazim, the knife young Jones used to “kill” him was a trick theatrical knife that slid up into the handle when the blade was pressed on anything and leaked fake blood when a button on the handle was pressed at the same time. Thus, this trick theatrical knife implicitly affirmed the link of Jones and his Allies to Lord Stinkious and his Allies in the film amd telefilm world.
Fittingly, and ironically, the illusory knife also helped Jones defeat the infamous double agent Maya-played by Catherine Zeta-Jones. For her name was Sanskrit for “illusion”, a fitting name for a wily and beautiful woman who betrayed Jones and Kazim to the Germans and Turks. This betrayal evoked Elsa’s betrayal of the Jones boys to the Germans in INDIANA JONES AND THE LAST CRUSADE-a link to that film reiterated by the arrival of the new Kazim-and the betrayal of Lord Stinkious by Marcia, underlining that a part of Stinkious was still brooding over the Great Divorce in the YOUNG SHERLOCK JONES adventures. Indeed, Maya’s betrayal of Jones reminded us that young Sherlock Jones spent the entire YOUNG SHERLOCK JONES adventures looking for luv in an embattled world and never finding it, confirming his implicit links to Lord Stinkious. Maya’s Sanskrit name also evoked the Indian villagers and film thugs of INDIANA JONES AND THE TEMPLE OF DOOM, reaffirming that Maya, the Germans and Turks were linked to the equally duplicitous Palpaberg, his film art and his people. In fact, at one point while being shot at by Tusken Negev desert tribesmen, Jones and Maya had to cross a rope bridge similar to the one seen at the end of INDIANA JONES AND THE TEMPLE OF DOOM, bringing the YOUNG SHERLOCK JONES adventures closer to the second Indy film.
Fittingly, the sight of Jones and Maya on the rope bridge linked well with the obsession with doom and love in CHAPTER 16: TALES OF INNOCENCE. For Jones fought to woo German soldiers to the Allied side and battled with an equally young Ernest Hemingway-played by the fittingly surnamed Jay Underwood-for the love of the beautiful young Giulietta-played by Veronika Logan-in Northern Italy in 1917. Alas, more tragedy surrounded this latest Italian Juliet, and Ernesto and Enrico were taught a heartbreaking lesson in luv when sweet and shy Giulietta turned out to be already betrothed to Alfredo, whose name evoked Hitchcock, reminding us that Hitch was an idol of Palpaberg to reaffirm the implicit interest in Palpaberg and his film art in the YOUNG SHERLOCK JONES adventures. This implicit interest in Palpaberg and his film art was reaffirmed by a brief stop Jones made in Venice after northern Italy on the way to a new secret assignment in Morocco, for the pit stop evoked the rendezvous with Elsa, Sir Richard and the Brotherhood of the Cruciform Sword in Venice in INDIANA JONES AND THE LAST CRUSADE.
The ominous implicit interest in Palpaberg continued, for the new assignment of Jones in Morocco-under the Duvall evoking new pseudonym of Captain Duval-was to find out who was stealing rifles from a French Foreign Legion armoury and giving them to more Tusken desert marauders. This assignment led Jones far into the desert to a palace, similar to those seen in INDIANA JONES AND THE LAST CRUSADE and INDIANA JONES AND THE TEMPLE OF DOOM, of Maharajah Jamal-played by Seth, who played Nehru in GANDHI and Chattar Lal in INDIANA JONES AND THE TEMPLE OF DOOM, openly linking CHAPTER 16: TALES OF INNOCENCE and the rest of the YOUNG SHERLOCK JONES adventures to 1982, INDIANA JONES AND THE TEMPLE OF DOOM, Palpaberg and the TZ disaster.
Here at the palace, Jones caught the Arab who was stealing the rifles, and the French Legionnaire who was helping him. Significantly, the Arab looked like Lord Stinkious, and turned to look despairingly at Jamal when held in a headlock after his arrest. This hold and despairing look implicitly affirmed the despairing hold Palpaberg had on Stinkious that caused him to work with Palpaberg on INDIANA JONES AND THE TEMPLE OF DOOM. The revelation that a French officer with the Landis evoking name of Laborde was helping the Arab also raised the spectre of betrayal by friends again, and evoked Thompson’s betrayal in CHAPTER 6: SPRING BREAK ADVENTURE. This was an ominous spectre, indeed, given the scene’s link to INDIANA JONES AND THE TEMPLE OF DOOM, implying that Lord Stinkious had uncovered evidence that he had been betrayed by Emperor Palpaberg and fooled into working with him on the second Indy film.
Significantly, the duplicitous French officer was subsequently killed in a deadly fall after a sword fight, evoking the climatic sword fight between Holmes and Rathe at the end of YOUNG SHERLOCK HOLMES. Thus, this ending implicitly affirmed Indy’s status as a young Sherlock Jones and reaffirmed the implicit link of the YOUNG SHERLOCK JONES adventures to YOUNG SHERLOCK HOLMES and the pivotal 1982-85 period. Indeed, this link to YOUNG SHERLOCK HOLMES prepared us for the recreation of YOUNG SHERLOCK HOLMES in the first half of CHAPTER 17: MASKS OF EVIL. For the dark, labyrinthine, misty, mysterious and murderous streets of the London of Holmes returned in the form of the dark, labyrinthine, misty, mysterious and murderous streets of the Istanbul of Jones.
Significantly, the secretive streets were filled with men wearing red fezzes, evoking the red fezzes of the Brotherhood of the Cruciform Sword in INDIANA JONES AND THE LAST CRUSADE, an open link to the latter film made by Malikyan, who played Kazim, the leader of the Brotherhood of the Cruciform Sword, in the third Indy film and who returned as a mysterious and unnamed Armenian agent in this stealthy YOUNG INDY adventure. Here we found Jones on a new secret assignment, posing as a Swedish journalist with the Curt Henderson evoking name of Nils Anderson, while trying to contact General Mustafa Kemal-played by Ahmet Levendoglu-in an attempt to persuade him to take Turkey out of WWI.
Significantly, while manoeuvering to get close to Kemal to pass on his message from the government of France, young Sherlock Jones tried desperately to figure out who was hunting down and killing his fellow Allied spies in Istanbul, including one named Nico who looked like Lord Stinkious and another with the Morrow evoking name of Victor-played by Huseyin Katircioglu and Tristram Jellineck, respectively. These four twilit Ozian murders recalled the three Englishmen who were hunted down in London and murdered by Rathe’s sister Mrs. Dribb in YOUNG SHERLOCK HOLMES in another allusion to that film. An allusion that set audiences up for the same shocked surprise and sense of betrayal as when Rathe was revealed as the Wicked Ehtar at the end of YOUNG SHERLOCK HOLMES when the identity of the murderer of the Allied spies was revealed to be that of the closest confidante of Jones in Istanbul, a German double agent codenamed the Wolf-a codename that evoked the charming but deadly German agent, the Needle, in EYE OF THE NEEDLE-who had posed as a Bulgarian named Stefan to gain the confidence of Jones.
Of course, the name of the sneaky and insidious Stefan-played by Peter Firth-evoked that of Stefan Spielberg, implying that Lord Stinkious now believed or even knew that he had been backstabbed when he had worked with Palpaberg on INDIANA JONES AND THE TEMPLE OF DOOM. Indeed, the revelation that Stefan was the killer of the Allied spies implied that Stinkious had found out that Palpaberg was a Wolf in friend’s clothing indeed, and one who had lied to Lord Stinkious about how much he had been told about the illegal hiring and use of Chen and Le prior to the TZ disaster and about whether he had watched the tragedy unfold with the rest of the revellers that fateful night on the Landis set of TWILIGHT ZONE: THE MOVIE. This implied that Lucas had indeed been a Nishi all along, infiltrating the ranks of Kennedy, Marshall and Palpberg after 1982 to find out more about the disaster. The Wolf’s German nationality also implicitly affirmed the link of the Germans and the Turks to Palpaberg and his people and implicitly affirmed that the Great War did indeed symbolize the post-TZ disaster campaigns between Lord Stinkious and his Allies and Emperor Palpaberg and his insidious camp in the dread allegorical Zone Wars.
Significantly, after the insidious Stefan was revealed as the Allied spy killer, Indy’s girlfriend Molly-played by Katherine Butler-was shot and killed by Stefan by mistake when Stefan showed up at the apartment of Jones to kill him at the climax of the first half of the telefilm. This ending reminded us that Elizabeth, the love of the life of Holmes, was also shot and killed by Rathe at the end of YOUNG SHERLOCK HOLMES. This turned Holmes into a haunted and morose bachelor forever, as the Great Divorce had done to Lord Stinkious in those lonely years, linking the Great Divorce to the TZ disaster again in the life and films of Stinkious. Indeed, prior to the shooting, Molly had already broken off her engagement to Jones, reiterating Molly’s link to the Great Divorce. Significantly, Molly broke up with Jones because she did not think she could trust anything the young spy told her. This reason implied again that Marcia broke up with Lord Stinkious in ’83 in part because she did not trust his assurances that Emperor Palpaberg had been innocent of foreknowledge of, and had not watched, the TZ disaster.
After losing Molly and killing the Wolf, a heartbroken young Sherlock Jones was sent back to Venice for a new secret assignment, this time from American Intelligence. Significantly, one of his spy friends in Istanbul urged Jones not to link himself to INDIANA JONES AND THE LAST CRUSADE again via Venice. Indeed, Boris Isarov’s Vasily warned Jones that he had seen Jones drawn down into a pool of blood and then released as a living dead man in an ominous dream he had had the night before. This pool of blood reminded us that Chen, Le and Morrow were killed in the Santa Clarita River, a river that turned red with their blood, implicitly linking the dream to the TZ disaster in a way that reminded us that the YOUNG SHERLOCK JONES adventures followed an implicit late Sixties to Eighties timeline. Significantly, this twilightmare also implied that the disaster had horrified Lord Stinkious so much that he too had been a numb and living dead man ever since the accident-the strongest implied statement that the TZ disaster had been a heartbreaking experience that Lord Stinkious had ever made in his twilit and allegorical post-1982 film and telefilm art.
However, Jones ignored the ominous warning and headed back to Venice and INDIANA JONES AND THE LAST CRUSADE anyways, where the film studio evoking heads of Military Intelligence gave him a new secret assignment. This time, Jones was asked to head to Transylvania and make contact with a mysterious Romanian guerrilla leader named Mattias Targo-played by Bob Peck- who was annoying both the Allies and the Germans by attacking both sides. As this half of the adventure evoked BRAM STOKER’S DRACULA, the implication was that Lord Stinkious was using this half to reply to the Coppola film. Indeed, the name of Mattias Targo evoked that of Coppola Francis, implicitly affirming the link of Targo to Coppola. However, Mattias Targo’s name also recalled Maximilian Largo, the implicitly Palpaberg linked baddie of NEVER SAY NEVER AGAIN, implicity linking the telefilm again to Palpaberg and also to 1983 and the release of TWILIGHT ZONE: THE MOVIE.
This implicit link to Palpaberg was reaffirmed when young Sherlock Jones was asked to solve the mystery of a twilit trio of three Allied secret agents already sent to northwestern Romania to make contact with Targo. For after these three spies had disappeared, a finger, an eye and an ear had been sent back to Allied Intelligence in a box, gruesome pieces that did not affirm whether they were dead or alive but did recall the gruesome dismemberments of the TZ disaster. The body parts also recalled the dismembered fingers and thumbs found by Jones on a statue to Kalifornia on the way to Pankot Palace in INDIANA JONES AND THE TEMPLE OF DOOM, preparing us for Targo’s Black Palace and implying that Mattias Targo symbolized the Dark Side of Spielberg Steven more than that of Coppola Francis.
Indeed, on arrival at Targo’s spooky palace with its impaled corpses in the courtyard, its eerie and labyrinthine corridors, and its three haunting, mutilated and undead Allied agents-the most Dark, Evil and violent place ever visited in the allegorical film and telefilm art of Lord Stinkious before or since-Jones discovered that Targo had been possessed by the hellish and supernatural spirit of Vlad the Impaler. Significantly, this Evil spirit evoked the Evil spirit of the Wicked Kali that had controlled Mola Ram, the boy maharajah Dalim Zingh and even Jones for a while in INDIANA JONES AND THE TEMPLE OF DOOM. This returned the Evil, aroused and mind controlling criminal brain from Arous to the art of Lord Stinkious, preparing us for the return of Lord Sidious in the Tragic Trilogy. As this battle with Targo occurred right after encountering a Wolf named Stefan in the first half of the adventure, Lord Stinkious also implied that Stefan Palpaberg as well as Landis had been led astray at the time of the TZ disaster because he had been controlled by Wicked Evil. Indeed, Targo’s implicit link to out of control Directos was implicitly affirmed by the Allied partner of Jones in Transylvania, for Colonel Waters-played by Keith Szarabajka-resembled and was implicitly linked to notorious film artist John Waters, linking the adventure to the Last Good Year via the allegorical Waters indie docufeature film POLYESTER (1981).
Fittingly, after Jones was captured by the huge and Wicked Targo in a Vader neck grip and almost dismembered by him while still alive in his Dark Tower at the end of the creepy adventure, the fearless and feisty Maria-played by Simone Bendix-freed Jones and together they tried to kill the insidious Targo by stabbing him and throwing him from the Black Palace heights to his doom. However, as Jones and Maria only succeeding in briefly knocking Targo unconscious, the intrepid pair took the Vlad possessed Targo from his creepy Pankot-style Palace to a nearby crossroads. Here, in the middle of the healing and elemental intersection of four Ozian roads, Jones pounded a stake through the heart of Targo. This released the Evil spirit of Vlad and caused Targo to blow up in a TZ disaster evoking fireball, exorcising Evil as at the end of BRAM STOKER’S DRACULA and THE EXORCIST. Thus, Lord Stinkious implicitly freed Palpaberg and himself from the Dark Side of Hollywood, and also implied that he was freeing Marcia as well, as the name of Maria evoked Marcia. And literally freed, for the undead spies and soldiers controlled by Targo were freed to rest forever after being liberated from the supernatural power of Vlad with the death of Targo, reminding us that the death of the insidious Emperor Palpatine freed Vader and the rest of the Imps at the end of STAR WARS EPISODE VI: RETURN OF THE JEDI.
Fittingly, after freeing Lord Stinkious and everyone else from their Dark Sides and the TZ disaster with the exorcism of Targo, young Sherlock Jones was freed from the Zone Wars with the end of the Great War. Jones and Remy then went on to free themselves from a lust for fortune and glory in the allegorical and CGI enhanced Schultz 1918 adventure CHAPTER 18: THE TREASURE OF THE PEACOCK’S EYE. Indeed, no sooner did the Great symbolic War between the forces of Palpaberg and Stinkious end, then Jones and Remy were off to the south Pacific on the frantic trail of a legendary Indian jewel called the Peacock’s Eye. This Indian jewel again linked the YOUNG SHERLOCK JONES adventures to the Indian location of INDIANA JONES AND THE TEMPLE OF DOOM. The Peacock’s Eye also implicitly reaffirmed that a lust for gold had contributed to the TZ disaster and that Jones was freeing himself from a new Kali film thug trance when he broke the aroused hold that this jewel had on his mind.
This South Pacific trip then led to a Titanic-style shipwreck and an isolated island with peaceful and harmonious Polynesian islanders in an INDIANA JONES AND THE TEMPLE OF DOOM-style Shankara village that further allowed Jones to let the lust for fortune and glory drain out of him. Indeed, the Good villagers taught Jones to aim for higher things, convincing him to sail back to the US and return to high school in Princeton and college in Chicago. This evoked the commitment of Lord Stinkious to education and higher goals after the Great Crash of 1962, making the shipwreck another formative crash in the life, films and telefilms of Lord Stinkious that affirmed that Stinkious was setting his sights high again after symbolically ending the Great Zone War with Palpaberg.
