Taxi driver Joe Britt usually makes his way home to his wife Phyllis but theirs is not a happy marriage as they constantly bicker and she accuses him of having a girlfriend. The obnoxious Joe is having his TV fixed but after the repairman leaves, Joe sees himself with his girlfriend in scenes from the recent past. Soon after, he has a glimpse of what will happen in the near future. Written by
Viewers who grew up watching cable television may wonder why Joe Britt is surprised to get Channel 10. When television began, it was broadcast over the very high frequency (VHF) band of the radio spectrum. The VHF channels were 2-13, but, to avoid interference, a city could not have channels with consecutive numbers, except for 4 and 5 or 5 and 6. Britt lives in New York, which had channels 2, 4, 5, 7, 9, 11, and 13. See more »
When Joe breaks the TV screen with his fist you can see a still of the TV image that has been applied to the glass surface, which appears to shatter along with the glass. See more »
Love is flowers and music in the moonlight, marriage is a floor mop and two pounds o' hamburger.
Oh, I don't mind hamburger... with onions!
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'A Most Unusual Camera' was a dark and yet pleasant comedy from series two. This episode uses a TV along those lines but without the quaint charm of the three crooks. Here the story is about a very unlikable taxi driver Joe (William Demarest) and his even worse wife Phyllis (Joan Blondell). The husband starts seeing TV channel 10 that they never had before a strange TV repair man (Sterling Holloway) came. Things go from bad to worse as the TV shows private and future motion pictures of the couple.
Writer Martin Goldsmith penned some good stories for film thrillers like 'Narrow Margin'(1952) but this and his other contribution to the Zone, 'The Encounter', are horribly below TZ's standard and his own.
A one dimensional shrew role for the 1930's film star Joan Blondell. Its like being a fly on the wall of a place filled with steadily increasing hatred turning to domestic violence. There's no subtlety at all in the way it develops.
Weak. Without any sympathetic character, message, or new ideas.
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