TONIGHT @ 8:00 pm EST:
THE TWILIGHT ZONE AHEAD OF ITS TIME Night-Light radio show with Pop Culture Man Arlen Schumer: https://www.blogtalkradio.com/night-light/2020/11/08/the-twilight-zone-ahead-of-its-time-with-arlen-schumer
“We can feed the stomach with concentrates. We can supply microfilm for reading, recreation, even movies of a sort. We can pump oxygen in, and waste material out. But there’s one thing we can’t simulate, that’s a very basic need: man’s hunger for companionship. The barrier of loneliness. That’s one thing we haven’t licked yet.”
If those words from the first TWILIGHT ZONE episode sound uncomfortably close to the pandemic quarantining we’re all experiencing now, it’s because creator ROD SERLING (1924-75) was a true visionary, a prescient prophet of the small screen, whose many ZONE episodes dealt with the universal, timeless themes of isolation, loneliness, and solitude.
In advance of his webinar next Tuesday night via New York Adventure Club—
THE TWILIGHT ZONE AHEAD OF ITS TIME webinar Tuesday, November 10 @ 8:00pm EST; tix: nyadventureclub.com
—join Pop Culture Man Arlen Schumer tonight as he discusses how the greatest television series of the 20th Century sheds a prescient light on the global pandemic of the 21st Century.
Arlen’s call-in guests on tonight’s show:
PAUL D. GALLAGHER, creator of the blog “Shadow & Substance: Exploring the Works of Rod Serling”: thenightgallery.wordpress.com
STEVEN JAY RUBIN, author of “The Twilight Zone Encyclopedia,” available at amazon.com
You can listen to a playback here: https://www.blogtalkradio.com/night-light/2020/11/08/the-twilight-zone-ahead-of-its-time-with-arlen-schumer
Some episodes of The Twilight Zone seem to be above reproach. Like my personal favorite, “Eye of the Beholder“. Or the bittersweet, poetic “Walking Distance“. Or the one with what is surely the biggest gut-punch ending of all, “Time Enough at Last.” Who can criticize that one?
Okay, there was the post I did about how the twist feels unjust to me. But beyond that, who could say a negative word about the episode that many fans say is their all-time favorite?
Whoops. Me again.
Actually, it’s not a negative word. I can’t help loving this episode either. The writing, the acting, the directing, the set design … it’s all world-class. Truly.
But I do have a technical quibble with it.
Mind you, I’m not normally one to nitpick the Zone on such details. As I mentioned in my review of The Twilight Zone Companion, I give the show wide latitude in this area. I don’t roll my eyes if, for example, a TZ says Mars is X number of miles away, and that estimate isn’t even close. So what? TZ isn’t really a sci-fi show at heart, anyway — it’s a fantasy drama with sci-fi trappings.
But there’s a technical detail in “Time Enough at Last” that’s hard to overlook, especially because — unlike most of the show’s other gaffes — it’s crucial to the plot.
I’m talking about Henry Bemis’s glasses.Read the rest of this entry
October means Halloween to a lot of people — myself included — but it also makes me think of The Twilight Zone. I know, I know. I hardly need any encouragement, do I? And yet October is special because it’s the month that TZ premiered in 1959.
It was on October 2 of that year — at 10:00pm EST, if you want to be precise — that anyone turning to CBS saw the first episode, “Where is Everybody?” The story of an Air Force pilot who hallucinates himself into an empty town during isolation training was Stop #1 for those curious enough to explore Rod Serling’s “middle ground between light and shadow”.
So I thought I would share something fun today. It’s something Serling included in an early draft of the episode, but which was apparently never filmed: a scene in which pilot Mike Ferris steals from the town bank.
That’s right. Our fine, upstanding astronaut-to-be — a common thief!
According to the draft in volume one of “As Timeless as Infinity: The Twilight Zone Scripts of Rod Serling”, this scene occurs after the one in the movie theater. So, at least in the final episode, it’s close to the moment when Ferris is pulled from the isolation booth.
