Okay, Zoners, the partial schedule I posted last Friday for Syfy’s New Year’s Twilight Zone marathon was a big hit. But the full schedule is what Pedott would say we really need, right?
Happy to oblige. And unlike most wishes in the fifth dimension, this one is consequence-free …
Tuesday, December 31, 2019
6:00am — One for the Angels
6:30am — Mr. Denton on Doomsday
7:00am — The Sixteen-Millimeter Shrine
7:30am — Walking Distance
8:00am — Escape Clause
8:30am — Perchance to Dream
9:00am — Judgment Night
9:30am — And When The Sky Was Opened Read the rest of this entry
A lot of questions come to mind when December rolls around: Will we get snow on Christmas Eve? How many lights should we put on the tree? What will Henry Corwin … er, Santa bring me?
But if you’re a Rod Serling fan, there’s a good chance you’re also wondering: Will Syfy host its annual Twilight Zone marathon?
The answer, I’m glad to report, is as predictable as the entrees on a Kanamit dinner menu: Yes! It all begins at 6 a.m. on December 31.
When does it end? I’ll have to save that for my next post, but it won’t take long before I have the full schedule in front of you. In the meantime, here’s how it will begin … Read the rest of this entry
Planning to go see Twilight Zone on the big screen? Well, how would you like to have free tickets?
As many of you have probably heard by now, Fathom Events is hosting a one-day event, “The Twilight Zone: A 60th Anniversary Celebration”, on Thursday, November 14, at 7 p.m. It consists of a new documentary short titled “Remembering Rod Serling” and six classic TZ episodes:
- Walking Distance
- Time Enough at Last
- The Invaders
- The Monsters are Due on Maple Street
- Eye of the Beholder
- To Serve Man
I think most fans would agree that, even if you’ve seen these episodes many times before, it would be a unique and fun experience to watch them on the big screen. And now Fathom Events has graciously agreed to offer my blog followers a chance to snag some free tickets! Read the rest of this entry
“Serling Fest” could really be held anywhere, couldn’t it? After all, you can find fans of Rod Serling’s work all over the globe. But celebrating the 60th anniversary of The Twilight Zone in his hometown of Binghamton, New York, on October 4-6, 2019, felt particularly appropriate.
All writers put pieces of themselves in their work, but Serling seemed to include more autobiographical touches than most. And his idyllic, pre-World War II childhood in this city near the northern border of Pennsylvania did much to shape his outlook.
When Gart Williams in “A Stop at Willoughby” feels himself inexorably drawn to a town “where a man can slow down to a walk and live his life full measure,” it’s easy to imagine him thinking of the Binghamton of the 1930s and ‘40s.
The Binghamton of 2019 hasn’t fully recovered from the post-war manufacturing cuts that contributed to its economic decline, but many parts of it retain a certain bigger-than-a-small-city-but-not-quite-a-BIG-city charm. And because so much of its DNA can be found in Rod’s scripts, it was an ideal place to gather with other fans and toast his work. Read the rest of this entry
Well, let’s enjoy a slice of virtual birthday cake today! Everyone’s favorite passport to the fifth dimension is turning 60.
Yes, on October 2, 1959, at 10:00 p.m., CBS aired “Where is Everybody?” It wasn’t an immediate hit, no, but it soon developed a devoted fan base. And once TZ hit syndication a few years later, the answer to that episode’s title was “in front of their television sets, of course”.
It’s hard to believe six decades have elapsed since it premiered. Sure, fashions have changed, cars don’t have fins on them anymore, and special effects have grown by leaps and bounds. But when it comes to the stories themselves, The Twilight Zone feels as fresh today as it did then.
Maybe even more so. Its themes — the pull of nostalgia, the fear of the unknown, the evils of racism, the allure of conformity, among others — seem timeless.
If anything, it’s more relevant now than it was then. It’s easy to imagine that Rod Serling and his fellow TZ scribes DID have the time-travel devices they sometimes wove into their stories. Read the rest of this entry
I never did go back and wrap up my thoughts about the latest Twilight Zone reboot, did I?
I wrote a pre-release post explaining why I felt it shouldn’t be dismissed out of hand, as some Zone fans were doing. As a fan of Jordan Peele’s “Get Out”, I kept reassuring fans here and on Twitter. I then reviewed the first four episodes. But that was it.
This wasn’t by design. I anticipated writing more about it. But I have to admit, despite the obvious care that’s gone into it, and the talent both in front of and behind the camera, my interest began to waver about halfway through the 10-episode first season.
Mind you, I had some reservations from the start, despite my initial enthusiasm for the project. For example, the length of the episodes, averaging about 45 minutes or more, didn’t help.
There’s a reason the original TZ spent only one shortened fourth season airing hour-long episodes: Although you can certainly tell some good stories over a longer time slot, it’s almost impossible to maintain the snap that graces the classic episodes we all know and love.
The original TZ pulled you in quickly and built its universe at a brisk pace, setting up those famous twist endings. The new TZ, yes, gave us a few surprises along the way, but we didn’t have many what-the-hell moments just before the credits rolled.
So many memorable stories begin in a writer’s mind with a simple question: “What if … ?”
Ideas can come from anywhere — something you read, something you hear, or something you experience. The difference between the writer and the rest of us is pushing beyond the moment and asking that crucial question.
Richard Matheson, for example, did it with “Little Girl Lost” when his young daughter rolled out of bed in the middle of the night. And Rod Serling did it with “The Fever”. (Spoilers ahead, naturally.)
Twilight Zone fans often call Earl Hamner’s “Stopover in a Quiet Town” the ultimate ad against drunken driving. Well, “The Fever” does the same thing for unchecked gambling.
I recently started to write a conventional review of “Replay”, the third episode of the new Twilight Zone on CBS All-Access. But I soon got bogged down in a lengthy synopsis, and it just wasn’t clicking for me.
Besides, if you’re interested enough to read an article about a particular episode, you’ve likely seen that episode. No recap is needed. So let’s try something that, I hope, will work whether you’ve seen “Replay” or not. Let’s talk about … messages.
If there’s one piece of conventional wisdom we’ve all absorbed about The Twilight Zone, it’s this: It was a “message” show. TV censorship was notoriously strict in the late 1950s and early 1960s, so Serling cleverly snuck his viewpoints in via allegory.
Instead of doing a show about, say, Senator Joseph McCarthy — whose investigations into charges of Communist infiltration in the U.S. government helped fuel the notorious “red scare” of the early 1950s — Serling would write “The Monsters are Due on Maple Street”. That way, he could show us the corrosive effect of suspicion and betrayal on ordinary Americans without saying one direct word about politics.
But while there is no question that Serling wove messages into the original TZ, people seem to forget that he didn’t do it all the time. Yes, some episodes had direct, pointed messages — like “He’s Alive” and “Deaths-Head Revisited”. And the Fidel Castro look-alike in “The Mirror” left little doubt he thought the Cuban leader might soon meet a violent end.
Other episodes functioned as modern-day fables. There are indirect messages that can be detected and appreciated if you’re looking for them, but they’re not essential to a “surface” enjoyment of the story. Examples include “People are Alike All Over”, “Eye of the Beholder”, “The Old Man in the Cave”, and “The Obsolete Man”, to name just a few.