Blog Archives

Syfy’s 2021-2022 New Year’s Twilight Zone Marathon Schedule

Ah, the Twilight Zone marathon. It’s become such a fixture of each New Year’s Eve. Can you think of a better way to ring out the old and ring in the new than with Rod Serling?

Sure, there are drawbacks to watching the Zone this way. The ads and the edits sometimes seem as if they’ve been engineered by Talky Tina. It’s best to watch the show on disc, frankly. But there’s something comforting about the tradition of the NYE marathon. Plus, it’s great to all be watching at the same time and interacting over social media.

So let’s get to the big question: What will they be showing this year? I know some fans like to be surprised, but most fans appreciate a heads up. So, courtesy of the friendly folks at Syfy (who were nice enough to share the lineup with me ahead of time), here’s the schedule for the 2021-2022 marathon: 104 episodes out of TZ’s 156. Times shown are EST, btw:

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Which Videotaped Episode of the Twilight Zone is Best? Now You Can Cast Your Vote

One of the many hallmarks of The Twilight Zone is how good it looks. Rod Serling promised viewers “television’s elites,” and we got that — both in front of and behind the camera. Each episode was a visual feast, filled with clear, shadow-laden shots that outshines much of what we see on TV even today.

“Walking Distance”

Which is why the six videotaped episodes that popped up in Season 2 stick out like a Kanamit’s sore thumb. Even if you enjoy the stories (and I do, for the most part), it’s a clear step down from the vivid film images we get in the other 150 episodes.

But I’m not here today to dwell on that. (For more on why they were filmed that way, try this short post.) I’m here to ask a basic question: No matter where you stand on the videotaped episodes, which one do you consider the best?

Even if you cringe at the overall look of them, I’m betting most fans still can pick a favorite. So if you’re not among that tiny group who swears they can’t even watch them, how about casting a vote?

Here are the candidates:

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“The Fugitive”: A Sweet Tale That Makes Some Twilight Zone Fans Uneasy. Should It?

When you’ve been fanning publicly over The Twilight Zone as long as I have, you start expecting certain reactions.

For example, when I tweet about “To Serve Man,” I know some people will make cookbook jokes. When I post a quote from “Time Enough at Last,” I’ll hear, “It’s not fair!” If the topic is “It’s a Good Life,” then “You’re a bad man!” is coming. And that’s fine! It’s part of the fun.

But not all predictable reactions are so benign. One that I don’t enjoy at all occurs when I tweet about “The Fugitive,” a story by Charles Beaumont that centers on the friendship between an old man named Ben and a young girl named Jenny.

This being the fifth dimension, Ben isn’t just an ordinary old man. In fact, we learn near the end (spoiler alert; click here to see where you can watch it first) that he’s neither old nor a man. Not an earth man, anyway. Ben is actually a rather young king from another planet.

So why was he here, disguised as actor J. Pat O’Malley? Because he got fed up with his royal responsibilities and ran away. The two men who have been hunting him down during the first half of the episode mean him no harm; they’re a duo from his planet, here to bring their popular monarch back home, where he can continue his benevolent rule.

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A Harsh “Encounter”: What a Long-Hidden Twilight Zone Can Teach Us About Hate

“It was a very harsh show. I’m sure it was considered too hot to handle.”

The speaker: Robert Butler, director of Twilight Zone’s “The Encounter.”

Few fans would disagree. The episode’s unflinching depiction of “raw conflict,” as Butler also described it, has been making audiences squirm since it first aired on May 1, 1964.

The racial antagonisms we see on-screen kept it off the air for the next couple days of decades. It was one of four Zone episodes that weren’t included in the original syndication package, and the only one excluded because it was controversial.

That’s a shame. Not because it’s a great episode — it’s not, despite earnest performances from Neville Brand and George Takei. No, it’s a shame because this episode, for all its faults, strikes me as one that’s eerily relevant today. In fact, I think we can learn something from it.

If you’ve never seen it, or it’s been a while, feel free to watch it before perusing my spoiler-filled musings. To briefly recap: This is the one about a World War II vet and a Japanese-American who find themselves locked in an attic, arguing about a mysterious samurai sword and lobbing some racially-charged barbs.

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Spotlight on Season 4: “No Time Like the Past”

What if you could change the past — not just in your personal life, but on a global scale by stopping something horrible?

That’s the central conceit of Twilight Zone‘s “No Time Like the Past,” and it’s an intriguing one. I’ll give it a full review at a later date, but for now, I want to focus on one scene in particular. Even if you’re not a fan of this episode (and not many fans give it high marks), I think we can appreciate what Rod Serling was saying — or more accurately, condemning — about halfway through the story.

For those who haven’t seen it (check here if you want to see how to watch it first), or haven’t seen it in a while, the story concerns a man named Paul Driscoll (Dana Andrews). He has a time-travel machine, and to his credit, he wants to help mankind, not just himself. So he travels back to three key moments earlier in the 20th century: the day Hiroshima, Japan, was bombed; a day when Adolf Hitler made a pre-World War II public appearance in Berlin, Germany; and the day the RMS Lusitania was torpedoed, one of the events that led the U.S. to enter World War I.

Driscoll’s intention is to stop these events. He’s convinced that the modern world, which he detests, could be changed for the better if he succeeds. Yet each time he fails. Convinced the past can’t be changed, he decides instead to go to a quiet little town called Homeville, Indiana, in 1881, to live out the rest of his life.

