W W W.SCI FI N OW.CO.U K |^109FLASHBACK
JUSTIN SHENKAROWThe show went
meta brilliantly.It wasn’t afraid to
g et sp o ok y.
Marshall and
Simon in trouble.
TO WHOM IT
MAY CONCERN
Five of the best episodes
of Eerie, Indiana...EPISODE THREE: ATM WITH A
HEART OF GOLD (DIR: SAM PILLSBURY)
A favourite of star Justin Shenkarow, episode
three was a chance for Marshall’s side-kick,
Simon, to take the limelight. Befriended by Mr
Wilson, the town’s new talking ATM machine,
the lonely Simon fi nds himself showered with
cash and the talk of the town. Simon’s personality
makeover and sudden good fortune would,
however, be short lived, proving that money
really can’t buy you happiness.EPISODE FIVE: AMERICA’S
SCARIEST HOME VIDEOS
(DIR: SAM PILLSBURY)
What could possibly go wrong when Marshall
and Simon babysit Simon’s younger brother,
Harley, on Halloween? Well, thanks to a ‘video
feedback time-warp shuffl y thing’, Harley gets
sucked into the monster movie he’s watching on
TV, with the movie’s creature, a mummy, moving
the other way into the Teller home. Full of zingy
one-liners, episode fi ve is also high on the ‘mega-
eerie-voodoo-weirdness’ front as Marshall and
Simon try to remedy the bizarre situation.EPISODE 10: THE LOST HOUR
(DIR: BOB BALABAN)
Determined not to lose his ‘extra’ hour when he
discovers Indiana doesn’t follow daylight saving
time, Marshall sets his watch back anyway.
When he wakes up, Marshall fi nds himself alone
in Eerie save for a mysterious milkman and some
very sinister garbage collectors. Riffi ng on The
Twilight Zone and the works of Philip K Dick,
‘The Lost Hour ‘is pure sci-fi weirdness, and, once
revealed, the identity of the milkman is revelatory
both for Marshall and the viewer.EPISODE 17: ZOMBIES IN PJS
(DIR: BOB BALABAN)
When an untrustworthy businessman pointedly
called The Donald turns up at the World O’Stuff
promising to make the owner Mr Radford (John
Astin) rich, the shopkeeper sees a chance to
cover his unpaid tax bill. Unfortunately, The
Donald’s get-rich-quick scheme involves Eerie’s
citizens unwittingly selling their souls, becoming
zombie-like consumers. Part Faustian tale, part
Dawn Of The Dead, ‘Zombies In PJs’ takes
humorous aim at advertising, consumer culture
and late capitalism.EPISODE 18: REALITY TAKES
A HOLIDAY (DIR: KEN KWAPIS)
Employing the same narrative device used
in Wes Craven’s New Nightmare and in the
dénouement of Blazing Saddles among others,
episode 18 obliterates The Fourth Wall for
both the characters and viewers by stepping
out of ‘fi ction’ and into ‘reality’. With Omri
Katz playing Marshall Teller but the rest of the
cast and crew – Joe Dante included – playing
versions of themselves, this is the boldest and
most narratively adventurous episode of Eerie,
Indiana. It’s 25 minutes of hyper-smart and
brilliantly executed television.W W W.SCI FI N OW.CO.U K | 109FLASHBACK
JUSTIN SHENKAROWThe show went
meta brilliantly.It wasn’t afraid to
g et sp o ok y.
Marshall and
Simon in trouble.
TO WHOM IT
MAY CONCERN
Five of the best episodes
of Eerie, Indiana...Five of the best episodes
of Eerie, Indiana...Five of the best episodes
EPISODE THREE: ATM WITH A
HEART OF GOLD (DIR: SAM PILLSBURY)
A favourite of star Justin Shenkarow, episode
three was a chance for Marshall’s side-kick,
Simon, to take the limelight. Befriended by Mr
Wilson, the town’s new talking ATM machine,
the lonely Simon fi nds himself showered with
cash and the talk of the town. Simon’s personality
makeover and sudden good fortune would,
however, be short lived, proving that money
really can’t buy you happiness.EPISODE FIVE: AMERICA’S
SCARIEST HOME VIDEOS
(DIR: SAM PILLSBURY)
What could possibly go wrong when Marshall
and Simon babysit Simon’s younger brother,
Harley, on Halloween? Well, thanks to a ‘video
feedback time-warp shuffl y thing’, Harley gets
sucked into the monster movie he’s watching on
TV, with the movie’s creature, a mummy, moving
the other way into the Teller home. Full of zingy
one-liners, episode fi ve is also high on the ‘mega-
eerie-voodoo-weirdness’ front as Marshall and
Simon try to remedy the bizarre situation.EPISODE 10: THE LOST HOUR
(DIR: BOB BALABAN)
Determined not to lose his ‘extra’ hour when he
discovers Indiana doesn’t follow daylight saving
time, Marshall sets his watch back anyway.