Indeed, this evocation of the Great Crash linked the training of Jones in Archaeology to the training of Lord Stinkious in Film Art, bringing Stinkious symbolically closer to a new directorial debut. A new directorial debut that Lord Stinkious clearly feared would not be without its own battles against twilit forces and Directos despite defeating Stefan, exorcising Targo and doing his best to end his part of the Zone Wars in the YOUNG SHERLOCK JONES adventures. For viewers knew that the uneasy ceasefire and peace settlement arrived at in Paris between the Allies and Germany and its Allies before Jones returned to Princeton in the allegorical and CGI enhanced Schultz and David Hare adventure CHAPTER 19: WINDS OF CHANGE led to the even larger and more devastating Good War, a larger war that would also explode in symbolic full Force fury in the epic Clone Wars between Jedi and Sith in the Tragic Trilogy. This first half of CHAPTER 19: WINDS OF CHANGE also implied that Lord Stinkious was wondering how much he and his Classic Trilogy and its movie tie-in merchandise were responsible for the TZ disaster, for this half openly questioned the furious insistence that the German/Palpaberg camp were the only guilty party in the Great War. Indeed, the Vietnamese village set of the disaster was openly linked to the Paris Peace Conference by a tiny Vietnamese delegation-including Alec Mapa’s Ho Chi Minh-that sought greater freedom for the people of French Indo-China.
Significantly, the sight and sound of Jones working on rockets with physics professor Robert Goddard-played by Stephen Ayers–when he finally returned to Princeton after the Paris Peace Conference ended reiterated that Lord Stinkious wanted to blast off into the stars and visit that galaxy far, far away again. His valedictorian friend Paul Robeson-played by Kevin Jackson-further anticipated the Tragic Trilogy and the arrival of Jedi Council head, Master Mace Windu-played by the fittingly surnamed Samuel L. Jackson. Interestingly, the name of Robeson also implicitly affirmed that Jones was inspired by Doc Savage, for Lester Dent wrote the Savage super sagas under the pen name Kenneth Robeson. Significantly, a bitter argument that Jones had with his father while in Princeton also reaffirmed that Jones symbolized Lord Stinkious, evoking the bitter argument that broke out between Stinkious and Lucas sr. when Stinky refused to join Lucas sr. in his stationery store in Modesto. Jones then further disappointed his father by choosing to be trained as an archaeologist at the University of Chicago instead of at Princeton, where Jones sr. worked as a professor of History. While working as a waiter in Colosimo’s Restaurant in Chicago to pay for his post-secondary education, Jones met the jazz clarinettist Sidney Bechet-played by Jeffrey Wright-in THE COTTON CLUB evoking, allegorical and CGI enhanced Carl Schultz 1920 adventure CHAPTER 20: THE MYSTERY OF THE BLUES.
Not surprisingly, this meeting with Bachet re-baptised a symbolic Lord Stinkious in the Afro-mojo Force, a Pharaonic mojo that was always necessary in order to truly emerge as a J.D. Jedi artist in the life, films and telefilms of Stinkious. In fact, Bechet encouraged Jones to take up the saxophone and learn how to use art to unleash emotions and come to grips with life by mastering a swinging, jazzy version of “Twinkle, Twinkle, Little Star.” This musical interlude evoked McFly’s turn at the guitar with the band of Marvin Berry-played by Harry Waters jr.-at the Star Of The Sea dance at the end of BACK TO THE FUTURE. The link to 1985 also implicitly affirmed that the earlier events of the YOUNG SHERLOCK JONES adventures-including the implicitly Palpaberg and TZ disaster linked showdowns with Stefan and Targo-had been set in the early Eighties, reiterating that Lord Stinkious was using the telefilm series to come to grips with the events of those years. After many humourous and tortuous attempts, Jones finally learned to swing, confirming that Lord Stinkious was thinking of heading up in the stars again for some serious Skyrocking. Indeed, the Classic Trilogy Special Editions were released in 1997 a year after the YOUNG SHERLOCK JONES adventures ended in 1996, implicitly affirming that indeed was the allegorical Force flowing again in Lord Stinkious, so much so that soon Lord Stinkious confirmed his not so secret intentions in 1997 by announcing that he was directing a new STAR WARS trilogy.
In fact, Stinky implicitly and presciently affirmed this commitment to directing film art again by sending Jones to Hollywood to meet Erich von Stroheim and John Ford in the allegorical and CGI enhanced Schultz adventure CHAPTER 22: HOLLYWOOD FOLLIES. Significantly, Dana Gladstone’s autocratic and raging von Stroheim evoked Landis and reminded us of all of the filmmaking methods the film art world needed to avoid after the TZ disaster. Happily, Stephen Caffery’s warm and easy going Ford taught Jones to be an independent J.D. Jedi filmmaker by filming on location far from theatrical stages and Hollywood, a trick that Ford acolyte Stinkious always used to achieve independence from Hollywood in his own films and telefilms. Ford also taught Jones to improvise dialogue and roll with punches when Indy accidentally set fire to a log cabin that was a set in Ford’s latest Western, spontaneous approaches to film creation that Lord Stinkious used in his own film art.
Indeed, Ford’s advice reminded us that Smith accidentally crashed Toad’s Vespa when filming the scene at Mel’s Cantina that began AMERICAN GRAFFITI, and that Lord Stinkious used the crash in the finished film because it fit Toad’s character and linked well with the motorcycle robocop crashes at the end of THX 1138. Curiously, the arrival of the young Ford also reminded us that George Hall’s cranky and garrulous old Jones-who had introduced and concluded each of the YOUNG SHERLOCK JONES tales on television but was absent from the video and DVD collections-looked like the older Ford-complete with eyepatch! The title of the allegorical Western that Jones worked on with Ford-SIX STEPS TO HELL-also linked the adventure to the six murders carried out by a Wolf named Stefan in CHAPTER 17: MASKS OF EVIL.
Significantly, signs that Stinky was thinking of returning to the world of film art were also seen in the twilit, allegorical and CGI enhanced Peter MacDonald adventure CHAPTER 10: THE PHANTOM TRAIN OF DOOM of the YOUNG SHERLOCK JONES adventures. For this kinder and gentler tribute to Peckinpah’s violent allegorical indie docufeature film THE WILD BUNCH (1969) also featured the ironic return of Freeman as anti-German African liberator Frederick Selous. As with the reappearance of Tablian, the reappearance of Freeman wistfully linked the YOUNG SHERLOCK JONES adventures again to RAIDERS OF THE LOST ARK and the Last Good Year of Palpaberg and Stinkious. The reappearance of Freeman also reminded us of all of the links to the early good years and the Classic Trilogy in the YOUNG SHERLOCK JONES adventures that anticipated the arrival of the new STAR WARS Tragic Trilogy. Indeed, the very name of CHAPTER 10: THE PHANTOM TRAIN OF DOOM prepared us for the arrival of STAR WARS EPISODE I: THE PHANTOM MENACE in 1999.
A new STAR WARS episode that was openly anticipated by Classic Trilogy sound designer Burtt, who co-wrote, edited and directed the exciting twilit, allegorical and CGI enhanced 1917 adventure CHAPTER 12: ATTACK OF THE HAWKMEN, which evoked the arrival of Thom’s implicitly Spock linked hawk-man Hawk in “Time of the Hawk”, the first episode of the second season of BUCK ROGERS IN THE 25TH CENTURY. Significantly, this YOUNG INDY adventure evoked THE STUNTMAN and featured Great War aerial dogfights that evoked the spacefighter dogfights of the Classic Trilogy and pointed the way to the CGI space battles of the Tragic Trilogy. This adventure also turned Jones into a new stuntman Cam in a way that warned again of the perils of out of control stunts. Indeed, Jones morosely muttered “…I have a bad feeling about this” when the swashbuckling French flying ace Charles Nungesser-played by Patrick Toomey-told Jones that he had to drop down onto Hanover, Germany in an experimental parachute on his new secret mission “…full throttle!”-two familiar expressions that paved the way for a new STAR WARS trilogy and also reaffirmed the implicit link of Jones to Lord Stinkious. Indeed, the reappearance of Daniels as a French Q named Francois who supplied Jones with special glasses and a suitcase for this mission not only openly linked the YOUNG SHERLOCK JONES adventures to the STAR WARS Classic Trilogy but also anticipated his return as Threepio in the STAR WARS Tragic Trilogy.
The reappearances of Fisher as a co-writer and the imperious McDiarmid as Professor Levine in CHAPTER 9: DEMONS OF DECEPTION reaffirmed the link of the YOUNG SHERLOCK JONES adventures to the Classic Trilogy, and anticipated McDiarmid’s return as the insidious Emperor in the Tragic Trilogy. The arrival of Ford as Jones in CHAPTER 20: THE MYSTERY OF THE BLUES, the only YOUNG SHERLOCK JONES adventure to be introduced and wrapped up with a prologue and epilogue by Ford’s Indy, also linked the series to the Classic Trilogy as well as the Indy Trilogy, and prepared us for the return of Mayhew’s Chewbacca in the Tragic Trilogy. The sight and sound of Pernilla August also playing a governess named Emile in CHAPTER 3: PASSION FOR LIFE and Giuiletta’s mother in CHAPTER 16: TALES OF INNOCENCE also prepared us for her return in STAR WARS EPISODE I: THE PHANTOM MENACE.
In addition, the chariot race in Fred Biblo’s allegorical film BEN-HUR: A TALE OF THE CHRIST (1925), watched by Jones in a theatre at the beginning of CHAPTER 22: HOLLYWOOD FOLLIES, also anticipated the Deathpod race of STAR WARS EPISODE I: THE PHANTOM MENACE-even if the 1925 film was watched by Jones in an adventure that took place in 1920. Of course, as Lord Stinkious took on the dread allegorical Zone Wars in the YOUNG SHERLOCK JONES adventures, films continued to be released in the Temple Theatre. Kicking off 1993 was the twilit, allegorical and CGI enhanced Marshall docufeature film ALIVE (1993), released on January 15, 1993.
Curiously, Marshall implicitly compared the struggle of New Hollywood film artists to survive in the post-TZ disaster age to the struggle of an Uruguayan rugby team to survive a plane crash in the Andes mountains in the film. This in turn implied that the brave decision of Nando and Roberto-played by Hawke and Josh Hamilton, respectively-to leave behind the band of survivors and successfully walk out of the Andes to Chile and return to rescue the rest of the survivors with two TZ disaster evoking Huey helicopters symbolized the hard work of Lord Stinkious and Emperor Palpaberg to save film art with CGI enhancement after 1982. Indeed, one of the last mountains Nando and Roberto had to traverse before leaving the Andes for more verdant valleys looked like the Paramount mountain that towered over Jones and the rest of the members of his expedition at the beginning of RAIDERS OF THE LOST ARK. Thus, this mountain implicitly affrmed that Marshall hoped that Lord Stinkious and Emperor Palpaberg would return to greener pastures one day with a successful year that would evoke the Last Good Year of film. The presence of Hawke also affirmed the film’s implicit intent, recalling Hawke’s work as the implicitly Lord Stinkious linked Ben in EXPLORERS. The opening plane crash also evoked Miller’s episode of TWILIGHT ZONE: THE MOVIE and the plane crash at the beginning of INDIANA JONES AND THE TEMPLE OF DOOM, reaffirming the film’s link to the TZ disaster.
However, as the ill fated passengers of ALIVE did not collaborate with their pilots for two weeks before their crash to bring about the circumstances that caused the accident, while Kennedy and Marshall knew about the decision to illegally use child extras and helped Folsey jr. and Landis find Chen and Le before the TZ disaster, the link between the TZ disaster and the ALIVE crash was unclear. As Lord Stinkious and Emperor Palpaberg and other film artists shattered by the TZ disaster also did not have to resort to eating the bodies of Myca, Renee and Vic in order to survive in the difficult years after the disaster, unlike the ALIVE survivors, who were forced to eat the bodies of their dead colleagues to survive, it was not entirely clear exactly what bizarre point Marshall was trying to make in ALIVE. However, if Marshall was simply hoping for better days ahead, his hopes were rewarded, as audiences who did not understand the implicit allegorical intent of EMPIRE OF THE SUN, HOOK, JURASSIC PARK and SCHINDLER’S LIST also did not understand the implicit allegorical intent of ALIVE or rage against him and the film.
Curiously, one who implicitly did notice was Dante, who implicitly and unusually bit the hand that fed it by teaming up again with Finnell, Goldsmith, Miller and Picardo and having the Hamill resembling and implicitly Stinky linked Stan-played by Omri Katz-and his girl, the Fisher resembling and implicitly linked Sherry-played by Kellie Martin-triumph over the implicitly Palpy linked Harvey Starkweather-played by James Villemaire-with the help of the implicitly Hitchcock linked film producer/director Lawrence Woolsey-played by Goodman-and his implicitly CGI linked Atomovision with accompanying Rumble Rama that dramatically increased the shocking effect of the twilit and allegorical film MANT (196?) one memorable night at the Strand Theatre in Key West, Florida in the twilit, allegorical and CGI enhanced film, MATINEE (1993), released on January 29, 1993. An amusing film that prepared the way for the return of Ramis to relieve the anger and tension of the dread allegorical Zone Wars in the tenth anniversary year of the release of TWILIGHT ZONE: THE MOVIE in the twilit and allegorical indie docufeature film GROUNDHOG DAY (1993), released on February 12, 1993.
“It was the end of a very long day.”
Indeed, in a tragicomic riff on the deadly entrapment of Morrow’s Bill Connor in the Twilight Zone, Murray’s snarky and vainglorious bachelor WPBH 9 television weatherman Phil Connors found himself trapped with Scooter’s “Punxsutawney” Phil, the film’s blockbuster groundhog beast-!even more nightmarish than the killer rabbit of MONTY PYTHON AND THE HOLY GRAIL!-reliving Groundhog Day every day in the small town of Punxsutawney, Pennsylvania, and struggling desperately to break free lest he be turned into a blockbuster beast himself-“Punxsutawaney” Phil Connors! Clearly, Ramis and co-writer Daniel “Danny” Rubin felt that after ten years, it was time to implicitly and allegorically acknowledge and break film art free from its tragicomic fixation with the twilit and disastrous events of July 23, 1982 with healing and liberating humour in this fine tenth anniversary film. Indeed, while being held by an official who looked like Landis, “Punxsutawney” Phil’s climate prediction was announced by Mayor Buster-played by Rod Sell-at exactly 7:20:30 every morning, affirming the film’s implicit interest in addressing the obsession of film artists with the twilit and disastrous events of July 23, 1982 and continuing the concerned efforts of Ramis to free audiences, film art, film artists and the Temple Theatre from troubling twilit ghosts and bring harmony and health back to the cineverse with the help of healing humour begun in his capacity as co-writer and co-star of GHOSTBUSTERS and the twilit, allegorical and CGI enhanced docufeature film GHOSTBUSTERS 2 (1989).
The appearance of Murray as Connors affirmed the implicit allegorical intent of GROUNDHOG DAY, as Murray co-starred as sarcastically intrepid Ghostbuster Peter Venkman in GHOSTBUSTERS and GHOSTBUSTERS 2. Of course, the names of Phil Connors and “Punxsutawney” Phil not only evoked Bill Connor of the Landis episode of TWILIGHT ZONE: THE MOVIE, but Philip K. Dick as well, linked forever to the twilit and disastrous events of 1982 via his death in March of ’82 and BLADE RUNNER, implicitly reaffirming that the film addressed July of ’82 and the TZ disaster with a humourous evocation of the best of the original TWILIGHT ZONE telefilm series, which were also often wistfully set in small towns. Indeed, Connors fell off a building like Connor at one point-albeit in a failed suicide attempt-openly linking Connor to Connors. The acronym of television station WPBH 9 reaffirmed the film’s implicit interest in the twilit and disastrous events of July 23, 1982 as the “W” and the “B” of WPBH 9 reminded us that Warner Brothers had released TWILIGHT ZONE: THE MOVIE. Even the title GROUNDHOG DAY had the same syllable cadence as TWILIGHT ZONE, reiterating the film’s implicit interest in freeing the cineverse from the TZ disaster.