Not in this early version of the script, though.Read the rest of this entry
Finding out that Rod Serling was a screenwriter on the 1968 sci-fi classic “Planet of the Apes” often surprises his fans. And yet, as soon as they think of that legendary shock ending, it makes perfect sense.
Note, however, that I said “a” screenwriter. Although he was the first to begin the hard work of adapting Pierre Boulle’s 1963 novel to the big screen, he would not be the only one.
That’s certainly not because the producers were unhappy with his work. Far from it. Serling worked on several drafts in the mid-1960s before bowing out of the project.
And even though the final product bears numerous changes, the basic story — including, yes, the ending — is the same. And we can thank Serling for that.
The history of how “Planet of the Apes” went from page to screen is a long and complicated one. It’s not my intention to delve into that here. It could fill a book all its own, frankly.
My focus is simply what would interest just about any fan of Serling and this famous film franchise: What if they had filmed Serling’s version with none of the changes made by screenwriter Michael Wilson? Read the rest of this entry
I’ve written before about what a great sense of humor Rod Serling had. But one thing I didn’t mention was how much he enjoyed practical jokes. Don’t let his serious expression fool you!
Here’s one of my favorite stories, courtesy of Marc Scott Zicree’s The Twilight Zone Companion. It occurred shortly after the first broadcast of one of the most iconic episodes of the whole series, Richard Matheson’s “Nightmare at 20,000 Feet”. According to Serling:
Matheson and I were going to fly to San Francisco. It was like three or four weeks after the show was on the air, and I had spent three weeks in constant daily communication with Western Airlines preparing a given seat for him, having the stewardess close the [curtains] when he sat down, and I was going to say, ‘Dick, open it up.’ I had this huge, blown-up poster stuck on the [outside of the window] so that when he opened it, there would be this gremlin staring at him.
So what happened was, we get on the plane, there was the seat, he sits down, the curtains are closed, I lean over and I say, ‘Dick —’ at which point they start the engines and it blows the thing away. It was an old prop airplane… He never saw it. And I had spent hours in the planning of it. I would lie in bed thinking how we could do this.
Can you even imagine what Matheson’s reaction would have been? What a great gag. It’s too bad it backfired, though I’m sure he and Rod had a lot of laughs long after that day, just recalling the attempt. Read the rest of this entry
I know the fifth dimension can be a confusing place. But sometimes I hear from fans who don’t even seem to know what the heck happened in a particular episode of The Twilight Zone.
I bring this up because every now and then I hear an alternative theory about Season 1’s “A World of Difference” by Richard Matheson. In it, we meet a man (played by Howard Duff) who’s acting in a movie — only he doesn’t see it that way.
In the opening scene, he’s astonished to discover a film crew next to his business office. (It’s very cleverly filmed, as I discuss in this post.) He insists that he’s not this Gerald Raigan they keep telling him he is. No, he insists, he’s a man named Arthur Curtis — and he has no idea who any of them are!
That earns him some strange looks. Curtis is the part he’s playing in the movie, so everyone around him thinks he’s gone crazy. The bulk of the episode shows him frantically trying to prove that his wife and his agent are wrong — that he really is Arthur, not Gerald (or Jerry, as he’s usually referred to in the episode).
Once we see how unhappy Jerry’s personal life is, though (his ex-wife, Nora — played by Sean Penn’s mother, Eileen Ryan — angrily vows to “bleed” him dry or have him jailed), it all makes sense. He really is Gerald, but his mind has snapped. He’s assumed the identity of Arthur, who has a nice job, a supportive secretary, and a loving wife. Read the rest of this entry
Can you name the first Twilight Zone episode you ever saw?
I’m a fan of many classic shows. I grew up watching reruns of I Love Lucy, The Andy Griffith Show, Leave It to Beaver, Perry Mason, Mission: Impossible … the list goes on. I still watch many of them today, in fact, either on disc or on a streaming service. But I couldn’t name the first episode I saw of any of those shows.
