From the Twitch Live Stage at New York Comic Con 2017, IMDb LIVE host Kevin Smith talks to Marvel Chief Creative Officer Joe Quesada about the development of the Marvel franchise, his history at Comic Con and more.
Peeking into the window of her husband Gregory's study, Victoria West sees him with a beautiful woman. When she finally gets into the room however, the woman is nowhere to be found. His explanation is preposterous - he claims that when he speaks into his dictation machine, the characters for his play come to life before his eyes. Victoria's first reaction is that her husband should be committed and a demonstration still doesn't quite convince her. Gregory has something else to show her. Written by
[character first lines]
[mixing Gregory a martini]
You really should be working, you know.
You're nagging me.
I'm only thinking of posterity.
Think of me, instead.
Don't I always?
[They look at each other lovingly. Mary takes a sip from the glass]
Yes, you do. Dry enough?
We'll let the master decide.
[offers him the glass]
[...] See more »
Although comedy was never the strength of "The Twilight Zone" (or writer Richard Matheson, for that matter), the final episode of the first season is a delightful comedy that plays more on situation -- and a wonderful lead performance by Keenan Wynn -- than punchlines. This is easily one of the best episodes of the series.
Playwright Gregory West (Wynn) is romancing his presumed mistress Mary (Mary LaRoche) while his wife (Phyllis Kirk) jealously looks on. A few moments later, the wife bursts in to find that the mistress has magically disappeared. West explains that he can create real people by stating a description into his dictaphone -- that's when the fun really begins.
Matheson -- who was usually a master of plot, rather than character or situation -- switches gears here. His novel story lends itself remarkably well to a sort of 1930s screwball style, with gentle gags that flow from the characters' personalities -- West's combination of omnipotence and humility; his wife's jealousy and haughtiness (she'd have fit perfectly as the other woman in a Cary Grant comedy); and Mary's gentleness and dignity. The performances match it perfectly: Wynn's bemusement at his situation -- a sort of literary/social Life of Riley -- fits the character delightfully; Kirk's two-dimensionality is ironically apropos; and LaRoche's quiet gentleness (which worked equally well in the very different "Living Doll") makes one wonder why West didn't think of her sooner.
All this, and perhaps the funniest final joke in the series' history. Who could ask for anything more?
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