Opinions about Twilight Zone‘s fourth season, when Rod Serling’s landmark anthology series expanded to an hour, vary widely. Some fans really enjoy it. Others? Not so much.
But even the biggest cheerleaders for Season 4 will admit that Serling and his fellow scribes were much more in the Zone, shall we say, when their stories clocked in at 25 minutes, not 50.
“Ours is the perfect half-hour show,” Serling said at one of several points when talk of an hour-long version came up. “If we went to an hour, we’d have to fleshen our stories, soap-opera style. Viewers could watch 15 minutes without knowing whether they were in a Twilight Zone or Desilu Playhouse.”
There’s a little Zone-like foreshadowing. Serling’s foray into the fifth dimension soon became an hour-long jaunt, and his warning about “fleshening” would prove prophetic. You’ve heard of doing more with less; this was a case of doing less with more.
That’s not to say Season 4 didn’t have some good episodes. We got, for example, “He’s Alive” (with Dennis Hopper as a neo-Nazi being coached by Adolf Hitler’s ghost), “The New Exhibit” (Martin Balsam as the curator of some homicidal wax figures), “Printer’s Devil” (Burgess Meredith as a diabolically talented journalist), and “On Thursday We Leave for Home” (James Whitmore as the power-hungry leader of a barren space colony).
I could name others, and perhaps you could too. As Marc Scott Zicree, author of The Twilight Zone Companion, wrote: “The series had not disgraced itself.”
Far from it, in fact. Still, it was wise to go back to the half-hour slot for Season 5. As Buck Houghton, TZ’s producer through its first three seasons, later pointed out, the extra length made it very tough to do the kind of surprise endings that Serling and the other Zone writers specialized in throughout most of the show’s run.Read the rest of this entry
Ever have one of those times when an actor from one of your favorite TV shows also appeared in one of your favorite movies, and it didn’t click for a long time?
I’m usually pretty good at spotting faces and coming up with a name right away: “Oh, that’s So-and-so. He starred in Such-and-such.” But while my memory — at least for show-biz faces — is above average, it’s not perfect.
Take “The Last Flight.” We all have some episodes of The Twilight Zone that aren’t particularly famous, but that really hit a sweet spot for us. That’s how I feel about this story, which concerns a World War I pilot who lands at a modern-day air base (well, modern in 1960, when the episode first aired) and discovers that he’s done some inadvertent time-traveling.
I’m also a huge fan of the Beatles. Seriously, I could run a blog about them, too. And one of the many films I can quote almost word-for-word is “A Hard Day’s Night.” It’s a lot of fun — very witty and comedic, and loaded with great tunes, of course.
So why did it take me so long to figure out that Kenneth Haigh, the actor who plays Lt. Decker in “The Last Flight,” also starred as Simon Marshall, the sardonic advertising executive who interviews George Harrison in “A Hard Day’s Night”?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
Imagine you’re writing Twilight Zone‘s “Little Girl Lost”, and you get to the part where the father literally stumbles into that alternate dimension where his daughter is trapped. How would you describe it?
Sure, you could spell out what you’re imagining in detail. Nothing wrong with that. Or you could trust the Zone production crew and do what Richard Matheson did: His script at that point simply says: “INTERIOR: LIMBO.”
In “The Twilight Zone: Unlocking the Door to a Television Classic”, author Martin Grams relates how TZ’s art director approached producer Buck Houghton, pointed out those two words, and asked, “What’s that supposed to be, Buck?” Houghton’s reply: “That’s up to you.”
His faith was certainly not misplaced. Added Houghton:
The usual criticism of Twilight Zone‘s 4th season is familiar to most fans: Stretching the series from a half-hour to an hour meant bloat. Something was lost. Suddenly more added up to less.
Sure, the series still brought us the elements of fantasy that had served it so well throughout the first three seasons: time travel, space travel, horror, and loads of irony. But the extra length mean the writers inevitably drifted more toward drama. Instead of snap, there was sag.