Significantly, however, the main difference between GROUNDHOG DAY and the GHOSTBUSTERS films was that GROUNDHOG DAY also implicitly reached out to Lord Stinkious in the implicit form of Connors throughout the film, an implicit interest in Stinky affirmed by the film’s allusions to AMERICAN GRAFFITI, FREIHEIT and 6-18-67. Indeed, the resemblance and implicit link of Rita-played by Andie MacDowell-to Leia and Marcia affirmed the implicit link of Connors to Stinkious. A Punxsutawney local named Ralph-played by Rick Overton-and a young saxophonist in the band at the AMERICAN GRAFFITI-style dance at the Groundhog Day Festival Banquet who both resembled Stinkious-complete with his famous big, outthrusting ears-also affirmed the film’s implicit interest in Lord Stinkious. Thus, the sight and sound of ornery bachelor Phil finally being allowed to break the cycle of endless Groundhog Days and leave Punxsutawney, PA with the help of the luv and companionship of Rita implied that Ramis was not pleased with Palpaberg’s implicit confession of being on the Landis set and doing nothing to stop the use of Chen and Le or the TZ disaster in HOOK, and was forgiving and reaching out to Stinkious in hopes that the luv of film art would allow the equally ornery bachelor to break free from his entrapped and lonely existence at Skywalker Ranch and return to making healing and harmonizing film art like GROUNDHOG DAY, in the end, making it perhaps the first of a number of allegorical films to implicitly urge Stinky to return in the Nineties.
As for Lord Stinkious, as he implicitly roasted and symbolically killed Emperor Palpaberg and/or implicitly exorcised his Dark Side in the YOUNG SHERLOCK JONES adventures, he also curiously and contrarily reached out to and worked with Palpaberg as he had decades earlier when he implicitly roasted and symbolically killed Emperor Palpaberg and exorcised his Dark Side in the STAR WARS Classic Trilogy and worked with Kennedy, Marshall and Palpaberg on the first two Indy films. In this case, Stinky and ILM teamed up again with Kennedy and Palpy and Kahn and Williams on a game changing film that proved that the dream of a brave new world of CGI enhanced film art was also gathering Force while ironically roasting that dream and implicitly roasting the Disney/Touchstone Pictures and Landis collaboration on OSCAR and Disney’s embrace of CGI enhanced hand animated films in the twilit, allegorical and CGI enhanced docufeature film JURASSIC PARK (1993), which was released on June 11, 1993 and was inspired by the equally twilit and allegorical Crichton indie docufiction novel Jurassic Park (1991)-which also evoked the Dream Park trilogy which was brought to a masterful climax the year before by Barnes and Niven in their allegorical and implicitly Cameron roasting indie docufiction novel The California Voodoo Game (1992)-and WESTWORLD.
“You didn’t earn the knowledge for yourselves,
so you don’t take any responsibility for it.
You stood on the shoulders of geniuses
to accomplish something as fast as you could,
and before you even knew what you had,
you patented it and slapped it
on a plastic lunch box.
And now you’re selling it.”
Significantly, JURASSIC PARK began with four mini-prologues that set up the premise of the film, invoking the four mini-prologues that began CLOSE ENCOUNTERS OF THE THIRD KIND in a way that evoked the Skyrocking spirit of ’77 before the TZ disaster. But not a daylit Skyrocking spirit, for the first prologue was set in an as yet unknown jungle at night, immediately starting the film on a dark and menacing note that was in complete contrast to the light and cheery year of ’77 and the end of HOOK. This dark jungle setting also evoked the equally dark and shadowy South American jungle prologue of RAIDERS OF THE LOST ARK, albeit in wistful contrast to the good times and high flying spirit of the Last Good Year of film, implying that Kennedy, Palpaberg and Stinkious were brooding over the tumultuous 1981-82 years again in JURASSIC PARK.
Brooding indeed, for a large grey crate that evoked the crate that the Lost Ark of the Covenant was hidden in at the end of RAIDERS OF THE LOST ARK, and the monstrous crate that contained the implicitly Cowardly Lion linked Fluffy in “The Crate” episode of CREEPSHOW, was soon seen being lifted by a crane into a large open cage under the supervision of the implicitly Cameron linked Robert Muldoon-played by Peck. In fact, as the crate was being lifted into the cage, it became apparent that there was another monster-at this point unseen-inside it, openly affirming the link to “The Crate”, CREEPSHOW and 1982.
Significantly, a large supporting “X” that was formed on the side of the crate by its supports also implied that Kennedy and Palpaberg were still worried about the righteously furious and critical Gen X gang, as they had openly implied with the righteously furious ambushes of the Brotherhood of the Cruciform Sword in INDIANA JONES AND THE LAST CRUSADE. An appropriate reminder of ambushes, for after the crate was placed inside the cage, an unseen monster did indeed get out and managed to drag into the cage for consumption an implicitly Wicked Witch of the East linked screaming man who had been watching the crate’s descent. This openly evoked a similar scene in “The Crate” where Fluffy had also attacked from inside the crate and dragged an equally screaming, hurt and bleeding janitor named Mike-played by Don Keefer-into the crate for consumption. Thus, the unseen monster of the first mini-prologue openly linked the film to 1982, and, hence, to Landis and the TZ disaster.
Intriguingly, the second of the four mini-prologues reaffirmed the film’s link to RAIDERS OF THE LOST ARK. For it was set at the Mano de Dios amber mine dig in the Dominican Republic, openly evoking the South American prologue of RAIDERS OF THE LOST ARK as well as the archaeological dig in Utah’s Monument Valley at the beginning of INDIANA JONES AND THE LAST CRUSADE. This prologue also introduced an implicitly Landis and Tin Man linked lawyer named Donald Gennaro-played by Martin Ferrero, who played Luigi Finucci in OSCAR, openly linking the film and the latest monster in the crate to Landis and OSCAR. This mini-prologue also introduced us to the “Jefe” of the dig, Juan “Juanito” Rostacho-played by Miguel Sandoval, an actor who was by 1993 forever linked to the films of Cox because he had had a role in most of them.
A fittingly open link to Cox, for the third mini-prologue took place in a dinosaur dig in the Badlands of North Dakota and introduced us to the implicitly Cox and Scarecrow linked dinosaur expert and hunter Doctor Alan Grant and the implicitly Glinda and Cox film art linked paleobotanist Dr. Ellie Sattler-played by Sam Neill and Laura Dern, respectively. Significantly, the appearance of Neill reaffirmed the film’s link to 1982, as he had played the perhaps Coppola linked Danny Costello in the allegorical Tim Burstall indie docufeature film ATTACK FORCE Z (1982). He also evoked Nigel Davenport’s Montgomery, the second in command to Moreau, in THE ISLAND OF DR. MOREAU. In addition, Grant’s open dislike of the digital scientific dig software, which threatened to end digs and but was plagued by bugs throughout this mini-prologue, and his preference for all human digs, evoked not only the CGI free film art of Cox, but implied that Palpaberg was also not terribly impressed with CGI and was worried that it could lead to completely ahuman and all CGI film art, thus implicitly and ironically establishing an anti-CGI theme in this exuberantly CGI enhanced film that continued for the rest of JURASSIC PARK. The fact that raptors were being dug up by Grant, Sadler and their colleagues at this dig also anticipated the revelation that the monster in the crate in the first mini-prologue was a raptor, and their tenacious attacks to come. Curiously, raptor meant “…bird of prey”, evoking the Klingon warships of STAR TREK II: THE WRATH OF KHAN, and that film’s memorable CGI Genesis bomb sequence.
Last but not least, this third mini-prologue also introduced us to Sir Attenborough’s mysterious and implicitly Walt Disney and Great Oz linked and Dr. Moreau evoking John Hammond, the man with the John Landis-like name who arrived on the scene by twilit helicopter and whose surname evoked that of wisecracking Reggie Hammond-played by Murphy-in 48 HOURS, openly linking Hammond to 1982. Indeed, the use of the director of GANDHI as Hammond reaffirmed the film’s interest in the twilit and disastrous year of 1982. Curiously, the name of John Hammond also reminded viewers that the last great find of the famous musical talent scout John Hammond was Texas blues guitarist Stevie Ray Vaughan, who died in a helicopter crash on August 27, 1990, ominously linking Hammond and JURASSIC PARK to tragic helicopter crashes and reiterating the film’s implicit interest in the TZ disaster.
An implicit interest in the TZ disaster implicitly affirmed by the final Fourceful mini-prologue of the film, which introduced us to the implicitly Catmull or John Lasseter and Nikko linked Dennis “the Menace” Nedry-played by Wayne Knight-the insidious snake in the garden whose lusts for beastly blockbuster fortune and glory would be his undoing and the undoing of the other characters. For these beastly blockbuster lusts set off a disastrous snafu chain of chaotic, violent and TZ disaster evoking events that implicitly affirmed Nedry’s link to Catmull or Lasseter. Disastrous, chaotic and violent events that took place at the Disneyland evoking Jurassic Park that Hammond flew Grant, Sattler, new addition and implicitly Cowardly Lion linked chaotician, Dr. Ian Malcom-who evoked another frequent Cox collaborator, Joe Strummer, to reaffirm the implicit link of Grant to Cox, and played by Goldblum-and the audience off to in a helicopter with the twilit serial number N293G.
Significantly, at this point in many ways JURASSIC PARK became a darker and more guilt stricken and violent remake of HOOK. For the opening and ominous helicopter ride to Jurassic Park run by Hammond and his Ingen people-a corporation whose name evoked Touchstone-in the mysterious, forbidding, Moreau and Skull Island evoking and equally Lucas cadenced tropical island of Isla Nublar off the coast of Costa Rica-of course!-recalled the sight of Tinkerbell flying Banning to Neverland at the beginning of HOOK, linking Jurassic Park to Neverland and both to the disastrous and deadly Twilight Zone-indeed, Hammond and the others were soon to encounter deadly raptors with six inch piratical and retractable hooked claws on their middle toes in an open link to HOOK. The main difference was that here in Isla Nubarland, the power of creative CGI to liberate audiences from future fatal set disasters and to bring harmony back to audiences, film art, film artists and the Temple Theatre was implicitly symbolized by the genetically recreated and CGI realized dinosaurs that Hammond championed to Grant, Malcolm and Sadler at the Park in the hopes that they would endorse them so as to encourage patrons to come to the park.
Alas for Gennaro, Grant, Hammond, Malcolm and Sattler-and Hammond’s grandchildren, an implicitly Burton and Toto linked boy named Tim and an implicitly Dorothy and Luthor linked girl named Lex [played by Joseph Mazzello and Ariana Richards, respectively], the “target audience” of the film and the Park who implicitly symbolized the young Munchkid audience members that Kennedy, Marshall, Palpaberg and Stinkious were trying to soothe and liberate from twilit fury and nightmares with CGI enhanced film art like JURASSIC PARK [indeed, their arrival was announced by Hammond with an exuberantly ironic “…they’re here!”, openly linking the Munchkids to outraged young audiences of 1982 via the catchphrase of POLTERGEIST]-these genetically recreated, egg hatched and CGI realized deadly dinosaurs were accidentally freed from their caged paddocks by a power outage caused by Nedry’s foolish and bumbling skullduggery, ran amok and attacked the island’s human tourists like the manbeasts of THE ISLAND OF DR. MOREAU one dark, stormy, and nightmarish night at Jurassic Park.
Thus, the sight and sound of Grant refusing to endorse, and a humbled Hammond agreeing to abandon, Jurassic Park and its CGI beasts after teaming up with Grant, Malcom and Sattler to save Lex and Tim-which led to several scenes that saw Grant successfully rescuing Lex and Tim, ominously evoking Morrow’s failed attempt to save Chen and Le on the Landis set of TWILIGHT ZONE: THE MOVIE-and after the rampaging dinosaurs-including an unstoppable tyrannosaurus rex and a twilit trio of cunning, mayhem loving and gremlin evoking raptors-killed Gennaro, Muldoon, Nedry and computer tech Ray Arnold-who evoked another longtime Cox collaborator, Sy Richardson, to reaffirm the implicit link of Grant to Cox, and played by Jackson-implied the ironic hope of Palpaberg that Cox would continue to eschew CGI enhancement in his indomitably indie docufeature film art and that Disney/Touchstone would abandon CGI enhanced hand animated film art and further collaborations with Landis-an ironic implication, indeed, given that JURASSIC PARK was an exuberantly CGI enhanced and brainless blockbuster beast of a filmmercial that saw CGI in the form of a T-Rex literally save Lex, Tim, Grant and Sattler from two CGI raptors, in the end, throwing some doubt on its implicit support of CGI free film artists like Cox and also promoted a movie tie-in merchandise campaign that was bigger than those of BATMAN, GREMLINS and GREMLINS 2: THE NEW BATCH combined.
Ominously, and in addition, Grant’s desperate rescue of Lex and Tim also evoked Banning’s desperate rescue of Jack and Maggie from Hook and Neverland in HOOK, continuing Palpaberg’s post-TZ disaster tradition of desperately redirecting reality and saving the children in the end of his feature film art as at the ends of INDIANA JONES AND THE TEMPLE OF DOOM, THE COLOR PURPLE, EMPIRE OF THE SUN, and HOOK, and implying yet again that a guilt stricken Spielberg was desperately trying to use the film to come to grips with the fact that he had been at the Landis set on the night of the TZ disaster and had done nothing to stop the use of Myca and Renee. Curiously, Tim, Lex and Grant were last seen safely huddled together on a helicopter that whisked them away from the Twilight Park to safety at the end of the film, sending another curiously contrary message to audiences that while CGI enhanced film art could not be fully trusted yet-velociraptor did sound like helicopter, after all-helicopters could be trusted now that CGI had made safe film sets a reality-or perhaps not, as the serial number on the side of the helicopter again read N2930.
Curiously, however, despite the ominous implications that a guilt stricken Palpaberg used JURASSIC PARK in part to again come to grips with the fact that he had been a passive observer on the Landis set the night of the TZ disaster, the film was a monster hit for Kennedy and Palpaberg. Indeed, JURASSIC PARK was Emperor Palpaberg’s biggest hit since 1982 and E.T., THE EXTRATERRESTRIAL. This implied that it was indeed back to the filmmercial for Palpaberg and the rest of Hollywood, now that the TZ trial was over and that audiences were embracing big budget CGI enhanced film art like JURASSIC PARK. Infuriatingly insidious and crass implications that were soothed by the sweet, twilit and allegorical Bertolucci indie docufeature film LITTLE BUDDHA (1993), released on December 1, 1993.
Curiously, Bertolucci implicitly hoped that Lynch would survive the TWIN PEAKS: FIRE WALK WITH ME debacle and return a new and changed moving painter like a twilit trio of children, Gita, Raju and Jesse-played by Greishma M. Singh, Raju Lal and Alex Weisendanger, respectively-who were believed to be three reincarnated aspects of the dead Tibetan Lama Norbu-played by Ruocheng Ying. Indeed, the film reminded us of Lynch’s interest in transcendental meditation, an evocation of Lynch implicitly affirmed by the film’s allusions to DUNE, THE ELEPHANT MAN, TWIN PEAKS and TWIN PEAKS: FIRE WALK WITH ME and by the presence of Chris Isaak as Jesse’s father, for the twilit and allegorical Isaak tune “Wicked Game” (1990) featured prominently in WILD AT HEART, and Isaak played FBI Special Agent Chester Desmond in TWIN PEAKS: FIRE WALK WITH ME.
