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.
So ignore the sound of that icy wind outside, as we take a closer look at 10 more Night Gallery classics (click on any title — except the first one, which isn’t available streaming — to watch it on Hulu): Read the rest of this entry
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.
“Where am I? What is this, some kind of a joke or something? I don’t know you. I don’t know any of you!” — TZ’s “A World of Difference”
Such confusion can be fun when we’re enjoying a story from the fifth dimension. After all, reality can be boring … except, of course, when it comes to behind-the-scenes info about The Twilight Zone itself. Not all surprises took place in front of the camera.
Rod Serling made a point of saying, even before The Twilight Zone debuted, that he wasn’t interested in settling for “second-best”. And it showed. He hired the best people, then turned them loose on some of the best scripts ever to grace the television medium.
I focused in a recent post on the world-class directors who made their mark on TZ. It was hardly an exhaustive piece, but that was by design. You could fill a book with all the marvelous touches these talented visual storytellers brought to TZ.
So I focused primarily on James Sheldon’s work on “It’s a Good Life,” hoping to come back from time to time to spotlight other directorial highlights. Well, the recent anniversary of Richard Matheson‘s “A World of Difference” made me think of another: the shot that reveals to the lead character that he’s an actor on a movie set. Read the rest of this entry
Improve on Richard Matheson? Yeah — right, pal. Who do you think you are, Rod Serling?
You are? Well. Carry on, then.
Kidding aside, that’s what Serling did when he bought the rights to Matheson’s short story “Disappearing Act” and adapted it into The Twilight Zone episode “And When The Sky Was Opened.”
Perhaps “improve” isn’t exactly the right word. The short story works fine as a short story (duh, it’s Richard Freaking Matheson), but as a TV episode, well … something else was needed. And few writers were ever better equipped to supply that “something else” than Rod Serling.
As you may have seen in my previous “Re-Zoning Efforts” post (on “The Four of Us Are Dying“), Serling wasn’t one to simply take a story “as is” and put it on screen. It wasn’t unusual for him to start with the basic idea and completely recast it. Read the rest of this entry
People sometimes joke that Rod Serling and the other Twilight Zone writers must have been very strange people. Surely nobody sober and “normal” like the rest of us could come up with such wild story ideas, right?
The reality is reassuringly mundane. The show wasn’t written by eccentrics who consumed hallucinogenics by the handful. They were disciplined, talented writers who had sharp, quick, vivid imaginations.
“This is the way the world ends,” T.S. Eliot wrote in his poem The Hollow Men. “Not with a bang but a whimper.” Surely, though, the same fate should not befall The Twilight Zone?
Alas. 50 years ago today, on June 19, 1964, the last episode of the fifth season aired: “The Bewitchin’ Pool.” Even fans of this episode (and my most recent post showed that I’m not one) wouldn’t call this one a bang. Sorry, but this was no way for Rod Serling’s ground-breaking foray into the fifth dimension to conclude.
But that’s the thing: It wasn’t supposed to end at that point. At least not as far as Serling was concerned. He’d already been mapping out plans for a sixth season, and I can’t help but feel that the way he talked about it suggested an awareness that TZ needed a return to form of sorts after an interesting but uneven Season 5.
On February 5, 1964, at the mid-point of Season 5, Serling wrote to Aldon Schwimmer of Ashley Steiner, the talent agency that represented him, with what he planned to do for the new season. According to author Martin Grams: Read the rest of this entry
The title of a particular TV episode means almost nothing to the average TV viewer. An entertaining story is all we ask. Yet some writers do take care with their titles … and it can even affect how good the episode is.
Case in point: “Spur of the Moment,” from Twilight Zone‘s fifth season. The highly imaginative Richard Matheson explains:
I love that title! She married on the “spur of the moment,” really. She married for emotion. And there was also the spurs of the person riding the horse … there were multiple and hidden meanings in that title, which is something I like to do. Titles are very important, and it’s really nice if you can get a good one. As a writer, I prefer to have the title occur to me instantly — even sometimes before I do the story. It colors how I approach the story, and I feel much more comfortable.
Having a catchy title must have helped. There’s a good reason I included “Spur of the Moment” on my list of the best Twilight Zone episodes to watch on Halloween. Read the rest of this entry