Johnny has a premonition that a group of youngsters will plunge through the ice, triggering a childhood memory in him. Further, Cronenberg deploys the dead zone as a space of repressive trauma. In addition, it's also a space of the past where Johnny transports himself back in time to a grisly murder as an unobtrusive spectator.
It's also a locus where Johnny envisions death, such as when he imagines himself in the burning bedroom inhabited by the nurse's daughter. It's the physical space where Johnny drives his white Beetle Volkswagen into an eighteen-wheeler milk-truck, which was caused by the driver dozing off. The phrase "The Dead Zone" carries multiple meanings. Johnny performs great deeds for saving lives in the future and for helping solve crimes, but it weighs down his mental and physiological makeup. The "double vision" that he's paradoxically gifted for his rebirth and second life sucks the energy out of him, as he imparts to his benevolent caretaker, Dr. For example, the horror is inside Johnny's body after his major car accident. Cronenberg is still able invoke his trademark body horror in his central protagonist, Johnny Smith (Christopher Walken), but in a subtler fashion than in his more nauseous-inducing films. The Dead Zone (novel and film) isn't really straight-up horror but has its share of such moments. It's been said by commentators of The Dead Zone that a great marriage ensued by pairing together Stephen King and David Cronenberg, two artists with their own conceptions of horror.
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