Bertolucci also implied a hope that film art could be reborn in a harmonious new era in the tenth anniversary year of the release of TWILIGHT ZONE: THE MOVIE. This implication was reaffirmed by the appearance of Reeves as the implicitly Landis linked Prince Siddhartha, the determined and idealistic young Indian prince who bested Maud’dib by triumphing over death, the TZ disaster and the insidious Dark Lord Mara-implicitly linked to Kubrick as the surprisingly disciplined and serried ranks of his army of demons evoked the equally disciplined and serried ranks of Eighteenth century European soldiers in BARRY LYNDON and of Roman soldiers in the allegorical docufeature film SPARTACUS (1960), and played by Anupam Shyam-in the CGI enhanced tale of the Buddha that was intertwined throughout the tale of the reincarnated children like yin with yang. As this CGI enhanced victory of Siddhartha was also an implicit victory for CGI enhanced film art over CGI enhanced blockbuster beasts, it was appropriate that art could be found within the name of Siddhartha. Thus, the fearless and indomitable heroism of Prince Siddhartha implicitly redeemed Landis and committed the errant film artist to make like the blissful Buddha and ensure that no living creature would ever again be sacrificed to the blockbuster beast on his film sets. Alas, the heady, karmic, mystic and transcendent good vibes created by LITTLE BUDDHA were soon swept away when Palpaberg implicitly addressed Coppola and Landis in his second twilit, allegorical and CGI enhanced docufeature film of 1993, SCHINDLER’S LIST, released on December 25, 1993 and openly linked to the twilit and disastrous year of 1982 by the fact that the film was inspired in part by the allegorical Thomas Keneally book Schindler’s Ark (1982).
“He wants his independence.”
Indeed, the sight and sound of the confident, independent, large living, womanizing and implicitly Coppola linked Direktor Oskar Schindler-played by Neeson-using his influence on the implicitly Landis linked slave labour camp commandant Untersturmfuhrer Amon Goeth-played by Ralph Fiennes-to save the Jews in his indie Deutsche Emailwaren Fabrik (DEF) factory and his Brinnlitz munitions factory throughout the largely if not entirely CGI free film was implicitly linked to all of the work Coppola had done to help the New Hollywood cause with his indie American Zoetrope film production company and CGI free film art after the TZ disaster throughout the film, an implication affirmed by the film’s allusions to AN AMERICAN WEREWOLF IN LONDON, BRAM STOKER’S DRACULA, MARIO PUZO’S THE GODFATHER PART II, OSCAR, PEGGY SUE GOT MARRIED, RUMBLE FISH, TUCKER and TWILIGHT ZONE: THE MOVIE.
Alas, Schindler and his Jewish second-in-command at DEF, Itzhak Stern-played by Sir Kingsley-saw Jewish men, women and children deliberately murdered by Goeth and his fellow Nazi thugs throughout the film, evoking the ritual murders committed by the implicitly film artist linked Mola Ram and his implicit film crew thugs in INDIANA JONES AND THE TEMPLE OF DOOM. Thus, the sight of the two helpless men watching these murders in a twilit black and white film that evoked the original TWILIGHT ZONE telefilm series also raised the possibility yet again that not only were Chen, Le and Morrow deliberately murdered on the snuffu Landis set of TWILIGHT ZONE: THE MOVIE, but that Palpaberg had been on the Landis set on the fateful night of the disaster but had done nothing to stop the illegal use of the children after hours near dangerous explosions and helicopters. Curiously, however, as with the dire implications that Palpaberg had been on the Landis set of TWILIGHT ZONE: THE MOVIE the night of the TZ disaster already seen in INDIANA JONES AND THE TEMPLE OF DOOM, EMPIRE OF THE SUN, HOOK and JURASSIC PARK, these further insidious implications were ignored or missed by audiences, who embraced SCHINDLER’S LIST and turned the film into another major success for Emperor Palpaberg in 1993.
Just as curiously, the following year, on the fateful 25th of May 1994, Stinkious appeared in a cameo as a disappointed patron of Wonder World in the twilit, allegorical, implicitly Palpaberg supporting, T2 mocking and Cameron roasting Landis docufeature film BEVERLY HILLS COP III (1994). Indeed, Lord Stinkious and his female companion-played by Christina Venuti-were seen and heard at one point in the film expressing disappointment that they were unable to ride the Spider ride in Wonder World. Significantly, soon after Murphy’s transplanted and implicitly Landis linked Detroit police detective Axel Foley saved two Latino kids trapped on the ride in a desperate redirection of the reality of the deaths of Chen and Le that evoked the equally desperate child saving redirection of reality seen in the post-1982 films of Emperor Palpaberg.
Thus, it was an ambiguous cameo, for on the one hand it implied with his open support of Landis that Lord Stinkous was breaking ranks with and turning against Palpaberg, as he had implicitly done in the YOUNG SHERLOCK JONES adventures. However, given that BEVERLY HILLS COP III implicitly toasted Palpaberg and roasted Cameron as in INNOCENT BLOOD, the cameo also implied at the same time that Lord Stinkious was willing to support a roast of Cameron while still unwilling to totally abandon his “friend” Emperor Palpaberg. For the film saw Foley-his Annihilator 2000 multi-purpose assault rifle a satirical nod to the T1000 Terminator of T2-battle Timothy Carhart’s gunhappy, violent and Cameron resembling and implicitly linked pseudo Wonder World security chief Ellis DeWald for control of the Hollywood linked L.A. area theme park-and, implicitly, for control of Hollywood. At any rate, Foley, his weathered and implicitly Palpaberg linked Detroit detective colleague Pederson-played by Ousaun Elam-and Stephen McHattie’s Secret Service man Steve Fulbright anticipated the ultra secret men of INS Division Six in a Palpaberg executive produced film to come.
For his part, Cameron implicitly replied to Palpaberg’s implications of twilit wrongdoing in HOOK and the implicit warning against beastly behaviour that he received from Disney in BEAUTY AND THE BEAST when he returned to the Temple Theatre with Paxton and Schwarzenegger and the twilit, allegorical and CGI enhanced indie docufeature Zonebuster TRUE LIES (1994), a film released on July 12, 1994 that was more confidently balanced between luv and romance and hate and violence than any film that he had made to date. Indeed, when he was not frantically fighting Middle Eastern terrorists, Schwarzenegger’s implicitly Coppola linked Omega Sector Agent Harry Tasker was desperately trying to save his marriage by wooing his bored and restless wife, the implicitly Eleanor Coppola linked Helen-her name also evoking Paige O’Hara’s Belle in BEAUTY AND THE BEAST, and played by Curtis-back to his side, an implicit interest in Francis and Eleanor Coppola affirmed by the film’s allusions to APOCALYPSE NOW, BRAM STOKER’S DRACULA, FREEBIE AND THE BEAN, GETTING STRAIGHT, and THE CONVERSATION. Cameron also implicitly used TRUE LIES to roast Howard in the implicit form of Paxton’s hapless used car salesman and wistfully wannabe secret agent, Simon, and Lynch, given the film’s allusions to TWIN PEAKS and TWIN PEAKS: FIRE WALK WITH ME.
When he wasn’t roasting Howard and Lynch, Cameron had Tasker battling to stop the Crimson Jihad terrorist gang led by the implicitly Palpaberg linked Salim Abu Aziz-played by Art Malik, whose character Kamran Shah was ironically and implicitly linked to Cameron in THE LIVING DAYLIGHTS-apparently to exorcise the Temple Theatre of HOOK and INDIANA JONES AND THE LAST CRUSADE, given the allusions to those films in TRUE LIES. Intriguingly, the fact that Tasker and his equally intrepid wife, Helen, mostly stopped Abu Aziz and his gang the old fashioned way with true grit and dangerous on set effects unaided by CGI enhancement reaffirmed that Cameron was still as uncertain about embracing CGI enhanced film art as he had been in T2. The film’s nods to FOR YOUR EYES ONLY, NEVER SAY NEVER AGAIN, RAIDERS OF THE LOST ARK and the fact that the Carlos Gardel and Alfredo Le Pera tune “Por Una Cabeza” (1935) ended TRUE LIES also implicitly affirmed that Cameron was replying to Palpaberg, for it was heard playing in the restaurant scene that introduced Schindler to the audience in SCHINDLER’S LIST. With its nods to the allegorical and implicitly Cameron roasting Glen film A VIEW TO A KILL (1985), Cameron also implied that he was replying to that film as well in TRUE LIES. Curiously, Besson soon implicitly disagreed with Cameron that year, having the implicitly Palpaberg and Stinkious linked hit team Leon and Mathilda-played by Reno and Natalie Portman, respectively-triumph over the implicitly Lynch and MacLachlan linked DEA Agents Stansfield and Malky-played by Oldman and Peter Appel, respectively-at the end of the
twilit, allegorical, CGI free and Ozian themed indie docufeature film LEON: THE PROFESSIONAL (1994), released on September 14, 1994.
As for Stinkious, perhaps in retaliation for JURASSIC PARK and SCHINDLER’S LIST, he put on his executive producer hat once more and teamed up again with Clark, Hopkins, Huyck, Katz, Roos, Billy Barty-who played the Nelwyn sorcerer, the High Aldwin, in WILLOW-and production designer Gavin Bocquet, producer Rick McCallum and director of photography David Tattersall-all from the YOUNG INDY adventures-to fuse CLUE with 1941 to affirm that he was implicitly toasting Landis and roasting Palpaberg in the twilit, allegorical, CGI enhanced and Ozian themed Mel Smith indie docufeature film RADIOLAND MURDERS (1994), released on October 21, 1994.
“What the hell is going on around here?”
Indeed, the sight and sound of the implicitly John and Deborah Landis linked Roger and Penny Henderson-played by Brian Benben and Mary S. Masterson, respectively-frantically trying to save their failing marriage and figure out who murdered six people over the course of the opening night in 1939 of the new Chicago based fourth national radio station, Whalen Broadcating Network (WBN), in a slapstick film whose murders recalled CLUE and whose many television actors, non-stop frantic and frenetic pace and live big band music recalled the profusion of television actors, non-stop frantic and frenetic pace and live big band music of 1941 affirmed the film’s implicit interest in Landis and Palpaberg. The appearances of Beatty, Lloyd and McKean as the Hitchcock resembling and implicitly linked General Walt Whalen sr., the WBN radio station owner, Zoltan the zany sound effects man-whose name evoked Perry Davy’s Zoltan in CHAPTER 10: THE PHANTOM TRAIN OF DOOM in the YOUNG INDY adventures-and Rick Rochester, the WBN studio orchestra conductor, respectively, openly affirmed the link of RADIOLAND MURDERS to CLUE and 1941, for Lloyd and McKean played Professor Plum and Mr. Green in CLUE, while Beatty and McKean played Ward Douglas, the father of Betty Douglas, and an anti-aircraft gunner named Willy, respectively, in 1941. The fact that the film’s frantic and madcap action took place over the course of the chaotic but ultimately healing opening Ozian night of radio station WBN reaffirmed the link to 1941, evoking the similar chaotic but healing Ozian night in that film, making it fitting that the film took place in 1939, the year of the release of THE WIZARD OF OZ.
The implicit interest of the film in Palpaberg was reaffirmed by the look and colour scheme of the radio station sets and the Thirties clothing and ambience, for they evoked Club Obi Wan in INDIANA JONES AND THE TEMPLE OF DOOM, reminding us of all of the links to INDIANA JONES AND THE TEMPLE OF DOOM in the YOUNG SHERLOCK JONES adventures. This link to INDIANA JONES AND THE TEMPLE OF DOOM was reaffirmed by the sight of a twilit trio of slinky blonde female singers-the Miller Sisters, played by Bridget Newton, Amy Parrish and Nina Repeta, respectively-singing along with the swinging big band music performed by the WBN in house orchestra conducted by Rochester, as these sequences evoked the sight and sound of the equally blonde and slinky Scott outraging audiences by singing “Anything Goes” at the beginning of the second Indy film. Indeed, the fact that RADIOLAND MURDERS was released in the tenth anniversary year of the release of INDIANA JONES AND THE TEMPLE OF DOOM in 1984 reaffirmed the film’s implicit interest in the second Indy film.
Unfortunately, the fact that the murders of RADIOLAND MURDERS were not only premeditated but treated as a macabre joke as in CLUE implied again that the TZ disaster deaths were also a premeditated and murderous joke, enraging viewers yet again. Of course, the six WBN murders also recalled the six Allied spies murdered by Stefan in CHAPTER 17: MASKS OF EVIL of the YOUNG SHERLOCK JONES adventures, reiterating the Dark implication that the TZ disaster deaths were deliberate murders. The allusion to Stefan as well as to INDIANA JONES AND THE TEMPLE OF DOOM and 1941 also set us up for the revelation that the killer was another implicitly Palpaberg linked Wolf in “friend’s” clothing in the form of Stephen Tobolowsky’s vengeful WBN studio engineer “Mad” Max Applewhite-his round lensed glasses, obsession with television and his Palpatine evoking surname affirming his implicit link to Palpaberg-a revelation that implicitly reaffirmed that Stinkious had changed his mind about his “friend” Palpaberg and now suspected him of wrongdoing in the TZ disaster.
Curiously, Applewhite murdered Gen. Whalen sr., the implicitly Eastwood linked head WBN sponsor Bernie King-played by James-the implicitly Lynch linked radio announcer Dexter Morris-played by Corbin Bernsen-the implicitly Marshall linked station manager Claude Katzenback-played by Larry Miller-the implicitly Rob Reiner linked radio show director Walt Whalen jr.-played by Jeffrey Tambor-and the implicitly Irv Forbush linked WBN orchestra trumpet player “Ruffles” Reedy-played by Jack Sheldon-because he blamed them for preventing him from succeeding with television. Just as curiously, the sight and sound of the Schlockthropus evoking and time travelling caveman Gork-played by Gary Kroeger-helping Roger out Applewhite as the murderer affirmed the implicit link of Roger to Landis. So did Applewhite’s fall off the WBN transmission tower to his doom after he had been riddled with bullets by a bi-plane, in the end, as the ending evoked the endings of KING KONG and SCHLOCK.
Intriguingly, WBN’s struggle with the Big Three national radio stations and the initial insistence by the bungling and THX 1138 evoking police-led by Michael Lerner’s implicitly Ebert linked Lt. Cross-that Henderson had committed the six murders recalled Tucker’s struggle with the Big Three automakers and their accusations that Tucker had conned investors out of their money with the Tucker Torpedo in TUCKER, implying that Stinkious was also using RADIOLAND MURDERS to reaffirm his hope that a new Zone free era of film art would be created with the help of CGI as he had implied in TUCKER, a new CGI enhanced era that would help Skywalker Ranch join the ranks of the established Hollywood studios. A new hope that Stinkious was implicitly as confident about as he had been in TUCKER, a film also filled with swinging big band music and irrepressibly upbeat energy.
For after the death of the insidious Applewhite, Roger and Penny Henderon also fell back down-this time the vertiginous heights of luv-and reaffirmed their luv for each other, allowing RADIOLAND MURDERS to end on the traditional eucatastrophic and healing Ozian note so beloved of Lord Stinkious. Then the film, which had begun with the camera POV falling from the stars down to Earth outside the entrance to the WBN building, ended with the camera panning up the rocket ship evoking front of the WBN building and radio transmission tower and back up into the stars like it did when Henderson reached the secret radio station that housed J.D. Jedi DJ Wolfman Jack at the end of AMERICAN GRAFFITI. As the film Stinkious made after AMERICAN GRAFFITI was STAR WARS EPISODE IV: A NEW HOPE, this pan up into the stars was an implicit sign as early as 1994 that Lord Stinkious was flowing more confidently with the CGI enhanced Force and was eager to cut loose with some serious Skyrocking in a new CGI enhanced STAR WARS trilogy.
