The Twilight Zone: The Obsolete Man

When The Shift released in theaters, some critics were scandalized by the very notion of Evangelical science fiction. Yet, some of the best science fiction of all-time has been shaped by Christian faith, including novels by C.S. Lewis, Madeleine L’Engle, Gene Wolfe, and Walter M. Miller Jr. Viewers could also see legit Christian-themed sf during the Golden Age of Television, including “The Bitter Storm” episode of Tales of Tomorrow. However, one of the greatest examples came from an unimpeachable liberal, Rod Serling, who wrote “The Obsolete Man,” one of the best episodes of The Twilight Zone, which airs tomorrow as part of SyFy’s annual Twilight Zone New Year’s marathon.

Before “Time Enough at Last” (the post-apocalyptic tale of the bibliophile who breaks his glasses) Burgess Meredith starred as Romney Wordsworth, a former librarian who has been declared “obsolete” now that books are illegal. After a nearly two-year investigation, he has been sentenced to death, but he is granted permission to choose the particulars.

Even during his initial hearing, Wordsworth directly invokes his faith in a Christian God, whereas the Chancellor openly expresses admiration for Hitler and Stalin. Later in the episode, Wordsworth invites the militantly atheist Chancellor to visit him during his final moments, to listen to him read the Psalms. That was not what the Chancellor had in mind, but Wordsworth turns the tables on him, thanks in part to his carpentry skills. Get the significance—he is also a carpenter.

“The Obsolete Man” is one of the most under-appreciated Twilight Zone episodes and one of the greatest dystopian science fiction productions of any length. Meredith is genuinely inspiring as Wordsworth and Fritz Weaver perfectly channels the mindset of statist extremists. As the Chancellor grows more desperate, he truly shows the oppressive bully to be a coward at heart.

The Shift, from Angel Studios

Maybe we aren’t trapped in a digital matrix. Maybe the Devil “shifts” people between alternate parallel realities instead. The Mephistophelean character never exactly calls himself that, but the so-called “Benefactor” definitely sees himself as a rival to the Man Upstairs. It turns out faith-based science fiction finds a way to give dystopian and multiversal themes a new twist in director-screenwriter Brock Heasley’s The Shift, produced by Angel Studios (the Sound of Freedom distributor), which opens Friday in theaters.

Kevin Garner was finance shark who found redemption when his future wife, Molly, approached him on a dare. Thanks to her influence, he went back to church and started acting like a good husband and father. However, the death of their young son sent him spiraling down again. That is when Satan/The Benefactor approaches Garner.

It turns out, Garner has been his go-to guy in every other dimension, becoming his Faustian enforcer, to enjoy all the hedonistic perks that position entails. He can’t “shift” anyone though. Only the Benefactor’s secret “shifter” operatives, with their special shifting bracelets, can slip innocent victims into an alternation reality.

 

Much to the Benefactor’s surprise, this Garner turns him down, because he still has faith.  As punishment, the Satanic overlord shifts Garner to his grimmest, most dystopian reality, where his evil powers are openly recognized and feared. Forced to live underground, Garner clings to the hope that he can reunite with Molly in another reality.

The conclusion is a little clunky, but the guts of The Shift have some surprisingly fresh multiversal science fiction elements, especially the way the dystopian characters relate to their alternate selves. Heasley’s Job-riffing script definitely reflects an Evangelical Christian perspective, but it goes for long extended periods without appealing to faith. Of course, the Devil is evil and nasty all the way through, but the same could be said for plenty of secular horror movies.