And yet I doubt you’ll be surprised to learn that I do recall my first Twilight Zone. Oh, yes. It was “Five Characters in Search of an Exit”.
It made quite an impression on my kid mind, as you can tell. (I was about eight, I think.) Here was a series that didn’t look or sound like anything else on television. TZ is utterly unique.
Even if you don’t recall your first TZ, you know what I mean, I’m sure. Just ask Fox Mulder. In Season 11’s “The Lost Art of Forehead Sweat,” the X-Files agent is flummoxed when someone claims that the episode Mulder recalls as his first TZ doesn’t exist. He searches feverishly through his books and VCR tapes for confirmation. Scully, as usual, doesn’t understand what the big deal is. Read the rest of this entry
“These aren’t your ordinary canvases. You don’t find Monet in a mausoleum or van Gogh in a graveyard.” — Rod Serling, introducing an episode of Night Gallery
There’s some serious Serling understatement. The paintings shown before each story on Night Gallery were anything but ordinary. This was no school trip to the Metropolitan Museum of Art, believe me.
Even when the segment was so-so, the canvases were cool. What a treat it would’ve been to take a personal tour, the way our self-described “little ol’ curator” did each week.
That isn’t possible, unfortunately, but you can enjoy the next best thing by getting a copy of the forthcoming book I described in a post last May: “Rod Serling’s Night Gallery: The Art of Darkness”.
I wish I could say this was something you can order for $30 or so on Amazon. I can’t. It’s a bit pricier than that. I’ll tell you that right up front. But considering the incredible amount of work that went into it, as the authors painstakingly tracked down the many paintings that had been lost, to photograph and reproduce them in the highest-quality detail imaginable, it’s hard to deny that the higher cost is justified.
Last year’s “Serling Fest” was a lot of fun. It was tough saying good-bye at the end, but hey, we knew we’d all be gathering in 2020, right?!
Ahem. Not quite. Like a trip to the Kanamit home planet, things haven’t turned out quite the way we were expecting.
We’ll be getting a Serling Fest, all right. But it won’t be the in-person, three-day extravaganza we’ve gotten in years past. It’ll be a one-day affair, and because of a certain Virus Who Shall Remain Nameless, it’s all online.
So there won’t be any reports from the front lines by Yours Truly, and no appearances either. But good news: Thanks to Nick Parisi, president of the Rod Serling Memorial Foundation, I don’t think anyone who wants to attend from the comfort of home will feel cheated at all. In fact, he’s put together a fantastic line-up. Check it out:
I’ve gotten a chance to see nearly all of these experts in person, and I can tell you from experience that they have some great insights and stories to share. This is going to be a lot of fun! Read the rest of this entry
If you’d asked me when I was a teenager to name my favorite TV series, I’d have said The Twilight Zone. If you’d asked me to name my favorite director, I’d have said the man behind Alfred Hitchcock Presents.
I’ve seen the work of many more directors since then, and quite a few more TV series. If I were to list all of my favorites now, it would take a while. But you know what? My top answers are still the same today.
It’s hard to beat Rod Serling and Alfred Hitchcock. If anything, the intervening years have deepened my appreciation for their work. So it’s hardly surprising that they were behind the two most successful anthologies in the history of television.
That’s really saying something, by the way. The networks have never been crazy about putting anthologies on the air. They prefer to hook viewers with a strong situation and memorable characters — ones the audience can be sure will be there week after week. With an anthology, that’s impossible. Every episode brings a totally new cast and setup.
That calls for a lot of trust on the part of the audience. That’s why an engaging host is key. CBS was willing to take a gamble on Alfred Hitchcock Presents because the portly director’s fame would draw in curious viewers who had eagerly flocked to such thrillers as “Notorious”, “Strangers on a Train”, and “Rear Window”. Read the rest of this entry