Curiously, on October 28, 1994, not long after the release of RADIOLAND MURDERS, Roland Emmerich implicitly expressed his misgivings about the brave new world of CGI enhanced film art and replied to Palpaberg and JURASSIC PARK by having the implicitly Lynch, Cronenberg and Stinkious linked Colonel Jonathan “Jack” O’Neil, Doctor Daniel Jackson and General W.O. West-played by Russell, James Spader and Leon Rippy, respectively-team up to triumph over the insidious and implicitly Palpaberg linked extraterrestrial dictator Ra-played by Jaye Davidson-and prevent the ambiguously sexual alien Evildoer from sending a beastly CGI enhanced blockbuster bomb through a stargate to destroy Earth at the end of the twilit, allegorical and CGI enhanced docufeature film STARGATE (1994), an implicit allegorical intent affirmed by the film’s allusions to the Classic Trilogy, CLOSE ENCOUNTERS OF THE THIRD KIND, DUNE, E.T., THE EXTRATERRESTRIAL, RAIDERS OF THE LOST ARK and SCANNERS.
Interestingly, the STAR TREK people implicitly affirmed that they were losing their wariness of CGI and embracing an even more bold and fully human film art enhanced by CGI in the twilit, allegorical and CGI enhanced David Carson inter-series voyage STAR TREK GENERATIONS (1994), released on November 19, 1994. A bold new CGI enhanced era symbolized by the defeat and death of the Evil and perhaps Cronenberg linked Soran-which also literally released 1983 as he was played by McDowell, linked to the year of the release of TWILIGHT ZONE: THE MOVIE by way of his role as Cochrane in BLUE THUNDER-and by the death of Shatner’s time travelling Kirk at the end of the film. Indeed, the spectacular crash of the forward section of the new CGI Enterprise on a pivotal planet made it abundantly clear that STAR TREK was not just one with CGI enhanced film art but unafraid of creating schlockbuster beasts and exuberantly committed to taking the new digital effects where no visual effects had gone before. STAR TREK GENERATIONS also made clear that the new CGI enhanced voyages were not only just as allegorical as the last, but that the young new crew were linked to young new Zonebuster directors that had emerged since 1982. Indeed, Levar Burton’s Geordi Laforge evoked the Jordan loving Lee, Jonathan Frakes’ Commander Riker evoked Besson, and Marina Sirtis’ Troi evoked Bigelow. Patrick Stewart’s implicitly Jean-Luc Godard linked Captain Jean-Luc Picard was one of the major exceptions to that rule. The popularity of STAR TREK GENERATIONS also made clear that audiences were fully onboard for more beastly and blockbuster CGI enterprises.
Curiously, however, the same crowds that celebrated blockbuster CGI jackanapes in STAR TREK GENERATIONS also turned out on February 10, 1995 to kick off the new film art year with the noticeably CGI lacking, low budget, twilit and allegorical Danny Boyle indie docufeature film SHALLOW GRAVE (1995), which implicitly roasted Kennedy, Marshall and Palpaberg in the implicit forms of Juliet, Alex and David-played by Kerry Fox, Ewan McGregor and Christopher Eccleston, respectively-a twilit trio of friends who equably shared the same Scottish apartment until the quick death of new lodger Hugo-played by Keith Allen-led to the three friends discovering he was a criminal with a suitcase full of cash in his room after his death, and, after burying Hugo secretly in the woods so that they could keep the cash, killing the two thugs-played by Peter Mullan and Leonard O’ Malley, respectively-who showed up to collect the cash, leading to two more secretly buried bodies and rising paranoid tensions between the three that finally exploded and led to Alex, Juliet and David attacking each other, in the end, implying the belief of Boyle that Kennedy, Marshall and Palpaberg would have a falling out, as well. Curiously, this was a concern that Disney implicitly anticipated in its second animated film of 1995, the twilit, allegorical and CGI enhanced Mike Gabriel and Eric Goldberg hand-animated film POCAHONTAS (1995), released on June 23, 1995.
For after implicitly roasting Lord Stinkious in the symbolic form of Gaston in BEAUTY AND THE BEAST, Disney now implicitly reached out sympathetically to him and likened his quest to team up with ILM to create a brave new world of CGI enhanced film art that aspired to something more than making money to the quest of the implicitly Stinkious linked Captain John Smith-who resembled Luke Skywalker, and was sung and voiced by Gibson-to embrace, live in harmony with and save the New World and the beautiful Pocohontas-voiced by Irene Bedard and sung by Judy Kuhn, respectively-from the beastly and blockbuster gold lusting and implicitly Burton linked Governor Rafcliffe-his suit of armour and cape evoking Batman, and voiced by David O. Stiers-in POCAHONTAS. A curious implication, indeed, given that Burton was more committed to film art for film art’s sake than Lord Stinkous.
As for Howard, he implicitly warned Stinkious not to abandon the vital humanity of film art in the CGI age like Eugene “Gene” Kranz-played by Harris-and the rest of the real life superheroes in Houston and Cape Canaveral refused to abandon the implicitly Cameron, Stinkious and Landis linked astronauts Fred W. “Freddo” Haise, James A. “Jim” Lovell and John L. “Jack” Swigert-played by Paxton, Hanks and Kevin Bacon, respectively-after their mission to the moon went snafu in the twilit, allegorical and CGI enhanced docufeature film APOLLO 13 (1995), released on June 30, 1995 and inspired by the Jim Lovell and Jeffrey Kluger book Lost World: the perilous voyage of Apollo 13 (1994), an implicit allegorical intent affirmed by the film’s allusions to AMERICAN GRAFFITI, the Classic Trilogy, KENTUCKY FRIED MOVIE, THE ABYSS and THX 1138.
‘We are not losing those men!’
Significantly, however, despite the film’s implicitly cautionary message, the quick thinking and technical brilliance that allowed the heroes back at Houston and the Cape to solve the many mechanical problems plaguing the Apollo 13 spacecraft and bring its three unlucky astronauts safe and sound back to the brave new CGI enhanced world of Earth was implicitly linked to the equally creative thinking and computer brilliance that allowed the ILM and Pixar boys to create and perfect the realistic CGI used to enhance the film as well as to prevent any more film set disasters throughout APOLLO 13. This continued the reassuring message of EXPLORERS in the tenth anniversary year of that film and also of THE RIGHT STUFF that geek brilliance and computer technology would save the film art day-indeed, in many ways APOLLO 13 was simply a fused version of EXPLORERS and THE RIGHT STUFF. In fact, beginning APOLLO 13 with the same deadly Apollo 1 (AS-204) launch pad command module fire on January 27, 1967 that killed Chaffee, Grissom and White that ended THE RIGHT STUFF linked the two films together and openly confirmed that APOLLO 13 continued the reassuring theme of THE RIGHT STUFF with more advanced CGI. Indeed, Harris openly linked the film to THE RIGHT STUFF, as he played astronaut John Glenn in that film. An implicitly cautionary but celebratory message that clearly pleased audiences, as the film was a huge success.
Significantly, Bigelow and co-writer/producer Cameron united like Harry and Helen Tasker to also implicitly send a message to Stinkious that year about the emerging brave new world of CGI enhanced film art he was instrumental in creating in their twilit, allegorical, fearless, CGI enhanced and Ozian themed indie docufeature artbuster STRANGE DAYS (1995), released on October 13, 1995.
“Time to get real, not playback.”
Indeed, ex-Forcefull director Stinky and the fake and addictive CGI “reality” he was peddling were implicitly linked to tragicomic ex-LAPD officer and luvable lunk Lenny Nero-played by Fiennes-and the addictive Superconducting Quantum Interference Device (SQUID) playback that he was peddling that allowed users to experience other people’s experiences. As experiencing fake playback experiences could become so addictive for some people that they lost interest in reality, Bigelow and Cameron implied their fears that fake CGI “reality” could also become so addictive that audiences and film artists would lose interest in the vital humanity of film art. Thus, the sight and sound of Nero finally giving up on playback and on his faithless, ironically named and implicitly Palpaberg linked ex-girlfriend Faith-played by Juliette Lewis-killing the rapacious and implicitly Coppola linked murderer Max Peltier-played by Max Sizemore-and embracing the real life Afro-hologram of his dreams, his resigned and frustrated but luving, faithful and protective bodyguard friend Lornette “Mace” Mason-played by Angela Bassett-in the eucatastrophic, healing, harmonizing and New Year 2000 celebrating elemental Ozian end, implied the hope of Bigelow and Cameron on one level that Stinky would also abandon his obsession with CGI and his collaborations with Coppola and Palpy that was producing CGI enhanced schlockbuster beasts like JURASSIC PARK and return to more human film art with little or no CGI enhancement like AMERICAN GRAFFITI or THX 1138 to kick off a new millennium of more human film art, an implicit allegorical intent affirmed by the film’s allusions to AMERICAN GRAFFITI, BLADE RUNNER, BLOW OUT, BLUE THUNDER, the Classic Trilogy, ROBOCOP, STREETS OF FIRE, TAXI DRIVER, THX 1138 and TOTAL RECALL. Significantly, Bigelow and Cameron’s implicitly despairing lament for a rapidly disappearing era of human film art was perfectly timed, for soon after the release of STRANGE DAYS Disney and Pixar surprised the world’s audiences with the first fully CGI enhanced film, the twilit and allegorical Lasseter film TOY STORY (1995), released on November 22, 1995.
Significantly, TOY STORY began with the Hanks voiced and implicitly Catmull linked Woody the cowboy doll firmly established as number one in the affections of the John Morris voiced and android evoking digikid Andy. Until the fateful birthday when a present in the form of the Tim Allen voiced and implicitly Lasseter linked Space Ranger doll, Buzz Lightyear, replaced Woody and all things sly fi in the affections of Andy. This surprise development led to rivalry between the two toys for the attention of Andy, which ended when the two proud toys worked together to triumph over Andy’s gleefully toy dismembering, exploding, reconfiguring and Erik Von Dotten voiced kid neighbour, vicious Sid, who resembled and was implicitly linked to Disney CEO Michael Eisner, the implicit link reaffirmed by the fact that the name of Sid was just “Dis” spelt backward.
Alas, while slyly hopeful and upbeat, the fact that an entire film could now be made with CGI was cause for concern, as the development threatened the vital humanity of film art. TOY STORY was also an exuberantly shameless filmmercial for the toys featured in the film. Significantly, Lord Stinkious definitely thought so, as a desperate battle against a growing Dark Side linked to CGI, Cameron and Palpaberg, the dehumanization of film art and its transformation into CGI enhanced blockbuster filmmmercial, and the guilt that he felt that his support for CGI was responsible for these insidious developments were the main themes of the Tragic Trilogy. As for Gilliam, the sight and sound of the troubled, despondent, THX 1138 resembling, memory of the future tinged past haunted and implicitly Lucas linked time traveller James Cole-played as a traumatized boy by Joseph Melito, and as an equally traumatized man by Bruce Willis, respectively-travelling to the past and teaming up with the implicitly Bigelow linked psychiatrist Doctor Kathryn Railly-played by Madeleine Stowe-to attempt but fail to prevent the implicitly Cameron linked mad scientist Doctor Peters-played by David Morse-from unleashing a plague that killed off most of the world’s population implied that Gilliam now did not believe that Lucas would return to the Temple Theatre with a CGI enhanced film that would restore his reputation, beat Cameron and prevent CGI enhanced blockbuster beasts from killing film art in the end of the twilit, allegorical, CGI enhanced and madcap indie animaction film 12 MONKEYS (1995), a film released on December 18, 1995 whose implicit allegorical intent was affirmed by the fine film’s allusions to AMERICAN GRAFFITI, STAR WARS EPISODE IV: A NEW HOPE, THX 1138 and the YOUNG INDY adventures.
However, despite the implicit misgivings of Bigelow, Cameron and Gilliam about CGI, Stinkious was no doubt pleased that 1996 was a big year for CGI enhanced film art and for himself, for it saw Emmerich return and repeat the implicitly cautionary refrains of JURASASIC PARK, STARGATE and T2 and urge Stinky to lead the fight to keep the humanity, creativity and artistry of film art from being overwhelmed and destroyed by CGI enhancement or an invasion of entirely CGI films like TOY STORY in the twilit, allegorical and CGI enhanced docufeature film INDEPENDENCE DAY (1996), released on July 2, 1996.
I’m just a little anxious to get up there
and whup E.T.’s ass, that’s all.”
Indeed, the sight and sound of the quietly commanding and implicitly Stinkious linked ace fighter pilot and U.S. President Thomas J. Whitmore-played by Bill Pullman-leading the free and vital humanity of planet Earth in a desperate and ultimately triumphant battle against beastly, blockbuster, CGI enhanced and implicitly Palpaberg linked extraterrestrial invaders implicitly affirmed that Emmerich hoped that Stinkious would lead the way into a brave, triumphant and Palpaberg defeating new world of fully and vitally human CGI enhanced film art, an implication affirmed by the film’s allusions to the Classic Trilogy, CLOSE ENCOUNTERS OF THE THIRD KIND, E.T., THE EXTRATERRESTRIAL and GREMLINS-another ironic implication, given that the film was an even more exuberantly boffo CGI enhanced blockbuster beast than STARGATE. Humourously, the tragicomic sight and sound of the traumatized by ALIENS and implicitly Cameron linked indie barnstormer Russell “Russ” Casse-played by Randy Quaid-dying as he delivered the blockbuster CGI bomb that ironically destroyed the blockbuster Mother Ship, in the end, also implied the hope that Stinky would defeat Cameron with another Skyrocking film.
At any rate, Coppola soon implicitly agreed with Bigelow, Cameron, Emmerich and Howard, for the sight and sound of children persuading the prematurely aged and implicitly Stinkious linked boyman Jack C. Powell-played by Williams-to come out of the suburban San Fran based and Skywalker Ranch Main House evoking house of his Cheryl and Ron Howard evoking parents, Karen and Brian Powell-played by Lane and Brian Kerwin, respectively-to play again implicitly symbolized the hope of Coppola that Stinkious would stop acting like an old retired man and come out of his Skywalker Ranch Main House to play in the Temple Theatre again when he returned to the Temple Theatre himself with Fuchs, Lane, Malkin, McGovern, Nalbandian and Tavoularis and also responded to HOOK and possibly STRANGE DAYS on other levels with the sweet and gentle, twilit, allegorical and CGI enhanced indie docufeature film JACK (1996), released on August 9, 1996.
For his part, with James Cromwell’s towering and implicitly Cameron linked Zefram Cochran helping the crew of the new Enterprise triumph over Evil, hi-tech, inhuman and Terminator evoking Borgs with the help of an old school rocket, Frakes implied that he was also worried that the ability to make entire feature films with CGI would lead to the termination of the humanity of film art and that he hoped Cameron would do his best to prevent that from happening in the twilit, allegorical and CGI enhanced docufeature film STAR TREK FIRST CONTACT (1996), released on November 22, 1996. As for Burton, he ended the film year by also implicitly toasting Stinky in the twilit, allegorical, CGI enhanced, implicitly Lasseter roasting and INDEPENDENCE DAY evoking animaction artbuster !MARS ATTACKS! (1996), released on December 13, 1996.
Indeed, Burton implicitly led the way in an unabashed assault on TOY STORY. For like the transformation of sweet E.T. into the twilit, monstrous and mayhem loving Stripe in GREMLINS, !MARS ATTACKS! transformed Buzz Lightyear’s pure and virtuous space cadet into a Martian invasion of mayhem and violence luving, gremlin evoking and lookalike CGI Buzz Lightyears from Hell, complete with glass dome topping space suits, who exuberantly laid waste to humanity and their most famous global monuments with carefree abandon. Indeed, the link of the Martian gremlins to Buzz Lightyear was implicitly affirmed by the huge and robotic exoskeleton walker that one madcap Martian was seen piloting and causing a gleeful swath of destruction with at the end of the film. For the towering robot looked like a huge and nightmarish Buzz Lightyear-in short, the blockbuzzter beast!
