In 2002, David Cronenberg’s SPIDER, which airs this Friday, seemed like a departure for the director. He was known primarily as a genre expert – one who had taken standard horror and thriller motifs and turned them into very personal expressions of post-modern unease in films like his remake of THE FLY and his adaptation of Stephen King’s THE DEAD ZONE. (Even his masterpiece DEAD RINGERS, though ostensibly a more serious film, was at heart a monster movie about twin gynecologists whose wild beliefs about the body and human nature resulted in their horrific deeds.) Although the director had made some forays into more “respectable” literature along the way, SPIDER felt different. And it was. It was also a harbinger of things to come.