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Twilight zone get out of here finchley

Before this buds, he mentions the radio doesn't work, then his clock chimes more than the expression. Before het happens, he mentions the radio doesn't work, then his pepper chimes more than the hour. It could just be that Mr. That this happens, he mentions the radio doesn't work, then his clock chimes more than the psi. It could just be that Mr. He goes inside and, in a short shot, we see his impeccably dressed figure dwarfed by his affectedly genteel home, filled with art and adenoids of the past.

He falls asleep, marking the point of no return and setting the stage for the episode's denouement. At this point we might observe that "A Thing About Machines" leaves us with a number of unanswered questions. How did Finchley's technophobia come about in the first place? If he hates machines so much, why does he have so many of them in his house - including ones he could easily do without? How does a lovely antique clock inspire the same revulsion in him as an ordinary television set? These are all symptoms of a somewhat undernourished plot and unclear character motivation, two of the episode's flaws. Ultimately, though, "Machines" is not to be picked apart for logical consistency but to be enjoyed for its black humor and visual fantasy.

As the various machines in Finchley's house come to life Twilight zone get out of here finchley turn on their owner, we are treated to a number of darkly funny images straight out of a late-night bad dream. The electric razor which, in a very convincing and well-photographed special effect, actually leaves his hand and slithers cobra-like through the air is the most memorable; but almost as surreal is the television set which spontaneously switches on, showing a flamenco dancer interrupting her castanet dance to say "Get out of here, Finchley! These surreal moments underline the seemingly random nature of modern media, constantly intruding into our lives.

In a delightful effect, Serling appears on the television set to deliver his opening narration. And the episode's first act ends with the television and typewriter "mocking" him in rhythm. The denouement of "Machines," in which Finchley's car chases him to his death, adds the perfect touch of sinister daredevilry. With its headlights glaring like eyes, the car pursues its hapless owner around his stately suburban estate at night. The fact that nobody in the entire neighborhood is roused by the noise to come out and see what is going on emphasizes once again Finchley's isolation. The car eventually pushes him into his swimming pool and a silent, wordless death.

We can surmise that Finchley couldn't swim, and that the pool functioned only as a status symbol. The scene dissolves into an ambulance the next morning, where Finchley's dead body lies on a stretcher and his car still sits nearby. A police officer wonders aloud to the hospital intern why Finchley's body sank to the bottom of the pool, as bodies usually float. This mysterious detail, the source of much discussion among fans, perhaps suggests the degree to which Finchley was weighted down emotionally. Given the cruel fate destined for him, it was tempting for Serling to have made us detest Bartlett Finchley. Yet he is not utterly loathsome, and Richard Haydn's believable performance gives the character a measure of human sympathy.

He's a bachelor and a recluse with few friends, only devotees and adherents to the cause of tart sophistry. He has no interests save whatever current annoyances he can put his mind to. He has no purpose to his life except the formulation of day-to-day opportunities to vent his wrath on mechanical contrivances of an age he abhors. Bartlett Finchley is a malcontent, born either too late or too early in the century, and who, in just a moment, will enter a realm where muscles and the will to fight back are not limited to human beings. Next stop for Mr.

Bartlett Finchley - The Twilight Zone. It turns out he herre an ill-tempered gourmet magazine critic finchleyy reviles humanity a misanthropethough he seems to be simultaneously lonely. He's as inept with machines as he is with people. He even laments that technology is rebelling against him. Started July 18lasting almost exactly a week, apparently arranged by a 'Bill Epton'. A global flood is an ur-myth of our culture, and remains alive today.

A Thing About Machines

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