Significantly, the fact that the Lord Stinkious resembling and implicitly linked teenager Richie Norris-played by the fittingly first named Lukas Haas-led a desperate and embattled humanity to victory over the sneering and lookalike Martian invaders with the help of the indie and idiosyncratic sound of Slim Whitman yodelling the allegorical and Oscar Hammerstein II and Otto Harbach tune “Indian Love Call” (1978) implied that Burton hoped like Emmerich that Lord Stinkious would return to the Temple Theatre with a new and just as defiantly indie and idiosyncratic CGI enhanced film that would finally end the dread allegorical Zone Wars and bring peace, health and harmony back to audiences, film art, film artists and the Temple Theatre, at last. Indeed, to affirm that Stinkious toasting implication, !MARS ATTACKS! ended with Natalie Portman’s equally teenaged Taffy Dale, daughter of Nicholson’s slain US President James Dale, giving Norris an award for his service to humanity at the end of the film. Of course, this triumphant closing ceremony evoked the equally triumphant ceremony that closed STAR WARS EPISODE IV: A NEW HOPE, affirming Burton’s implicit interest in the return of an old J. D. Jedi named Lord Stinkious. An implicit interest understood by Lord Stinkious, as Portman and another desperate and world saving battle that pitted determined humans and dauntless J. D. Jedi against pitiless, lookalike and ahuman CGI invaders who evoked the pitiless, lookalike and ahuman CGI invaders of MARS ATTACKS! figured prominently in the next Lucas film. A Forceful film foreboded when Lord Stinkious kicked off 1997 with the STAR WARS Special Edition Classic Trilogy.
Significantly, this STAR WARS Special Edition Classic Trilogy was a surprise success. Clearly, audiences did not share the concerns of film artists about the perils and pitfalls of CGI enhanced film art. Few J.D. Jedi purists also complained that the CGI enhancement of the Classic Trilogy was blasphemy-despite significant changes like having Greedo shoot first in the Mos Eisley cantina duel so as to make it appear that Solo was shooting in self defense and therefore not a callous and quick witted murderer, so as to free Coppola and particularly Lord Stinkious from the lingering twilit taint that they approved of murder-particularly murder on film sets. Nor did they complain about all of the cutesy new digital creatures that were inserted into the film-particularly during the landspeeder ride into the CGI enanced Mos Eisley in STAR WARS EPISODE IV: A NEW HOPE-that Disneyfied the film and even implied that Lord Stinkious was already thinking by 1997 of selling the moisture farm and the used speeder lot to Disney and trying to make the STAR WARS franchise as appealing as possible to the Mouse House.
In fact, few audience members complained about the return of Lord Stinkious at all, embracing the new CGI enhanced Special Edition of the Classic Trilogy as if the last fifteen years had not happened and the Darkest of the Dark Lords was now simply Lucas again. Clearly, the older generation had forgotten what had happened or had forgiven Lord Stinkious, while a younger generation did not know or care about the twilit controversy-helped along no doubt by the popular STAR WARS: SHADOWS OF THE EMPIRE video game created by Lucas Arts and released in the mid-Nineties for the Nintendo 64. Thus, it was not surprising that by the time the Special Edition finished its record breaking run for re-released films at the end of February of ’97, the man now nostalgically and happily referred to again as Lucas heeded the implicit entreaties of Bigelow, Burton, Cameron, Coppola and Emmerich and announced that he had decided to make a new STAR WARS trilogy, with the first film to be released in 1999 to get the new millennium off to a Skyrocking start as wished for at the end of STRANGE DAYS. However, as a fear that entirely CGI films like TOY STORY would create soulless and ahuman film art was one of the main themes of the new Tragic Trilogy, clearly Lucas shared the concern of Gilliam that his promotion of CGI would lead to a plague of beastly CGI enhanced blockbuster films.
Curiously, in early February of 1997, not long before Lucas made this announcement, Lynch implicitly warned him that he would not succeed with a new trilogy. For the sight and sound of the implicitly Lucas linked saxophone player Fred Madison-played by Pullman-failing to recapture his youth in the literally embodied form of Pete Dayton-played by Balthazar Getty-implied that Lynch thought that Lucas would also fail to recreate the success of his youth with a new STAR WARS trilogy in the twilit, allegorical and CGI free indie moving painting LOST HIGHWAY (1997), an implicit Lucas addressing intent affirmed by the film’s allusions to AMERICAN GRAFFITI, STRANGE DAYS and THX 1138. A pessimistic implicit message that Besson implicitly countered in the twentieth anniversary year of the release of STAR WARS EPISODE IV: A NEW HOPE when he returned to the Temple Theatre in 1997, replied to STRANGE DAYS and proved that he now had the heavy mettle needed to take the world on a one way ticket from twilight in time for the new millennium with his daylit, allegorical, openly elemental and Ozian themed, surprisingly CGI enhanced and wholly remarkable Zonebusting indie docufeature film THE FIFTH ELEMENT (1997), released on May 7, 1997.
And literally returned to the Temple Theatre, as THE FIFTH ELEMENT began during the First World War in a hidden and sacred secret chamber in an Egyptian Temple Theatre of Light that evoked the Temple Theatres of the Indy Trilogy. Significantly, here in this Temple Theatre, Besson reversed his previous anti-technology stance and implied his hope that CGI enhanced film art would heal the wounds of the TZ disaster and return harmony to audiences, film art, film artists and the Temple Theatres of the world. A hope literally seen and heard in the mysterious hieroglyphs translated by John Bluthal’s Peter Ustinov evoking Professor Pacoli in the Egyptian Temple Theatre of Light, hieroglyphs that stated that Wicked Evil entered the world when three planets were in eclipse, Evil that would need to be stopped by a personified Fifth Element. Of course, these eclipsed three planets implicitly evoked the deaths of Chen, Le and Morrow, which had caused Evil to enter the world of Planet Hollywood. Pacoli’s translation also evoked “…a shadow shall fall over the universe, and Evil will grow in its path, and death will come from the skies”, the eerily prescient voiceover-by Percy Rodrigues?-that ominously anticipated the TZ disaster heard at the beginning of HEAVY METAL: THE MOVIE, the first indication that Besson was out to remake and top that film on another level in THE FIFTH ELEMENT. This voiceover also prepared audiences for the arrival of the carnol and blockbuster mayhem obsessed Loc-nar, a dread and insidious ball of gloating and Wicked Evil discovered in another desert by another professor at the beginning of HEAVY METAL: THE MOVIE, thus preparing audiences for the arrival of another insidious ball of Evil in THE FIFTH ELEMENT.
Intriguingly, the mysterious prophetic hieroglyphs also evoked a similar mysterious and prophetic inscription on a wall translated by Jen in THE DARK CRYSTAL, an inscription that prophesied that “…when single shines the triple sun, what was sundered and undone shall be whole”, openly linking THE FIFTH ELEMENT to the twilit and disastrous year of 1982. This link to the TZ disaster was also reinforced by the fact that when the film progressed three hundred years into the future to the 23rd of July 1982 evoking twenty-third century of Earth after the prologue, in a way that evoked the five hundred year trip into the future of Lucky Buck in BUCK ROGERS IN THE 25TH CENTURY, Evil was literally symbolized by an all consuming and unstoppable black ball of Wicked Evil approaching Earth from space that evoked the equally destructive and luminescent cloud of power calling itself V’ger that slowly approached and threatened Earth in STAR TREK: THE MOTION PICTURE as much as the carnol Loc-nar in HEAVY METAL: THE MOVIE. Only an action packed and Ozian themed quest to find the Temple’s missing four elements-a quest that evoked the quest by a group of early humans to find and keep the fire of film art alive in the allegorical Jean-Jacques Annand indie docufeature film QUEST FOR FIRE (1981)-by five 23rd century heroes implicitly linked to Dorothy and her four elemental Ozian companions would prevent this black ball of twilit and Wicked Evil from destroying the world.
Luckily, the missing four elements were indeed found over the course of the healing and harmonizing film by the five Ozian heroes, and brought back to the secret sacred chamber hidden in the Egyptian Temple Theatre of Light, in the end. Here Jovovich’s implicitly Barbarella, Dorothy, Laurie, Leia, Madison, Taarna and brave new world of CGI enhanced film art linked orphaned extraterrestrial waif, Leeloominai aka Leeloo, was centred between the healing and openly personified elemental Ozian force of Charlie Miles’ behatted and implicitly Earth and Scarecrow linked and Lynch evoking Priest David; Willis’ implicitly Lucas, Fire and Cowardly Lion linked New York flying taxi driver and ex-space fighter pilot Major “Richard” Korben Dallas; Chris Tucker’s implicitly Lee, Wolfman Jack, Air and Great Oz linked intergalactic Radio Cosmos DJ Ruby Rhod; and Holm’s implicitly Water and Tin Man linked Priest Vito “Jerry” Cornelius, respectively. This harmonious centring and the luv of Dallas allowed Leeloo to be filled with the light saber-like Force of the four elements and to explode with the healing Force of the Fifth Element, saving the Earth by turning the approaching V’ger ball of carnol, twilit and Wicked Evil into an inert Death Moon, implying that Besson did not agree with Bigelow and Cameron’s implied hope at the end of STRANGE DAYS that Lucas would abandon CGI enhanced film art and that he instead hoped that both Lucas and himself had successfully mastered the brave new world of higher minded CGI enhanced film art, as anticipated by the similar ending of STAR TREK: THE MOTION PICTURE. Indeed, the fact that Leeloo and her four Ozian companions triumphed over the implicitly Cameron linked Wicked Evildoer Jean-Baptiste Emmanuel Zorg and his implicitly Bigelow linked secretary-played by Oldman and Sybil Buck, respectively-before stopping the ball of Wicked Evil affirmed that Besson was implicitly replying to STRANGE DAYS and roasting Bigelow and Cameron in THE FIFTH ELEMENT.
Of course, the sight of Leeloo exploding with the righteous Force of the Fifth Element evoked the telekinetic explosion of Carrie and the pyrokinetic explosion of Charlie at the ends of Carrie, CARRIE, Firestarter and FIRESTARTER, and the similar endings of GHOSTBUSTERS, RAIDERS OF THE LOST ARK and THE DARK CRYSTAL. This saved the world and healed viewers, freeing them from the TZ disaster and freeing CGI enhanced film art from schlockbuster beasts in time for the new millennium, in the eucatastrophic end. Besson also easily topped HEAVY METAL: THE MOVIE throughout THE FIFTH ELEMENT, no doubt to remind audiences that HEAVY METAL: THE MOVIE and the HEAVY METAL adult fantasy/sly fi magazine that inspired the hand-animated film were both based on the French adult fantasy and sly fi magazine METAL HURLANT. Indeed, the name of Korben Dallas reminded us that Richard Corben’s allegorical adult fantasy Neverwhere (1978), was featured in HEAVY METAL magazine and HEAVY METAL: THE MOVIE, where the always naked muscle man Den was voiced by John Candy! The allusion to Corben also reminded us that there was a poster of Corben’s album cover painting for Meatloaf’s BAT OUT OF HELL (1977) on the wall of the room in the building that housed the secret French intelligence service that the violent and implicitly Bigelow linked Nikita-played by Parillaud-was persuaded to work for in LA FEMME NIKITA.
The attempt by taxi driver Dallas to help the beautiful, mysterious and red headed Leeloo in a New York of the future also affirmed the film’s fondness for the Potterton film, for it evoked the attempt by the flying taxi driver Harry Canyon to help another beautiful and mysterious red head-voiced by Susan Roman-in a New York of the future in the “Harry Canyon” segment of HEAVY METAL: THE MOVIE. As for Palpaberg, the uncertainty and ambiguity surrounding CGI seen in JURASSIC PARK was gone and replaced with open fear of CGI enhanced film art-particularly CGI film art that bashed him-when he returned to the Temple Theatre with Sir Attenborough, Goldblum, Williams and Janusz Kaminski-director of photography of SCHINDLER’S LIST-and implicitly responded to INDEPENDENCE DAY with the dark and gloomy twilit, allegorical and CGI enhanced docufeature film THE LOST WORLD (1997), released on May 23, 1997 and inspired by the twilit and allegorical Crichton indie docufiction novel The Lost World ( ).
You twisted the facts surrounding
the deaths of three people,
and you stuffed misinformation
down the public’s throats…
When you cover up evidence, it hurts.”
Significantly, before the film began, there was a curious and ominous animated prologue that kicked off a Palpaberg film for the first time that saw a waxing first quarter crescent moon floating in a cloud skudded sky before a fishing line and hook attached to a circular float fell from above like the helicopter of the TZ disaster into what turned out to be a reflection in a pool of water of a waxing crescent moon floating in a cloud scudded sky. At that point, the camera panned up to a boy with rod and basket sitting on and fishing from the lower curve of the waxing crescent moon in that cloud scudded sky, before the waxing crescent transformed into a lunar “D” and the camera panned right as the “D” became the first letter of a cloud surrounded Dreamworks SKG logo, the new film studio formed by Spielberg, Katzenberg and David Geffen, all to the accompaniment of a brief instrumental refrain from Maestro Williams. This curious and ominous animated logo reminded us that a waxing first quarter crescent moon hanging in a starswept night sky “…with only high-scattered clouds” was reflected from the waters of the Santa Clarita River on that fateful July 23, 1982 night of the TZ disaster (LaBrecque, 49), yet again implying that Palpaberg was on the Landis set of TWILIGHT ZONE: THE MOVIE the night of the disaster.
Indeed, shortly after the film began, the returning star chaotician Ian Malcolm-played again by Goldblum-accused the Ingen lawyers who had taken over Jurassic Park from Sir Attenborough’s implicitly Great Oz linked Hammond-and an ailing Hammond on his deathbed-of a coverup of evidence in the deaths of three people during the gremlin dinosaur rampage in JURASSIC PARK. This was a very infuriating and ominous accusation indeed, as it implied a similar coverup in the deaths of Chen, Le and Morrow in the TZ disaster in yet another disturbing implied admission of guilt in a post-1982 Palpaberg film. Palpaberg also implied that the success of TOY STORY now had him worried about the possibility of all CGI film sweeping away the vital humanity of film art.
In fact, there was an implication that the new forbidden and CGI dinosaur filled island of Isla Sorna symbolized Pixar and their all CGI film art throughout THE LOST WORLD. For the island was located eighty-seven miles southwest of the Isla Nublar of JURASSIC PARK, reminding us that Lucas had sold his Pixar CGI division to Steve Jobs around 1987. Thus, the sight of the CGI dinosaurs-particularly the raptors and T-rexes again-hunting down and killing many of the Ingen corporatists-including the implicitly Emmerich linked Roland Tembo and the implicitly Miller linked Peter Ludlow, played by Pete Postlethwaite and Arliss Howard, respectively-who went to the island also implicitly symbolized the fear that all CGI film art like TOY STORY would do away with a need for people. Ironically, Palpaberg also implied throughout THE LOST WORLD that he was now quite worried that he had re-opened the Pandora’s box of Dark blockbuster Forces that had led to the TZ disaster with the massive movie tie-in merchandise campaign that accompanied JURASSIC PARK.
For the Ingen corporatists who went to Isla Sorna to capture dinosaurs-including a father and mother T-rex pair that evoked the dreaded two headed Siskebert of WILLOW-for their theme park in San Diego also evoked crass and callous merchandise and money obsessed film artists again, and the symbolic film thugs of INDIANA JONES AND THE TEMPLE OF DOOM, EMPIRE OF THE SUN, HOOK, INDIANA JONES AND THE LAST CRUSADE and SCHINDLER’S LIST, implicitly affirming the worries of Palpaberg. Thus, after finally capturing and bringing back the mother tyro and its baby to paying audiences in San Diego in classic KING KONG fashion, Emperor Palpaberg sent his usual ironic and anti-blockbuster message in an exuberantly and shamelessly CGI enhanced blockbuster beast of a film to the Pixar people and other film artists to aim for higher goals than beastly schlockbuster profits when he had Ludlow hunted down and killed by the baby under mother’s watchful gaze at the end of the film. It was an ironic death, as the baby tyro evoked E.T. throughout the film, openly linking this literal Kid monster to the crass commercialization of film.