But hey, we’re still talking about the amazing Twilight Zone. And we continued getting stories from Rod Serling, Charles Beaumont, and Richard Matheson. So we may have been denied the classic Zone formula, but we weren’t exactly getting junk.
Freed from the need to sprint to the finish line, the writers had room to explore their themes a bit more deeply. This meant padding at times, but on other occasions, it gave the material a chance to breathe and draw us more deeply into the world of the story. Read the rest of this entry
There I was, scrolling along social media, when a headline jumped out at me: “The Outer Limits Was Better Than The Twilight Zone”.
Whoa, now. Back up the space ship. What’s that again? Perhaps Talky Tina was pulling my leg.
But no. There was a picture of Robert Culp, in one of his OL appearances, adorning a Nerdist article that dared to assert a preposterous second-place finish for Serling’s brainchild. I was aghast.
Okay, I’m playing up my reaction a bit. I don’t really tie myself in knots when I read an opinion I disagree with. It’s a big world, and lots of people like different things. But I was naturally intrigued by writer Kyle Anderson’s claim, and as an Outer Limits fan myself, I had to find out: Does he make a compelling case?
No, he doesn’t. But before you assume that’s simply my natural bias speaking, let me explain why I think so. Anderson actually makes some interesting points. I just don’t think they prove his premise.
Mind you, Anderson doesn’t dislike TZ. “I would never be so foolish as to say The Twilight Zone wasn’t great television, nor that The Outer Limits‘ 49 episodes were better across the board than the 156 made for Twilight“, he writes, then adds: Read the rest of this entry
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.
I’ve written about Twilight Zone’s writers. I’ve written about its directors. So how about TZ’s only writer-director?
I’m referring to Montgomery Pittman. Don’t know him? I can guarantee you know his work. That is, if you’ve heard of a TZ episode called “Will the Real Martian Please Stand Up?”
No, Pittman didn’t write that one. Everyone’s favorite extra-terrestrial whodunit was penned by the incomparable Rod Serling, of course. Pittman also directed one other TZ ep scripted by a writer other than himself (Charles Beaumont’s “Dead Man’s Shoes”).
But the other three episodes he helmed were his own stories — memorable tales that many TZ fans list among their all-time favorites:
Season 3, Episode 1 – September 15, 1961
At a time when TV scripts tended to be pretty talky (many early TV writers, after all, had gotten their start in radio, Serling included), this near-silent look at the aftermath of what appears to have been an all-out nuclear war shows the power of pictures. An American male soldier and a female Russian one somehow manage to put aside their suspicions and find peace amid the rubble.
For anyone who thinks of Charles Bronson only as a violent vigilante in “Death Wish”, or of Elizabeth Montgomery as a button-cute witch in “Bewitched”, this episode is an eye-opener. Pittman showed they were capable of much more.
No wonder The Twilight Zone is such a classic. Most of the time, you were getting scripts written by the master himself, Rod Serling. And when it wasn’t him, it was often someone like Richard Matheson.
So I hardly think it’s a coincidence that “Third From The Sun” is such a highly rated episode. After all, you have the talents of both men at work here.
That’s not to say they collaborated in the conventional sense. I mean that, as he did with “And When The Sky Was Opened“, Serling adapted one of Matheson’s short stories.
He took the title and the basic idea — and added all the usual Serling touches to turn it into a Zone classic. As Stephen King later said of what was only the 14th episode of the first season, “It marks the point at which many occasional tuners-in became addicts.”
(Spoilers ahead, naturally. The episode can be watched on Netflix, Hulu and Amazon Prime. It’s also on DVD and Blu-ray.)
Matheson’s story, which had first appeared in the October 1950 issue of Galaxy, is a marvel of economy. Virtually no extraneous details decorate this taut tale of a man and wife (and neighbors) determined to make their getaway from a world on the brink of all-out war.