tag:blogger.com,1999:blog-13183100438640391912024-03-18T10:52:19.008-05:00The Twilight Zone VortexYou unlock this door with the key of imagination . . . JPhttp://www.blogger.com/profile/14808904189056290207noreply@blogger.comBlogger243125tag:blogger.com,1999:blog-1318310043864039191.post-4641969986623646902024-03-15T11:42:00.000-05:002024-03-15T11:42:04.624-05:00"The Last Night of a Jockey"<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyWD-9FjpC3UD3MS3EmAJb7ozM9mfLVqAdQo4EFQKOK4GQ32IJyaMb3Up15KTkWi7QmVy8d02MKMI8zRCePj7WlAkATCSci0gcWG4wUzQkAE7GOgK_q1QWT1RKf_IYug9N3SrtVZPE-NIjeDWzk8o4QaP6HZIRjln0zbI3JdvC90AhMy2MsjNGz6rA4Kg/s1228/Last%20Night%20of%20a%20Jockey%201.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="844" data-original-width="1228" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyWD-9FjpC3UD3MS3EmAJb7ozM9mfLVqAdQo4EFQKOK4GQ32IJyaMb3Up15KTkWi7QmVy8d02MKMI8zRCePj7WlAkATCSci0gcWG4wUzQkAE7GOgK_q1QWT1RKf_IYug9N3SrtVZPE-NIjeDWzk8o4QaP6HZIRjln0zbI3JdvC90AhMy2MsjNGz6rA4Kg/w400-h275/Last%20Night%20of%20a%20Jockey%201.PNG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Mickey Rooney as Grady</td></tr></tbody></table><span style="font-size: 14pt;"></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14pt;">“The Last Night of a Jockey”</span></p><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">Season Five, Episode 125<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">Original
Air Date: </span></i><span style="font-size: 14.0pt;">October 25, 1963<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"> </span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><i><span style="font-size: 14.0pt;">Cast:</span></i></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">Grady:
</span></i><span style="font-size: 14.0pt;">Mickey Rooney<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><i><span style="font-size: 14.0pt;"><br /></span></i></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><i><span style="font-size: 14.0pt;">Crew:</span></i></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">Writer:
</span></i><span style="font-size: 14.0pt;">Rod Serling<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">Director:
</span></i><span style="font-size: 14.0pt;">Joseph M. Newman<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">Producer:
</span></i><span style="font-size: 14.0pt;">William Froug<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">Director
of Photography: </span></i><span style="font-size: 14.0pt;">George T. Clemens<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">Production
Manager: </span></i><span style="font-size: 14.0pt;">Ralph W. Nelson<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">Art
Direction: </span></i><span style="font-size: 14.0pt;">George W. Davis &
Malcolm Brown<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">Film
Editor: </span></i><span style="font-size: 14.0pt;">Thomas W. Scott<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">Set
Decoration: </span></i><span style="font-size: 14.0pt;">Henry Grace & Robert
R. Benton<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">Assistant
Director: </span></i><span style="font-size: 14.0pt;">Charles Bonniwell, Jr. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">Casting:
</span></i><span style="font-size: 14.0pt;">Patricia Rose<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">Music:
</span></i><span style="font-size: 14.0pt;">stock<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">Sound:
</span></i><span style="font-size: 14.0pt;">Franklin Milton & Joe Edmondson<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">Mr.
Serling’s Wardrobe: </span></i><span style="font-size: 14.0pt;">Eagle Clothes<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">Filmed
at MGM Studios<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;"> </span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><i><span style="font-size: 14.0pt;">And Now, Mr. Serling: </span></i></b><i><span style="font-size: 14.0pt;"><o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">“Next
on </span></i><span style="font-size: 14.0pt;">Twilight Zone, <i>a gentleman of myriad talents and a story
written especially for him. Mr. Mickey Rooney appears in ‘The Last Night of a
Jockey.’ He plays the role of a diminutive little man screaming for help in the
bottom of a barrel, and the help he receives is unexpected and quite
incredible. On </i>The Twilight Zone, <i>a