Curiously, the triumph of the implicitly Lucas linked and Donovan Tate voiced Hercules over the implicitly Cronenberg linked and Woods voiced Hades at the end of the twilit, allegorical and CGI enhanced John Musker and Ron Clements hand animated film HERCULES (1997), implied the hope of Disney that Lucas would return from the underworld and Skyrock again in the Temple Theatre when the film was released on June 14, 1997. Significantly, the implication that Emperor Palpaberg was now seriously worried about the arrival of CGI enhanced film art and about whether the bugs in that film art had been fully worked out yet was reaffirmed that same year when CGI was linked to an alien, alienated, out of control and beastly blockbuster bug when executive producer Palpaberg and director Barry Sonnenfeld fused THE BLUES BROTHERS and GHOSTBUSTERS with CREEPSHOW and THE LAST STARFIGHTER-and implicitly replied to BEVERLY HILLS COP III and TRUE LIES-in the twilit, allegorical and CGI enhanced docufeature film MEN IN BLACK (1997), released on July 2, 1997.
An alien, alienated and CGI enhanced beastly blockbuster bug, indeed, and one either implicitly linked to King or Lucas as it started off its extraterrestrial gremlin rampage on Earth by taking over the skin of a farmer named Edgar-played by D’Onofrio-who resembled the luckless and implicitly Lucas linked farmer Verrill played by King in the second and implicitly Scarecrow linked episode of CREEPSHOW. At any rate, the gleefully violent and destructive Edgar was a blockbuster CGI enhanced bug that had to be stopped at all cost by the intrepid and THE BLUES BROTHERS and Omega Sector evoking INS Division Six Agents K and his reluctant young recruit J-bickering like Bud and Otto in REPO MAN, implicitly linked to Palpaberg and Lee, and played by Jones and Will Smith, respectively-in order to save planet Earth and kick off a new era of digital bug free CGI enhanced film art, in the end.
Incidentally, given that J was a young man whose real name, J.D. Edwards, evoked the J.D. Jedi of the STAR WARS films, there was a possibility that Agent J was linked to Lucas instead of Lee, and that a new, improved and CGI enhanced Lucas symbolically took over the retiring K’s role at the end of the film. If so, MEN IN BLACK was another film that urged Lucas to get his CGI game on and get back into the film art game in the Nineties. Significantly, the end of the twilit, allegorical, CGI enhanced, implicitly Lucas supporting and THX 1138 evoking Andrew Niccol docufeature film GATTACA (1997), released on October 24, 1997, saw Hawke’s implicitly Lucas linked Vincent head off into the stars again with the help of CGI, implying that Niccol shared the implied hope of Bigelow, Burton, Cameron, Emmerich, Lasseter, Palpaberg and Sonnenfeld that Lucas would return to the Temple Theatre with a CGI enhanced film. An implicit hope that Lucas would return to the Temple Theatre to kick off a brave new world of CGI enhanced film art in time for the new millennium that was implicitly repeated that same year when Verhoeven reunited with Ironside and Marshall Bell-who played the mysterious and Muad’dib evoking Martian rebel leader Kuato/George in TOTAL RECALL-and teamed up with Armstrong and Tippett to implicitly complete his Lucas Trilogy and put the gore in allegory in the twilit, allegorical, CGI enhanced and exuberantly ultraviolent animaction film STARSHIP TROOPERS (1997), released on November 7, 1997 and inspired by the equally allegorical, gung ho and violent Robert A. Heinlein indie docufiction novel Starship Troopers (1959).
“All is fair in love and war.”
Indeed, the sight and sound of the exuberantly indomitable and implicitly Lucas linked space marine Johnny D. Rico-played by Casper Van Dien-leading the rest of the equally exuberant and indomitable Roughnecks of the Sixth Mobile Infantry to victory over the vicious and violent CGI enhanced bugs from the planet Klendathu in order to preserve the vital humanity of the United Citizen Federation of the brave new CGI enhanced world of Earth was implicitly linked to the hope that Lucas would inspire the Ranch’s Roughnecks to CGI enhanced victory over the gremlin bugs and glitches that were preventing the transition to a brave new and vitally human CGI enhanced world of film art throughout the gung ho film-you geeks wanna live forever? Indeed, the J.D. first initials and J.R. full initials of super trooper Johnny D. Rico evoked J.D. Lucas jr., affirming the implication that Rico symbolized Lucas. The film’s allusions to AMERICAN GRAFFITI and the STAR WARS Classic Trilogy reaffirmed the implicit Lucas supporting intent of STARSHIP TROOPERS.
In addition, the allusions to DUNE throughout the film implied that the final victory over the bugs on Planet P symbolized a victory over Lynch, evoking the implicit triumph over Lynch at the end of TOTAL RECALL. A murderer-played by Edward Neumeier, the film’s screenwriter-who looked like Cameron seen in a ROBOCOP evoking Media Break television spot in the film reaffirmed the implication that Verhoeven was still against Cameron and on the side of Lucas, an implication also affirmed by the film’s allusions to ALIENS. And how fitting that the film also presciently anticipated the full scale Duel of the Mates between Lucas and Palpaberg that was about to break out, and, in line with the Good Force that had implicitly gathered for Lucas throughout the Nineties, to back Lucas in that epic allegorical struggle. For as wacky Wally bested sour Sitarski for the hand of beautiful Betty in 1941, so too did ruff and ready Rico outwit and best the bugs-!including the insidious brain bug that evoked the spacing guild navigator in DUNE!-to capture the implicit symbol of the new CGI enhanced film art of Lucas, the beautiful and implicitly Bigelow linked Star Force Pilot Trainee and then Captain Carmen Ibanez-played by Denise Richards-while the implicitly Palpaberg linked Star Force Pilot Zander Barcalow-played by Patrick Muldoon-lost not only Ibanez but his brain to that insidious brain bug for Palpaberg’s implicit sins of unleashing brainless CGI enhanced blockbuster beasts like JURASSIC PARK and THE LOST WORLD on the world.
Significantly, and as in POCAHONTAS, Disney implied that they agreed with Verhoeven, for they curiously co-released the ultraviolent film with TriStar under the name of their brand hiding production company, Touchstone Pictures. Curiously, Clarke implicitly agreed with Besson, Dis and Verhoeven that year, implicitly linking the revived Frank Poole’s success in kicking off a new era in the solar system free of the supervision of TMA monoliths on Earth, Europa and the Moon to the hope that a revived Lucas would kick off a Skyrocking new era of film art with a popular CGI enhanced film in the twilit, allegorical and CGI enhanced indie docufiction novel 3001: the final odyssey (1997).
Just as curiously, while a popular CGI enhanced film that kicked off a new era of CGI enhanced film art was released that year, it was released by Cameron rather than by Lucas, when Cameron continued the Palpaberg roasting fervor of THE ABYSS and TRUE LIES and struck back at BEVERLY HILLS COP III and FAR AND AWAY in November of 1997 with his most fully human film to date, the twilit, allegorical, CGI enhanced and righteously furious indie docufeature Zonebuster TITANIC (1997), which implicitly warned audiences, film artists and studios-particularly and implicitly Disney-to be careful lest arrogance and pride led to bigger CGI enhanced blockbuster beasts than ever before-and bigger box office bombs than ever before.
As for Tarantino, he implicitly continued the pro-Lucas trend by also sympathetically reaching out to him in the implicit form of bail bondsman Max Cherry-played by Forster-who helped a real life Afro-hologram Queen, Jackie Brown-played by Pam Grier-triumph over her abusive and manipulative drug dealing and gun smuggling “friend”, the odious Odell “O.D.” Robbie-played by Jackson-in the twilit, allegorical and CGI free indie docufeature film JACKIE BROWN (1997), released on December 8, 1997. The success of the twilit, allegorical and CGI enhanced Spottiswoode film TOMORROW NEVER DIES (1997), which saw Brosnan’s implicitly Lucas linked Bond triumph over the implicitly Emmerich, Kubrick and Palpaberg linked Stamper, Henry Gupta and Elliot Carver-played by Gotz Otto, Ricky Jay and Pryce, respectively-also implied the hope of Spottiswoode that Lucas would strike back and usher in a Skyrocking new millennium of CGI enhanced film art. Then star filled nights and trauma on a smaller but Titanic evoking ship sailing across the Atlantic Ocean returned when Palpaberg teamed up again with Howard, Kahn, Kaminski, Postlethwaite and Geno Silva-who played a possibly Kubrick linked barge captain in THE LOST WORLD-on his second twilit and allegorical docufeature film of 1997, AMISTAD, released on December 10, 1997.
“What are they worth to you?”
Significantly, the ominous and TZ disaster linked CGI animated boy fishing on a waxing crescent moon in a cloud scattered sky that turned into a “D” for the Dreamworks SKG logo that preceded THE LOST WORLD also preceded this film, infuriatingly implying again that Spielberg was on the Landis set the night of the TZ disaster. As with THE LOST WORLD, this ominous and infuriating logo gave AMISTAD an insidious twilit ambience before the beginning of the film, immediately linking the West African men and women impressed into slavery on board the ironically entitled ship La Amistad-Spanish for “friendship”-to the TZ disaster. The implicit link of the West Africans to the TZ disaster was quickly reaffirmed by the uprising that kicked off the film, an uprising on a dark and stormy night at sea in late July of 1839-a late July uprising early on a starswept morning that reminded us that the TZ disaster occurred in the early morning hours of July 23rd, 1982-that led to the Africans killing their Spanish captors, taking over La Amistad and impressing the implicitly Kubrick linked Captain Ruiz-played by Geno Silva-his implicitly Landis linked first mate Montes-played by John Ortiz-and into service for them. Curiously, the violent uprising on a dark and stormy night reminded us that the CGI dinosaurs were released and went on a gremlin rampage on a dark and stormy night at Jurassic Park-clearly, life did find a way.
Significantly, the uprising began when the implicitly Murphy linked Cinque-played by Djimon Hounsou-pulled a long nail free from a ship plank that allowed him to unlock his shackles and free his comrades at the 2:20 mark of the film, openly linking the violent uprising to the righteous fury of audiences after the TZ disaster on 2:20 am on July 23, 1982. This scene also evoked a similar scene that saw Batty pull a nail from the floor of a building before ramming it through his hand at the end of BLADE RUNNER, reiterating the film’s link to July of 1982. The implicit link of Cinque to Murphy reaffirmed the film’s link to 1982, reminding us that Murphy played wisecracking con Reggie Hammond opposite Nolte’s police straight man Jack Cates in 48 HOURS. The fact that the film evoked COMING TO AMERICA also affirmed the film’s interest in Landis and the twilit and disastrous year of 1982. Indeed, the presence of Ensign James Covey aka Kai Nyagua-played by Chiwetel Ejiofor-the free and well dressed West African sailor who acted as translator for Cinque and his people at the trial supported this implication, for he evoked Murphy’s co-star Arsenio Hall in COMING TO AMERICA.
Thus, the determined sight and sound of the implicitly Cameron linked real estate lawyer Roger S. Baldwin-played by Matthew McConaughey-the wealthy and implicitly Lucas linked businessman and newspaper owner Louis Tappan-played by Stellan Skarsgard-and the implicitly Hitchcock linked and Yoda evoking ex-U.S. President John Q. Adams-played by Hopkins-slowly warming up to and understanding and appreciating the humanity of Cinque and the rest of the West Africans and securing their release from prison in the end after a twilit trio of tumultuous trials, beating Montes, Ruiz and the incumbent President Martin Van Buren-played by Nigel Hawthorne-his implicitly Scorsese linked Secretary of State John Forsyth-played by David Paymer-and the implicitly Lynch linked Southerner and ex-Vice President of the U.S., John C. Calhoun-played by Arliss Howard-along the way, implied the hope of Palpaberg that Cameron and Lucas would free audiences, film art, film artists and the Temple Theatre from Landis, the TZ disaster and the TZ trial in time to kick off a brave new millennium of CGI enhanced and fully human film art. Significantly, after being freed, Cinque and the rest of the West Africans were then sent home by ship to Africa like the mother tyro and her baby who were sailed home at the end of THE LOST WORLD. Unfortunately, the West Africans sailed east into civil war in Sierra Leone, a Civil War that in time also broke out in the United States.
Curiously, Landis reminded us that he had singlehandedly set off the equally uncivil and dread allegorical Zone Wars when he teamed up again with Akroyd, Noodles, Oz and Jeff Morris and Paul Shaffer-who played Bob in, and was the music supervisor of, THE BLUES BROTHERS, respectively-and kicked off the film year of 1998 on an ironically hopeful note by having a Good super Blues Brothers band beat an Evil Louisiana Gator Boys super blues band in a closing battle of the blues bands at the spooky swamp palace of Eryka Badu’s Queen Moussette, in the end, implying his hope that twilit film artists would work together to free film art from the Zone in time to kick off a new millennia of daylit CGI enhanced film art at the eucatastrophic climax of his twilit and allegorical docufeature film BLUES BROTHERS 2000 (1998), released February 6, 1998. Landis also implied his hope that Cameron would finally forgive and forget and embrace Landis and Palpaberg in the film. Literally, as Joe Morton’s implicitly Cameron linked and cadenced Commander Cabel Chamberlain gave up on his career in law enforcement and his righteously furious pursuit of Akroyd’s implicitly Landis linked Elwood J. Blues and Goodman’s implicitly Palpaberg linked Mighty Mac and the rest of the Blues Brothers Band and joined them all for some serious house rocking, in the end.
Just as curiously, Proyas implicitly reached out to Landis by having Rufus Sewell’s implicitly Landis linked John Murdoch discover his inner powers and use them to sweep away the new world of CGI enhanced film art and the insidious Strangers-led by Ian Richardson’s implicitly Palpaberg linked Mr. Book-who brought it to Earth at the SCANNERS evoking end of the twilit, allegorical, CGI enhanced and BLADE RUNNER, BLUE VELVET, DUNE and THE INVASION OF THE BODY SNATCHERS evoking indie docufeature film DARK CITY (1998), released on February 27, 1998. For his part, Emmerich returned to implicitly complete his righteously furious Palpaberg Trilogy by implying that the initial problems adjusting to the new CGI enhanced age of film art and the temptation to use it to create schlockbuster beasts would be defeated like the implicitly Palpaberg linked CGI enhanced blockbuster beast Godzilla at the end of the twilit, allegorical and CGI enhanced docufeature film GODZILLA (1998), released on May 20, 1998.
“We’re looking at a completely incipient creature.
The dawn of a new species.”
Indeed, the film’s allusions to GREMLINS, JAWS, JURASSIC PARK and THE LOST WORLD and the fact that the new species of CGI blockbuster beast, Godzilla, looked like a cross between a Komodo dragon and a tyrannosaurus rex straight out of JURASSIC PARK and THE LOST WORLD implicitly affirmed the link of the beasty CGI Godzilla to the CGI enhanced blockbuster beasts Palpaberg had allowed to lay waste to the Temple Theatre since ‘93. The sight and sound of Broderick’s worm expert and hero of the day, Doctor Niko Tatopoulos-his surname evoking INDEPENDENCE DAY co-production and alien effects designer and Godzilla effects designer Patrick Tatoupolos-helping the U.S. military kill Godzilla and the 200 gremlin evoking spawn of the blockbuster CGI beast-and triumph over the implicitly Palpaberg linked human beast, WIDF Channel 12 news anchor Charles Caiman [played by Harry Shearer]-also affirmed that Emmerich was just as implicitly supportive of Lynch and his surreal and CGI free moving paintings already as he implicitly was in STARGATE, for the passion of Dr. Tatopoulos for the mutated worms of Chernobyl evoked Lynch’s obsession with the worms of Arrakis in DUNE. The appearance of Doug Savant as the implicitly Cameron linked Sergeant O’Neal reaffirmed the implicit support of Lynch, for he evoked the implicitly Lynch linked O’Neil in STARGATE.