When he wakes up, Marshall fi nds himself alone
in Eerie save for a mysterious milkman and some
very sinister garbage collectors. Riffi ng on The
Twilight Zone and the works of Philip K Dick,
‘The Lost Hour ‘is pure sci-fi weirdness, and, once
revealed, the identity of the milkman is revelatory
both for Marshall and the viewer.EPISODE 17: ZOMBIES IN PJS
(DIR: BOB BALABAN)
When an untrustworthy businessman pointedly
called The Donald turns up at the World O’Stuff
promising to make the owner Mr Radford (John
Astin) rich, the shopkeeper sees a chance to
cover his unpaid tax bill. Unfortunately, The
Donald’s get-rich-quick scheme involves Eerie’s
citizens unwittingly selling their souls, becoming
zombie-like consumers. Part Faustian tale, part
Dawn Of The Dead, ‘Dawn Of The Dead, ‘Dawn Of The Dead, ‘Zombies In PJs’ takes Zombies In PJs’ takes
humorous aim at advertising, consumer culture
and late capitalism.EPISODE 18: REALITY TAKES
A HOLIDAYA HOLIDAYA HOLIDAY (DIR: KEN KWAPIS) (DIR: KEN KWAPIS)
Employing the same narrative device used
in Wes Craven’s New NightmareNew NightmareNew Nightmare and in the and in the
dénouement of Blazing SaddlesBlazing SaddlesBlazing Saddles among others, among others,
episode 18 obliterates The Fourth Wall for
both the characters and viewers by stepping
out of ‘fi ction’ and into ‘reality’. With Omri
Katz playing Marshall Teller but the rest of the
cast and crew – Joe Dante included – playing
versions of themselves, this is the boldest and
most narratively adventurous episode of Eerie,
Indiana.Indiana.Indiana. It’s 25 minutes of hyper-smart and It’s 25 minutes of hyper-smart and
brilliantly executed television.TO WHOM IT
MAY CONCERN
Five of the best episodes
of Eerie, Indiana...Five of the best episodes
of Eerie, Indiana...Five of the best episodes
EPISODE THREE: ATM WITH A
HEART OF GOLD
A favourite of star Justin Shenkarow, episode
three was a chance for Marshall’s side-kick,
Simon, to take the limelight. Befriended by Mr
Wilson, the town’s new talking ATM machine,
the lonely Simon fi nds himself showered with
cash and the talk of the town. Simon’s personality
makeover and sudden good fortune would,
however, be short lived, proving that money
really can’t buy you happiness.EPISODE FIVE: AMERICA’S
SCARIEST HOME VIDEOS
(DIR: SAM PILLSBURY)
What could possibly go wrong when Marshall
and Simon babysit Simon’s younger brother,
Harley, on Halloween? Well, thanks to a ‘video
feedback time-warp shuffl y thing’, Harley gets
sucked into the monster movie he’s watching on
TV, with the movie’s creature, a mummy, moving
the other way into the Teller home. Full of zingy
one-liners, episode fi ve is also high on the ‘mega-
eerie-voodoo-weirdness’ front as Marshall and
Simon try to remedy the bizarre situation.EPISODE 10: THE LOST HOUR
(DIR: BOB BALABAN)
Determined not to lose his ‘extra’ hour when he
discovers Indiana doesn’t follow daylight saving
time, Marshall sets his watch back anyway.
When he wakes up, Marshall fi nds himself alone
in Eerie save for a mysterious milkman and some
very sinister garbage collectors. Riffi ng on
Twilight Zone
‘The Lost Hour ‘is pure sci-fi weirdness, and, once
revealed, the identity of the milkman is revelatory
both for Marshall and the viewer.EPISODE 17: ZOMBIES IN PJS
(DIR: BOB BALABAN)
When an untrustworthy businessman pointedly
called The Donald turns up at the World O’Stuff
promising to make the owner Mr Radford (John
Astin) rich, the shopkeeper sees a chance to
cover his unpaid tax bill. Unfortunately, The
Donald’s get-rich-quick scheme involves Eerie’s
citizens unwittingly selling their souls, becoming
zombie-like consumers. Part Faustian tale, part
Dawn Of The Dead, ‘
humorous aim at advertising, consumer culture
and late capitalism.EPISODE 18: REALITY TAKES
A HOLIDAY
Employing the same narrative device used
in Wes Craven’s
dénouement of
episode 18 obliterates The Fourth Wall for
both the characters and viewers by stepping
out of ‘fi ction’ and into ‘reality’. With Omri
Katz playing Marshall Teller but the rest of the
cast and crew – Joe Dante included – playing
versions of themselves, this is the boldest and
most narratively adventurous episode of
Indiana.
brilliantly executed television.(DIR: SAM PILLSBURY)cash and the talk of the town. Simon’s personalityone-liners, episode fi ve is also high on the ‘mega-When he wakes up, Marshall fi nds himself alone
in Eerie save for a mysterious milkman and some‘The Lost Hour ‘is pure sci-fi weirdness, and, once
revealed, the identity of the milkman is revelatory