@6 Hey, John: Just a joke. I invited readers to cite moments from other films that changed the course of genre film and was anticipating a pile-on for 2001: A Space Odyssey. No takers yet, but the night's young.
@4 I think it slots quite comfortably into the genre subcategory of teen comedies.
@32 From IMDB (and so to be taken with a measure of caution):
"It often was overlooked as a film because whenever 'Totoro' was screened first, people were left happy and did not wish to be saddened by 'Grave' afterward."
Doesn't necessarily mean Totoro always screened first, but the implication is that it was more likely the case.
@3 The episode is actually titled "Jurassic Bark." And yes.
(And thank Magic Space Daddy I Googled the name before I flagged you!)
Just in case anyone was curious: here’s the rest of my short list (advisory: I haven’t re-screened all of these to confirm that reality lives up to memory):
Never Let Me Go (2010)
Take Shelter (2011)
The Midnight Swim (2014)
The Planet of the Apes Trilogy (2011, 2014, 2017)
Inside Out (2015)
Source Code (2011)
Kubo and the Two Strings (2016)
A Monster Calls (2016)
Huhn. It seems this article was reposted just to give more people the opportunity to beat me about the face and head for my calling Captain Kirk a horndog. Okay, so stipulated that my citing of Kirk's sexual profligacy was off-base. But please keep in mind the point I was trying to make: That whatever emotional trials Kirk and crew went through in an episode's span, typically (and, again, stipulated that there were exceptions) before the final fadeout had even been reached, all had been shunted aside, the better for everyone to be fresh 'n' ready for next week's adventure. The zero-sum nature of episodic TV at the time required it -- nothing could leave a mark, primarily because air dates were at the discretion of the network, and there was no guarantee that the order in which episodes were shot would be the order that they reached home screens.
The end of "City on the Edge of Forever" stands out because of the visible (and dialogue) evidence of how profoundly Kirk had been affected by his encounter with and loss of Edith Keeler. Sure, the zero-sum effect still applied, and Keeler's name was never again mentioned, but in that moment, in that fadeout, you could well believe that, for once, the man who regularly brushed off whatever trials he had been through was impacted in a fundamental, and irreversible, way. At least for an eleven year-old who was grooving on the fun exploits of the starship Enterprise, that was an Earth-shaking, WTF (had I known that term at the time) moment.
As a point of information, I considered both Farscape and Legion, but since those shows were pretty consistently WTF anyway, it was hard to identify a single, standout ep. That said, it says something that in the extreme landscape of Twin Peaks, S3:E8 distinguishes itself — it would have qualified if I had thought of it. (It’s also, in and of itself, a stunning bit of filmmaking.)
And I don’t care what anybody says, Captain Kirk boinked a lot of women.
Ooh, didn't know about that one. But given how it's drawn, and that it's the only one with lines radiating from it, and the fierce physical repercussions depicted soon after, I don't think it's out-of-line to think that they swung for the fences and managed a double pun -- contextual and visual-- there.
I was actually going to point out that both shows are more 3D presentations (or, in the theme park parlance, with the added effects, “4D”), but *Honey, I Shrunk the Audience* raises a curious issue: The film portion is posited as a live stage show, with the opening and closing sequences (before and after the shrinking) using a locked-down camera to establish that everything on the screen is meant to be seen from the audience’s perspective. The audience is meant to feel that they are integral to the narrative, which establishes the viewers' immersion into the experience, aided with effects like the hydraulic actuators under the seating section, and the water sprays. It’s a kind-of de facto VR, a technique used a lot in theme park 3D attractions — *It’s Tough to Be a Bug* and *T2-3D* would be other examples.
I can see why, using that perspective, you’d find *Muppet Vision 3D* less than satisfying. It’s closer to conventional filmmaking, with actual cuts, close-ups, etc. Didn’t bother me that much, frankly — I treated it more as send-up of gimmicky 3D films than as an immersive experience.
But it’s interesting to think how filmmakers attempted to achieve full immersion before true VR technology was developed.
It's a good question. I wonder how much convergence there can actually be between gamers -- who enjoy an escalating challenge and probably see a narrative as the reward for their efforts -- and audiences who just want to be told a story. The gaming elements of many of the experiences I noted above are quite mild -- in some cases it feels as if they're there just to give the viewer the impression that he/she is interacting with the experience.
Experiences like *Angest* and *EqqO* point the way to right balance to bringing interactivity into a tale without becoming an obstacle one's absorption in the narrative.