DVD Extras include:
Granted this isn't the most original or rich avenue for exploration we could get on this show, but for what it is, it is fairly well written and solidly plotted. It does hit just the right tone, and it inspires audience investment in the protagonists' actions far better than stories like "Murder Most Foul", "Rules of the Game", or "The Dream Masters". Though we still get echoes of capture and escape routines here, these are quite short, and our characters thankfully have space to keep moving through this adventure and surprise us with some of the areas that they end up going to. All good.
The premise itself really echoes the life-transference ideas of vampire legends, yet it channels itself through this mutated worm-creature and what I assume must be its milk... or silk... or something. Similarities to the giant worms and the spice of Frank Herbert's "Dune" series are also suggested here. It could be anything. The more the episode leaves the precise details to the audience the more it remains on safer ground - theoretically at least. Its persistence in returning to the idea of radiation in the uranium mine as a catalyst for the creation of this thing makes its existence a little too random to be believable. Less would have been more here.
I'm not sure the director found time to think through as much of what he went out to shoot as he should have though. Quinn looks all set to change the main guest star's tire, but all he does is loosen/tighten a few nuts before declaring that he's all done. I'm sure the script intended that he should be actually changing it, especially with his comment about the spare which Quinn never actually lays eyes on, and the director was in too much of a hurry to shoot the dialogue in ways that could suggest the entire event could have taken place.
Things also get a little weird in the shootout at the end. How much ammunition do Rembrandt and his opponent have to throw at each other? Do either of them care about scoring hits, or do they just love the noise and posturing? Then Rembrandt is supposed to cover Wade and Quinn, but he does all his shooting while they're standing still, and stays hidden when they run, letting the opponent fire at them as much as he wants. It's all too obvious that next to no thought is being put into proper blocking of our protagonists' actions all too often.
There is also confusion with Quinn and the Sheriff having a bit too similar a look, if not sharing the same stunt man. Many times I'm fooled as to who I'm looking at, when this is not the intention from the story.
Finally there are the effects, which were cool for the time, but stick out now as being a bit too artificial. I'm not sure they were ever truly convincing, but at least they are still kind of cool.
Ultimately, though I like this story as written, and the director generally found the right tone for the episode, I think it received one of the sloppiest technical directing jobs in the entire third season. It just feels too darned rushed.
Bizarrely, it looks as though this episode was a testing ground for changes to the main cast, and one that they ultimately decided against using. The final dialogue in particular appears to be too much of a throwback to those ideas they didn't follow through on, and one has to wonder why they didn't change more of it. Why would our female guest star even have considered joining our friends on a never-ending mystery tour of parallel universes? It doesn't fit the rest of THIS script, just merely teases the audience to know more of what an older version might have been.
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