Roy Knable, portrayed by John Ritter, is an unambitious plumbing salesman in Seattle, who has fallen into the depths of couch potato-dom, spending his days glued to the television screen, escaping into the digital realm instead of connecting with reality. His life is particularly bland, much to the dismay of his weary wife, Helen, played by Pam Dawber, who holds down a demanding position as a senior vitamin product manager. Helen feels the weight of their tedious routine pressing down on her as she longs for the days when romance was alive in their marriage.

The tension between them escalates dramatically when a heated argument erupts, culminating in Helen’s shocking act of shattering their family television with one of Roy’s cherished fencing trophies—an unexpected wake-up call that forces Roy to confront the apathy that has seeped into their lives. Enter a mysterious figure, Mr. Spike, played by Jeffrey Jones, who knocks on their door, offering the promise of a high-tech satellite dish system boasting a staggering 666 channels, which includes programs well beyond what the major networks (CBS, NBC, ABC, and Fox) provide. However, unbeknownst to Roy, Spike is more sinister than he appears; he is an underling from the depths of hell, a harbinger who intends to draw in television addicts to meet their grisly demise in outrageously ironic ways.

Once the satellite dish ensnares Roy and Helen into its nightmarish grip, they find themselves thrust into the chaotic universe of Hell Vision. Here, they must navigate through a series of twisted channels that distort familiar sitcoms and movies into dark parodies. Their first trial leads them onto a bizarre game show titled ‘You Can’t Win,’ where they are mercilessly questioned about their troubled marriage. They manage to survive this savage contest only to be hurled through a porthole, landing in an even zanier destination—the ‘Underworld Wrestling Foundation,’ where they are pitted against a hefty duo known as The Gorgons. In a surprising twist of teamwork, Helen, wielding a microphone stand, triumphs over their adversaries after Roy falters.

Meanwhile, in the control room of HVTV, viewers are treated to the antics of Roy and Helen as Spike is joined by Eugene Levy as Crowley, and his eager colleague, Pierce, played by Erik King. Crowley attempts to explain the grim events unfolding to Pierce. Their concerns deepen when they witness the misfortune of another couple, the Seidenbaums, who fall victim to a Godzilla-like monster. 

Back in the real world, the Knables’ children, 11-year-old Darryl and his sister Diane, played by David Tom and Heather McComb, grow increasingly worried when their parents fail to return home. In their quest for answers, they discover the imposing satellite dish in their backyard and suspect that something is amiss as they flick through the bewildering array of HVTV programming that parodies the absurd.

Roy and Helen, now in an icy wilderness, encounter Crowley once again on the HVTV show “Northern Overexposure,” where they learn they have only 15 hours remaining to escape the nightmare. Between skirmishes with savage wolves and mesmerizing fantastical obstacles, they endeavor to navigate through various channels, each more bizarre than the last, ultimately leading to a showdown with their next-door neighbor, Murray, caught in a vibrant cloak-and-dagger scene. Desperate to escape, they find themselves entangled in the tumult of different genres—from animated mayhem to a black-and-white detective film, all while Roy struggles to save Helen from the clutches of danger.

As time ticks away, Darryl and Diane team up to hack into the cable database, racing against the clock to save their parents. Just when hope appears to dwindle, they achieve a last-minute reprieve for Roy. Yet, Spike is furious and seeks revenge by abducting Helen, ensnaring her in a deadly game involving a runaway train. This leads to an explosive climax where Roy courageously reenters the HVTV world, wielding the very remote control that holds the key to their salvation.

In a breathtaking chase through parodies of beloved television shows, Roy must overcome challenges that test his resolve while he desperately races to save Helen. As the tension escalates, with Spike making a final offer for Roy to join him, the moral fiber of Roy comes strong, leading him to reject the offer and instead confront his adversary in a spectacular showdown. Ultimately, with the assistance of his resourceful son, Roy makes his stand—a battle that culminates with Spike being banished back to his dark domain, and the couple freed from their digital nightmare.

In the end, the experience has instilled in Roy a new appreciation for life outside the flickering screen as he dramatically reframes his lifestyle—from passive consumer of media to an active participant in his family’s future by stepping into the role of a fencing teacher, leaving behind his television obsessions for good.