Category Archives: Night Gallery
Welcome, ladies and gentlemen. Please step inside. A dark and stormy night may seem ill-suited to an art tour … at least until you see the unsettling works we have in store for you.
As our founder, Rod Serling, once said, “You won’t find the works of the masters here, because in this particular salon we choose our paintings with an eye more towards terror than technique.” Our paintings and sculptures have an unmistakably sinister edge.
I know our museum is more shadow-laden than most, but don’t worry. You should be quite safe. We haven’t lost anyone yet. Well, almost no one.
In his last interview, Rod Serling said he wanted to be remembered simply as a “writer.” There’s little doubt that he achieved that. Countless authors cite him as one of their primary influences.
Yet nearly all of his fans experience his words via a TV screen, not the printed page. How many of us have enjoyed a book by Serling?
True, that wasn’t his typical medium. He was famous for dictating scripts in a hurry by the poolside, not fiddling with some florid prose in a quiet study. Small wonder that the few books he did author were out of print for years.
That changed in 2014 when Rod Serling Books republished several volumes that almost any fan of the fifth dimension will want to check out. Each one merits its own post, but today I want to focus on one that should interest any Night Gallery aficionado: “The Season To Be Wary.” Read the rest of this entry
Come in, everyone. Glad you could make it. Ready to see some lovely, flower-filled meadows? Contemplate a few peaceful, rustic landscapes?
Sorry to hear that. Because you’ve entered … the Night Gallery.
As founder Rod Serling once said, “In this particular salon, we choose our paintings with an eye more towards terror than technique.” That explains the dark, dusty halls. The chilly drafts that whistle down the corridors. The long shadows that offer numerous hiding places for … well, let’s get started. The night won’t last forever.
Perhaps you joined us on our first tour of the Night Gallery. You may have even tagged along for round two. If so, I can understand why you’re glancing around nervously. But remember, fright doesn’t always take a familiar form. Tonight’s selections prove that there is as much to dread in the brightest day as in the darkest night.
So without further ado, here are 10 more sinister selections for your enjoyment (click on any title to watch the episode it’s part of on Hulu): Read the rest of this entry
Space travel, as any Twilight Zone fan can tell you, obviously held keen interest for Rod Serling. Stories about what would happen if we went Up There, or aliens came Down Here, cropped up throughout the entire run of the hit series.
Tantalizingly enough, Serling’s plans for Season 6 pointedly mentioned his interest in featuring more outer-space tales. Alas, it was never to be. And by the time man landed on the moon in 1969, Serling was focused on bringing a trilogy of horror stories to TV. Only one teleplay in the entire run of “Rod Serling’s Night Gallery” dealt with space travel.
So a nice surprise awaited me several years ago when I bought a used copy of the first “Night Gallery” book (“Night Gallery 2” followed a year later). Then out of print, this paperback boasted prose versions of some of Serling’s screenplays from the first season, so I was naturally eager to see how he transitioned them to the printed page. Read the rest of this entry
When the sad news of Leonard Nimoy’s death broke last week, images of Spock were everywhere. And why not? Everybody’s favorite Vulcan is one of the most beloved characters in television history.
But as the custodian of “Shadow & Substance,” I couldn’t help but think of Nimoy’s work in the Serling-verse.
There wasn’t much, alas. The Twilight Zone preceded his break-out role in Star Trek by a few years. But if you’ve ever seen the Season 3 war-themed episode “A Quality of Mercy,” you may have recognized the actor playing Hansen, one of the American soldiers.
“I was only in that briefly, but my memory of it is [working with] Dean Stockwell and Albert Salmi,” Nimoy later recalled. “We were in a war-time situation, and it was a kind of fantasy story, which isn’t a common combination. It was a good episode.” Read the rest of this entry
An art gallery may strike you as an odd place to spend Halloween … at least, until you see the paintings hanging in the Night Gallery.
“If you seem to sense an aura of cold dampness that permeates this room, attribute it not to either defective air conditioning or inclement indoor weather,” Rod Serling once said. “It’s simply because this is rather a special place with special statuary and special paintings, and they carry with them a coldness that seems to go best in a crypt.”
Most museums turn up the lights so you can see the paintings in detail. But once you see the canvases on display here, I think you’ll be grateful for the many shadows that line the hallways.
Long before “Jaws”, “Close Encounters of the Third Kind” and “Raiders of the Lost Ark” made him a household name, Steven Spielberg was just another unknown director with hopes for fame and fortune. And the first step toward that goal took him through a shadowy museum known as … Rod Serling’s Night Gallery.
The pilot movie, to be specific. The 21-year-old director would helm the middle segment of three dark-edged tales written by Serling himself. It premiered on November 8, 1969, and was a ratings success, leading to the Night Gallery series a year later.
While Spielberg was a novice, however, his star was anything but. The part of Claudia Menlo, the predatory blind dowager in “Eyes,” was to be played by none other than Joan Crawford.
Crawford, then 65, had already starred in more than 90 feature films, dating back to the silent era. “Directing Joan Crawford was like pitching to Hank Aaron your first time in the game,” Spielberg later remarked. Read the rest of this entry
Want to see a good scary movie? Skip the multiplex. I have something better. Spend the evening with some dolls.
Before you chuckle TOO loudly, perhaps I’d better introduce them. You really don’t want them to hear you.
First up is Willie. Yes, a ventriloquist … well, I hesitate to say “dummy,” but that’s what these wooden sidekicks are usually called. He’s been known to resist whenever his owner suggests changes to the act. How can a stick of wood object, you ask? Oh, he has ways. And they don’t end well for people who oppose him. Just ask Goofy Goggles. Not that he can give you much of an answer. Goofy’s part of the pavement now, thanks to Willie’s little games.
Next to him: Talky Tina. Quite a smile on that one! Here’s a tip, though: when she says anything other than “I love you”? RUN. Trust me. Don’t bother arguing with her, and for pity’s sake, don’t drag her to the garage and try to use your circular saw to decapitate her. (Note the word “try”.) Just steer clear, or you might take an unscheduled trip down the stairs in the middle of the night. Read the rest of this entry
It’s been 40 years since the last painting was hung in the darkened display known as Rod Serling’s Night Gallery. But for those who enjoy a good campfire story — something light on gore and heavy on shivers — the doors have never closed. The cobwebbed corridors still beckon.
But be careful. You never know who might be looking over your shoulder.
So let’s take a look around. Alas, Mr. Serling can’t be here, so I hope you don’t mind if I serve as your tour guide today. I’d like to show you some of my favorites … Read the rest of this entry
On Sept. 22, 1971, NBC aired the second episode of Night Gallery’s second season. It was a strong hour for the series, anchored by two very effective tales scripted by Rod Serling: “A Death in the Family” with E.G. Marshall, and “Class of ’99” with Vincent Price.
Each deserves its own blog post, so I’ll use this one to highlight a particular aspect of the Marshall segment. If you haven’t watched it before, try the link below. And if you want to avoid spoilers, stop here, and then come back when you’re done.
Marshall plays an unusual undertaker named Jared Soames. Like many of us, he pities the cast-off members of society who come through his door for a charity funeral. But unlike many of us, he goes a macabre step further. He adopts those who have no family into his “family” — of corpses. Lovingly preserved, they populate a specially kept room in his basement. Read the rest of this entry