In addition, the sight and sound of the implicitly Besson linked Philippe Roache-played by Jean Reno-the implicitly Kubrick linked tv news cameraman Victor “the Animal” Palotti-played by Hank Azaria-and the implicitly Lucas linked Colonel Hicks-played by Kevin Dunn-helping Dr. Tatoupolos and Sgt. O’Neal save the day also implicitly reaffirmed that Emmerich was fond of the film art of Lucas and implied that Emmerich was also fond of the film art of Besson and Kubrick, an implication affirmed by the film’s allusions to DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB, DUNE, ERASERHEAD, STAR WARS EPISODE IV: A NEW HOPE, THE FIFTH ELEMENT and TRUE LIES.
Humourously, the tragicomic sight and sound of the implicitly Ebert and Siskel linked New York Mayor Ebert and his assistant, Gene-played by Lerner and Lorry Goldman, respectively-caterwauling away throughout the film like Laurel and Hardy was fitting, given that GODZILLA was released in the tenth anniversary year of the appearance of the dreaded two headed Siskebert in WILLOW in 1998. And how strangely fitting that Kurosawa died in September of ‘98, as he and his blockbuster beast of a film, SEVEN SAMURAI, were the implicit sarcastic target of the original Ishiro Honda allegorical docufeature film GODZILLA (1956). Alas for Emmerich and company, the sincerity of their attempt to nip CGI enhanced blockbuster beasts in the bud before they overran theatres-and the world!-was defeated by the fact that GODZILLA was the epitome of the ridiculously over the top and CGI enhanced blockbuster beast-YiPe!
Curiously, Palpaberg and his new studio Dreamworks SKG continued his embattled and guilty meditations on the TZ disaster and his misgivings about CGI the following year by supervising the release on July 10, 1998 of the trimax of the Gremlin Trilogy, the twilit, allegorical and CGI enhanced Dante animaction film SMALL SOLDIERS (1998), a film made again with Goldsmith, Miller and Picardo that implicitly replied to TITANIC and hoped that Palpy and his film art would triumph over Cameron and his film art like the implicitly Palpaberg linked teen Alan Abernathy-played by Gregory Smith-and his sentient toy monster friend Archer-voiced by Frank Langella-and the rest of the monstrous but Good and implicitly film artist linked Gorgonites triumphed over the implicitly Cameron linked GloboTech CEO Gil Mars-played by Denis Leary-and the militant and Evil Commando Elite toy leader Major Chip Hazard-voiced by Jones-and the rest of the gleefully violent gremlin Commandos, an implicit allegorical intent affirmed by the film’s allusions to ALIENS, E.T., THE EXTRATERRESTRIAL and T2.
Alas, the creepy, ominous and TZ disaster linked waxing crescent moon Dreamworks SKG logo also preceded the film, immediately giving SMALL SOLDIERS a twilit cadence. A twilit and deadly cadence reaffirmed by the real deaths that also haunted the film. For punk rockette Wendy O. Williams, the implicit inspiration of the psychotic Gwendy Dolls who teamed up with the Commando Elite, committed suicide on April 6, 1998, shortly before the release of the film. Implicitly Morrow linked supporting actor Phil Hartman-who played the Abernathy’s next door neighbour Phil Fimple-also died shortly before the release of the film, killed by his wife in his sleep on May 28, 1998, after he completed work on SMALL SOLDIERS. Making for a truly deadly, embattled and combative film that was an all too perfect leadup for the return of Palpaberg to the Temple Theatre with Kahn, Kaminski and Williams and the equally combative and embattled, twilit, allegorical and CGI enhanced docufeature film SAVING PRIVATE RYAN (1998), released on July 24, 1998.
“You see, when…
when you end up killing
one of your men, you see,
you tell yourself it happened
so you could save the lives
of two or three or ten others.”
Significantly, the animated, ominous and TZ disaster linked waxing crescent moon Dreamworks SKG logo preceded this film as in AMISTAD and THE LOST WORLD, immediately implying that the film was also haunted by the twilit, disastrous and fatal events of 1982. Indeed, the film started with the sight and sound of U.S. soldiers sailing east in small and vulnerable landing craft into the civil war in Europe in World War II on the morning of June 6, 1944, evoking the sight and sound of Cinque and his fellow liberated slaves sailing east from the U.S. back to Africa at the end of AMISTAD, openly linking the two films and implicitly affirming the TZ disaster haunted spirit of SAVING PRIVATE RYAN. One landing craft in particular, led by the implicitly Palpaberg linked Ranger Captain John H. Miller-played by Hanks-and his second-in-command, the implicitly Kubrick or Miller linked Sergeant Michael “Mike” Horvath-played by Sizemore-became the focus of the film as it sailed late into a nightmare on Omaha Beach.
Significantly, the sight and sound of Capt. Miller, Sgt. Horvath and the survivors of the landing somehow fighting their way off the bloody beaches, killing the tenacious German defenders and establishing a beachhead reaffirmed the film’s haunting twilit spirit, for the brutal battle evoked evoked Morrow’s equally embattled Sergeant Chip Saunders fighting his way through Normandy and then northwest Europe with U.S. forces in WWII in the allegorical telefilm series COMBAT! (1962-67). Indeed, the film’s similarity to COMBAT! was so marked that the implication was that the dangerous and tragicomic mission that Capt. Miller was given after surviving the landing at Omaha Beach, a mission that saw him and Sgt. Horvath lead a group of soldiers to find and relieve from further combat duties a 101st Airborne paratrooper named Private James Francis Ryan-played by Matt Damon-symbolized the equally embattled and tragicomic attempt by Palpaberg and other film artists to come to grips with Morrow’s death in the TZ disaster and to free him from the Twilight Zone. This implication was supported by the fact that most of the Rangers that Miller led on this quixotic mission were implicitly linked to fellow battling Zone War film artists. Indeed, Edward Burns’ Pte. Richard Reiben, Jeremy Davies’ Corporal Timothy E. Upham, Vin Diesel’s Pte. Adrian Caparzo, Adam Goldberg’s Pte. Stanley Mellish and Barry Pepper’s Pte. Daniel Jackson were implicitly linked to Eastwood, Dante, Coppola, Landis and Lynch, respectively.
Curiously, however, as Ted Danson’s Capt. Fred Hamill helped Capt. Miller and his men on their journey and Maximilian Martini’s Cpl. Henderson was eventually found fighting with Ryan, there was a possibility that Pte. Ryan was actually implicitly linked to Lucas. In that case, SAVING PRIVATE RYAN was yet another Nineties film that implicitly reached out to Lucas in hopes of inspiring him to return to the Temple Theatre with another Skyrocking film. Or, given the possibility that Capt. Hamill was linked to Cronenberg, there was also a possibility that Pte. James Francis Ryan was linked to James Francis Cameron and that Palpaberg was using the moving film to reach out to Cameron in hopes of humbling him and making him more appreciative of the hard work done by his fellow film artists. At any rate, the huge and depressing impact that the TZ disaster had on Palpaberg was implicitly affirmed by the fact that Miller died at the 2 hour and thirty-seven minute mark of the film, implicitly linking Miller’s death to the twilit and disastrous events of July 23, 1982.
Unfortunately, however, on top of the infuriating sight of the implicitly Palpaberg linked Miller watching and participating in TZ disaster evoking violence throughout the film, SAVING PRIVATE RYAN was also marred by a strange and disturbing scene that implied again that Emperor Palpaberg had been on the Landis set at the time of the TZ disaster. For early into their mission, the dedicated sniper, Jackson-a surname that linked the film to JURASSIC PARK via Jackson’s character, Arnold-shot and killed a German sniper-played by Stephan Grothgar?-who evoked the Vietnamese girl sniper of FULL METAL JACKET, but who looked like a young and beardless Palpaberg circa July 23, 1982. A not surprising move on the part of Jackson, since this Palpaberg sniper had opened fire on Jackson and his comrades when they tried to rescue a French boy and girl-played by Martin Beaton and Anna Maguire in this Ireland filmed production, respectively-two children that evoked Chen and Le.
This, given the sniper’s resemblance to a young Palpaberg, his death implied that Palpaberg was trying to reassure audiences-particularly X gang members-that he had killed his Dark Side and could be trusted again. An infuriatingly pathetic and unsuccessful attempt, as this sniper ominously and implicitly linked Palpaberg again to watching film violence involving children, implying that his insistence that he was not on the Landis set the night of the TZ disaster definitely could not be trusted! Indeed, the Palpaberg sniper was killed by a shot in his right eye as he peered through his film camera evoking rifle sight at the children and the protecting Rangers, underlining the implicit link of himself and Palpaberg to film art and the TZ disaster.
Curiously, Marvel continued their implicit support for Landis soon after the release of SAVING PRIVATE RYAN by implicitly linking him to the part-human/part-vampire vampire hunter/killer Blade aka “the Daywalker”-played by Wesley Snipes-and had him triumph over the young and implicitly Tarantino linked indie rebel vampire gang leader Deacon Frost-played by Stephen Dorff-at the end of the twilit, allegorical and CGI enhanced Stephen Norrington super satirical docufeature film BLADE (1998), released on August 19, 1998. For his part, the sight and sound of the implicitly Hamill, Bigelow, Cameron and Lucas linked Bill, Susan, Sam and Steve-played by Biehn, Natassja Kinski, Billy Zane and Rob Schneider, respectively-trying and failing to successfully murder Susan’s implicitly Coppola linked ex-husband Paul Holland-played by Adrian Paul-implied that Landis was roasting Bigelow and STRANGE DAYS when he teamed up again with Akroyd, Morris, Nadoolman, Steinfeld and Joey Travolta-who played Ace in OSCAR-on the twilit, allegorical and CGI enhanced docufeature film SUSAN’S PLAN (1998), released on October 29, 1998. Which, mercifully, turned out to be the last hurrah for Landis, for he soon disappeared like the haunted, tormented and implicitly Landis linked Phantom at the end of the pop opera THE PHANTOM OF THE OPERA. For their part, Lasseter and Andrew Stanton implied an exuberant support of CGI despite all of the bugs that plagued it in their twilit, allegorical and all CGI film A BUG’S LIFE (1998), which was released on November 25, 1998 and which literally had all of the persistent CGI bugs and problems unite to triumph over the insidious and implicitly Katzenberg linked grasshopper Hopper-voiced by Kevin Spacey and the TZ disaster, in another ominous victory for ahuman and fully CGI film art, in the end. But not for long, as an ahuman victory was denied full CGI film art in the twilit, allegorical, CGI enhanced, implicitly Lucas supporting and STARSHIP TROOPERS, STAR WARS EPISODE IV: A NEW HOPE and THE LAST STARFIGHTER evoking Chris Roberts animaction film WING COMMANDER (1999), which was released on March 12, 1999.
“There was a time long ago
when people looked up to the Pilgrims.
The stars were their destiny.”
Indeed, and lucky for Lucas, the film saw a few good men and women led by the fearless and implicitly Bigelow linked Lieutenant-Commander “Angel” Deveraux-played by Saffron Burrows-and the brash, cocky and implicitly Cameron linked Flight Lieutenant Todd “Maniac” Marshall-played by Matthew Lillard-rise up in defense of the humanity of film art with a determined, desperate and full throttle ace rapier space fighter attack on an invasion of Earth by Evil CGI Kildathi that exuberantly prepared the way for an equally determined CGI space fighter battle in a Lucas film soon to come. Significantly, the Kildathi resembled extraterrestrial versions of the werewolf in AN AMERICAN WEREWOLF IN LONDON, an implicit link affirmed by the film’s English actors, implicitly linking the killer Kildathi to killer Landis and implying that the triumph over the Kildathi symbolized a triumph over Landis and the TZ disaster, thus kicking off a new millennium of daylit and Zone free CGI enhanced film art.
A new millennium of daylit and Zone free CGI enhanced film art that anticipated the impending arrival of Lucas, for one of the film’s actors, Hugh Quarshie-who played the indomitable Lieutenant Obutu-soon returned in a galaxy far, far away. Thus, it was fitting that the indomitable defenders of the brave new CGI world of Earth were helped by the seasoned, insightful and implicitly Lucas linked indie Commodore James Taggart-played by Tcheky Karyo. For their part, Lana and Lilly Wachowski implied that they agreed with the implicit message in STRANGE DAYS that Lucas should leave behind CGI fantasy for reality by having the implicitly Bigelow and Dorothy linked Trinity and the implicitly Coppola and Great Oz linked Morpheus-played by Carrie-Anne Moss and Laurence Fishburne, respectively-help the implicitly Lucas and Scarecrow linked and Maud’dib evoking Thomas A. “Neo” Anderson-played by Reeves-break free from and defeat the “…computer generated dream world” by leading the last remnants of humanity in a desperate and full throttle battle against a future beastly CGI enhanced blockbuster machine world that evoked those seen in nightmares of the future in T1 and T2 in order to kick off a brave neo Cyberrocking eon of CGI enhanced film art “…without rules and controls, without borders and boundaries” in time for the new millennium in the eucatastrophic end of the twilit, allegorical, CGI enhanced and Ozian themed hung fu animaction film THE MATRIX (1999), a film released on March 24, 1999 whose implicit Bigelow, Cameron, Coppola and Lucas addressing intent was affirmed by the film’s allusions to BRAM STOKER’S DRACULA, Neuromancer, POINT BREAK, SCANNERS, the STAR WARS Classic Trilogy, STRANGE DAYS, T1, T2, THE WIZARD OF OZ, THX 1138, TWILIGHT ZONE: THE MOVIE, the TZ disaster and the twilit, allegorical, CGI enhanced, Ozian themed and implicitly Kubrick toasting Roberto Longo indie docufeature film JOHNNY MNEMONIC (1995), a film inspired in turn and in part by the twilit, allegorical, CGI enhanced and Ozian themed William Gibson indie docufiction novel Neuromancer (1984).
“Here they come.”
Significantly, this desperate and full throttle battle was also implicitly about breaking free from the TZ disaster that inspired the new emphasis on CGI given that the beastly CGI enhanced blockbuster machine world’s favourite insidious agent of its twilit will was the implicitly Morrow linked Agent Smith-played by Hugo Weaving. Indeed, shortly before the exultant end of the film, the Great Morpheus and Trinity joined Neo in escaping from a falling and Huey resembling B-212 helicopter before it crashed into the side of a skyscraper. That audiences did not rise up in outraged fury and protest the danger of this very realistic looking helicopter crash, secure in the knowledge that there had been no danger to cast or crew because the crash was pulled off with CGI magic, spoke volumes for how comfortable audiences already were with CGI, and how far they had left the TZ disaster behind, bringing the nasty Nineties full embattled circle from the real helicopter crash at the end of T2 to this CGI helicopter crash at the end of THE MATRIX.
Indeed, the fact that THE MATRIX was a huge global success and pop phenom, just like STAR WARS EPISODE IV: A NEW HOPE, affirmed how comfortable audiences were with the twilit CGI of the film. And, despite the fact that THE MATRIX implicitly toasted Lucas, this success was an unexpected and novel development for the Stinky Kid, for in years past his Classic or Indy Trilogy had usually been the first big allegorical film of the Spring/Summer season. Now his All Star game he had to get on to top THE MATRIX, or find himself banished again to Damnation Alley he would.