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Only the “Best” Coffin for the Star of TZ’s “The Last Rites of Jeff Myrtlebank”

You don’t have to be the most eagle-eyed Twilight Zone fan to notice that the coffin in “The Last Rites of Jeff Myrtlebank” has holes in the side.

If you assumed they were there for star James Best’s peace of mind, you’d be correct. And who could blame him? Even if you knew that your “resurrection” was imminent, it would be hard not to feel anxious with that lid closed.

And you know what? It turns out it wasn’t closed — at least not all the way. As Best relates in Martin Grams Jr.’s The Twilight Zone: Unlocking the Door to a Television Classic:

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Twilight Zone’s Season 1 Opening Credits: A Perfect Passport to Serling’s World

Ask Twilight Zone fans to describe the opening to each episode, and you can be sure that many will mention the swirling vortex that spins into the vacuum of space, followed by the shattering title letters.

Or they may bring up the shattering window, the opening eye, the clock, the diver, the “E=mc2” equation. And quite a few, you can bet, will imitate the iconic “do do do do” music.

But as much as I love those elements, I can’t help thinking they got it right the first time — specifically, the opening theme for Season 1:

Bernard Herrmann’s haunting, dream-like music has a lot to do with it. It truly sounds as if we’re being ushered into that “middle ground between light and shadow.”

Rod Serling’s narration, meanwhile, is ideal — both in what he says and how he says it. His description of that land “between science and superstition” can’t help but intrigue a potential viewer, and the unhurried pace of his words sets the mood perfectly. We feel drawn in. Almost seduced, in a way.

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Meet Tracy Stratford, the Only Person Who’s Not Afraid of Talky Tina

Remember Talky Tina? If you’re a Twilight Zone fan, you do. The sweet-talking doll with the homicidal tendencies made quite an impression when she appeared early in Season 5.

Part of what makes Tina scary is that she’s nothing like Chucky or the other murderous playthings you may have seen on the big screen. She doesn’t run. You don’t see her waving a weapon around. She doesn’t even raise her voice. Heck, you can take a table saw to her neck, and she’ll act like you’re tickling her.

Erich Streator (Telly Savalas) learned too late how dangerous Tina could be. As the episode ends, even his gentle wife, Annabelle (that’s right, the name of the haunted doll in the Conjuring movies!) is being put on notice by her daughter Christie’s terrifying toy.

There’s really just one person with no reason to fear Tina: Christie. Indeed, Tina is her champion — to a fault.

So let’s get to know a little bit about Tracy Stratford, the girl who played Christie. This wasn’t her first appearance on The Twilight Zone. She’d already starred in another fan favorite: Season 3’s “Little Girl Lost.” Yep, she was the girl who fell out of bed and rolled into another dimension.

And interestingly enough, her character’s name in that episode … was Tina.

Here are some excerpts from an interview Tracy gave in 2018 about her unforgettable journey to that land between shadow and substance:

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Twilight Zone is Set To Leave Netflix June 30

I knew it was only a matter of when. But I was hoping that the legendary TV show that made time travel look possible would be streaming on Netflix for a lot longer.

Alas, The Twilight Zone is set to leave the streaming giant on June 30.

I wrote about this possibility in a blog post last year and also mentioned it in a recent post about how Netflix doesn’t carry the hour-long episodes of Season 4.

Check them out if you want to understand why the show is leaving Netflix. The fact is, this is most likely the decision of CBS, which owns Twilight Zone.

Sure, Netflix could be dropping TZ to save on licensing fees. But more likely, it’s a matter of CBS making it so that people have to subscribe to Paramount+ (formerly CBS All-Access) to get their fifth-dimensional fix.

I’m sure some fans will point out that TZ is still widely available — not only on Hulu, but on high-def DVD and Blu-ray. Plus you can catch reruns (albeit with cut scenes and ad breaks) on MeTV and Syfy.

That’s great — don’t get me wrong. But I want TZ to be as available as possible. As I’ve said before, convenience is king. And if any show, even TZ, isn’t readily available, then many viewers won’t make any extra effort to find it.

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Why Doesn’t Netflix Carry Season 4 of The Twilight Zone?

It’s a question I hear fairly often from Twilight Zone fans: Why doesn’t Netflix stream Season 4 of The Twilight Zone?

You click the drop-down menu, and you see Seasons 1, 2, and 3 listed … and then 5. What gives?

I’ve seen a lot of guesses on Facebook and head-scratching on Twitter, so let’s just cut to the real reason. It’s not because Netflix couldn’t get the rights to Season 4 or anything like that. It’s simply that they don’t want to pay for what is arguably TZ’s least-popular season.

Season 4, for those who aren’t already aware, is when The Twilight Zone began producing hour-long episodes. Eighteen of them (about half the length of a typical season back then) aired between January 3, 1963 and May 23, 1963. For Season 5, TZ reverted to the half-hour format that had served it so well during its first three seasons.

Burt Reynolds channels Marlon Brando in “The Bard”

Whether you’re a fan of Season 4 or not (opinions vary widely in the Zone community), even those who like at least some of the hour-long episodes can’t deny that TZ was best-suited to the shorter-running time. It’s the 30-minute tales that are seared in our memory. So that’s what Netflix has decided to pay for.

For that to make sense, it’s important to know that streaming providers who want to carry a particular series have to pay a licensing fee to the owners of that series in order to do so. In the case of The Twilight Zone, the owner is CBS. So if Netflix, Hulu, or Amazon Prime want to stream TZ, they must pay what is, in essence, a rental fee to CBS. Both sides negotiate a price and a time frame. When that time is up, they can extend it or end it.

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