A Round on the House

Occasionally someone will notice the location I have listed on my Twitter page, “Tim Riley’s Bar,” and ask if Tim Riley is my real name.

It’s not. It’s a reference to one of the most powerful stories to appear on Night Gallery, “They’re Tearing Down Tim Riley’s Bar.” In fact, it’s one of the best things Serling ever wrote — something that even he, his own harshest critic, didn’t bother to deny.


In his last interview, Serling was asked which of his works he particularly liked. He named three: 1) his 1956 Emmy-award winning teleplay “Requiem for a Heavyweight,” 2) one he had just written (“A Stop Along the Way”) and 3) “They’re Tearing Down Tim Riley’s Bar.” He was clearly proud of it — and justifiably so.

If you’ve ever seen Twilight Zone‘s “Walking Distance,” then you have some idea of the territory that Serling mines here. A middle-aged salesman named Randy Lane, played to perfection by William Windom, is marking his 25th anniversary at the plastics company he works for — and trying desperately to battle both loneliness (he’s a widower) and the young, brash assistant who’s gunning for his job. He longs for the old days, when he, his wife and his friends would gather for drinks, music and laughs at Tim Riley’s Bar.


Which, as the title of the story indicates, is now an abandoned building that has a date with the wrecking ball. Randy can’t help but feel it’s a metaphor for his life — and when he starts seeing ghosts from his past, it begins to look as if he’ll retreat completely from the present day. Diane Baker plays Lynn, a sympathetic secretary who tries hard to console him and make him realize that things aren’t as bad as they seem. It’s beautifully done, and ends on a nicely redemptive note.

You can watch “They’re Tearing Down Tim Riley’s Bar” on Hulu. But for a sharper-looking, commercial-free experience, try it on DVD. (Netflix carries it.) It’s the first story on disc 3 of Season 1, and it runs about 40 minutes.

I’ll post a more comprehensive review at a later date, but for now, don’t miss out on one that Serling called “one of my favorites.”


For a daily dose of Serling, you can follow me on Twitter, Facebook or Pinterest. You can also get email notifications of future posts by entering your address under “Follow S&S Via Email” on the upper left-hand side of this post. WordPress followers, just hit “follow” at the top of the page.

Hope to see you in some corner of the fifth dimension soon!

About Paul

Fanning about the work of Rod Serling all over social media. If you enjoy pics, quotes, facts and blog posts about The Twilight Zone, Night Gallery and Serling's other projects, you've come to the right place.

Posted on 07/06/2011, in Night Gallery and tagged , , . Bookmark the permalink. 19 Comments.

  1. Thanks for pointing to this one. Looking forward to it.

  2. Watched it for the first time a couple of weeks ago… absolutely superb. A masterpiece and very much of the same sentiment and substance as Walking Distance (WD is my all-time favourite by Serling, can’t watch it without a tear, even after dozens of viewings. Anyways, thanks for the background to your “location!.”

  3. That episode is really powerful. When I got my Night Gallery DVD it was one of the episodes that really sold me on the purchase. The moral is a lot like Walking Distance and I quote both episodes whenever I get in conversations with people who are overly nostalgic of the good ole times.

  4. I’ll just echo what others have said and say great review of a masterpiece. Serling and Matheson really hit out some quality in those days and when Rod was in rich form he wrote classics that still resonate today.

    I need to re-watch some Night Gallery episodes this week I think.


  5. This is one that I still need to watch. I haven’t seen many episodes of Night Gallery, but this one is at the top of my list.

    • Yes, it’s a gem. Can’t believe it didn’t win the Emmy!

      • Universal did not support the Emmy nomination more. If the studio did more of a PR campaign in the trade magazines it might have been given a chance.

      • Typical behavior from NBC Universal. I’m fairly certain that an Emmy could have been secured for this and for “The Messiah on Mott Street” if they’d even half tried, but they never did fully commit to the series. A shame, really.

  6. Bill was not the original choice for Randy Lane. Director Don Taylor, who worked with Bill on “The Farmer’s Daughter,” demanded Bill. I have more about this and the debate over the ending of this episode in my William Windom Tribute Site.

    • What a career Windom had. He strikes me as a total pro who always livened up anything he starred in.

      I enjoyed looking around your site a bit as well — thanks. I’m certainly familiar with the debate over the ending; even though I don’t address it here, it’s come up on my Twitter page before, and I had an opportunity to discuss it with Scott Skelton when we did a presentation in Serling’s hometown on the occasion of Night Gallery’s 50th anniversary. Very glad that Taylor insisted on Windom, who was brilliant in the role.

  1. Pingback: NG on Me-TV: A Caveat « Shadow & Substance

  2. Pingback: Cobwebs and Canvases | Shadow & Substance

  3. Pingback: A Doorway to Sanity | Shadow & Substance

  4. Pingback: Exploring “Morality’s Shady Side of the Street” | Shadow & Substance

  5. Pingback: A Lost Lunar Landscape: Serling’s Missing Moon Story | Shadow & Substance

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

%d bloggers like this: