Fangoria Magazine 1980s (8 issues) by Unknown

Author:Unknown
Format: epub
Tags: fangoria, fangoria magazine, 80s
Published: 1986-04-15T00:00:00+00:00

hospital of death. tion has gone from Twilight Zone or Night Gallery, or more adult viewers, to a little bit more of a bubblegum show. The irony of it all is if in the end they want to move Darkroom away from Dal. las to another time slot where once again they want the adult section of the population, then once again the show will change. But right now ! think the show is in transition towards the younger audience.” When he began work on Darkroom, Rosenthal found not only the story material appealing but the conditions of TV work as well. "One of the nice things about television is that you get a lot of at-bats. When you're doing a feature everything is riding on one story; it may take one or two years and that's a long time. What's nice about television is that you get a chance to go out and do it and see it in a pretty short period of time.” Rosenthal's first “at bat" on the series was the 40-minute "Closed Circuit" story by Alan Brennert on the pilot show. Robert Webber plays a famous TV newsman and commentator who becomes concerned over the mysterious elusiveness of one of his colleagues. His friend continues to appear regularly on the tube but, for some reason, Webber is unable to ever make contact with him. Webber grows even more suspicious when he decides to visit his friend at the out-of-town studio where the newsman is supposedly taping a show. Webber arrives at the studio to find it completely empty, even though the program is seemingly 36 FANGORIA #17 Lance Guest discovers one of the many bodies in Carpenter's being broadcast live. Pursuing the matter with greater determination, Webber eventually confronts the head of the network who explains that the missing newscaster has been appearing on television thanks to a matrix box which can simulate not only the man's image and voice, but his thought patterns as well. Unwittingly, Webber then is also duplicated in this fashion and, after much resistance at first, is persuaded to accept an early, lucrative retirement so that the computer simulation may take his place. Just as Webber accepts his fate, the network chief administers the final turn of the screw: in order to keep the simulation a secret, Webber, like his friend before, must be kept a prisoner in the secret sub-basement of the network building. Rosenthal was quite satisfied with this tense, well-constructed story, though he would have preferred to have includéd a sequence in which the viewer is shown exactly how the video simulation takes shape. Unfortunately, the restrictions of time and budget made such a scene impractical. The director’s favorite work on Darkroom at this point is a short, sardonic piece entitled "Uncle George." In this story Claude Aikens and June Lockhart play a couple who must depend on the railroad pension collected by Lockhart's Uncle George because of a heart attack that left Aikens unable to work for a living himself.

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