cast of one: Mr. Mickey Rooney. I hope you’ll be able to be with us.”</i></span><i><span style="font-size: 14.0pt;"> </span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><i><span style="font-size: 14.0pt;">Rod Serling’s Opening Narration: </span></i></b></p><div class="separator" style="clear: both; text-align: center;"><b><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMPV-T0Sh6GVGifH8WWHUJRWm7nEMk3dGbL2Kvnt0yxCkdtf1DddfcOpFjnWSNyPa1i_LN9x_muUeLWOp5WeU4kiAVg6xvp5-okgC0uKBdj-iCtn9gRgFJ_NLLNvDqqgkbnZYxs5AyqrLZN0R_b58nkvJj8g8BHwKoBsFkUMiAiCZ46khtTD6iL3pAWdc/s1227/Last%20Night%20of%20a%20Jockey%203.PNG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="852" data-original-width="1227" height="139" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMPV-T0Sh6GVGifH8WWHUJRWm7nEMk3dGbL2Kvnt0yxCkdtf1DddfcOpFjnWSNyPa1i_LN9x_muUeLWOp5WeU4kiAVg6xvp5-okgC0uKBdj-iCtn9gRgFJ_NLLNvDqqgkbnZYxs5AyqrLZN0R_b58nkvJj8g8BHwKoBsFkUMiAiCZ46khtTD6iL3pAWdc/w200-h139/Last%20Night%20of%20a%20Jockey%203.PNG" width="200" /></a></i></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">“The
name is Grady, five-feet short in stockings and boots, a slightly distorted
offshoot of a good breed of humans who race horses. He happens to be one of the
rotten apples, bruised and yellowed by dealing in dirt, a short man with a
short memory who’s forgotten that he’s worked for the sport of kings and helped
turn it into a cesspool, used and misused by the two-legged animals who have
hung around sporting events since the days of the Colosseum. So this is Grady
on his last night as a jockey. Behind him are Hialeah, Hollywood Park and
Saratoga. Rounding the far turn and coming up fast on the rail . . . is </span></i><span style="font-size: 14.0pt;">The Twilight Zone.”</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-size: 14.0pt;">Summary: </span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzM7ToXrQ2molcJibhkTeaVfakQN7TEQss_POX7WuI5rwTsNaf-8yYcGPBisn_4y4BEADCzkSIPiES5QtkwezdNvRtvzOr-h3B9yrBvuwvgFsIB017rXpgQZMARqGsvkpoAicqSmVFCr4ZbeVb2JpvtvuKxkBtxUTc28wc0nLX2anIOayUy_g8r6omipI/s1231/Last%20Night%20of%20a%20Jockey%202.PNG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="849" data-original-width="1231" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzM7ToXrQ2molcJibhkTeaVfakQN7TEQss_POX7WuI5rwTsNaf-8yYcGPBisn_4y4BEADCzkSIPiES5QtkwezdNvRtvzOr-h3B9yrBvuwvgFsIB017rXpgQZMARqGsvkpoAicqSmVFCr4ZbeVb2JpvtvuKxkBtxUTc28wc0nLX2anIOayUy_g8r6omipI/s320/Last%20Night%20of%20a%20Jockey%202.PNG" width="320" /></a></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"> In
a small, squalid room, with newspapers strewn about the floor, we meet Grady, a
man alone. The newspaper headlines tell the story. Grady, a jockey, has been
banned from horse racing and his appeal to the racing comission has been struck
down. Grady angrily tosses away a newspaper as the telephone rings. It’s a
journalist calling to get a word from Grady, and Grady lets him have it,
insulting the journalist and blaming him, and other journalists, for his ban
from horse racing. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"> Grady
angrily hangs up the telephone and stumbles to a dresser mirror, gazing at his
reflection. He doesn’t like the man who looks back at him and calls him a
“chump.” Grady quietly admits that he fixed a couple of races, but he’s a chump
because while the men who put him up to it got off rich and clean, the only
thing Grady got for his trouble was a few lousy bucks and a ban from the only
thing that gave his life meaning. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"> Suddenly,
Grady hears another voice in the room. He turns around, asking who’s there. The
voice laughs at him. Grady checks the closet and the open window, thinking
someone is playing a joke. The voice tells Grady that he resides in Grady’s
head. Grady, not understanding, repeatedly slaps himself in the forehead,
asking the voice if it’s comfortable in there. </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwCmi9wuPxA60-yN32B21KFAZLX8qwV69mCxphxGbRdYmK4S4yBDJGhbnfWR5pSqz3lh8f6EjgNCGBrBpdf8ErmmLsXlNDS98MhZcS7MZCqEMa-CWWQRNNFaurDTmH_SaPMRluzKGHRqVhWwws0aAkMJPsHg7Id3YGVX7Vu5E18YB0kjKh8McT0N9SyTI/s1224/Last%20Night%20of%20a%20Jockey%204.PNG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="846" data-original-width="1224" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwCmi9wuPxA60-yN32B21KFAZLX8qwV69mCxphxGbRdYmK4S4yBDJGhbnfWR5pSqz3lh8f6EjgNCGBrBpdf8ErmmLsXlNDS98MhZcS7MZCqEMa-CWWQRNNFaurDTmH_SaPMRluzKGHRqVhWwws0aAkMJPsHg7Id3YGVX7Vu5E18YB0kjKh8McT0N9SyTI/s320/Last%20Night%20of%20a%20Jockey%204.PNG" width="320" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"> Grady sees a disembodied image in the dresser
mirror, beside that of his own reflection. It looks like him but cleaned-up.
The other Grady in the mirror reveals that he knows all of Grady’s thoughts and
bitter recollections. When Grady denies having any bitter recollections, his
alter-ego reminds him. 1961: Hialeah, suspended for riding infractions. It
wasn’t my fault, cries Grady. 1962: Six-month suspension for failing to report
a bribe offer. I was framed, says Grady. Finally, a lifetime ban for race
fixing and horse doping. I never doped any horses, screams Grady. He angrily
smashes the mirror to pieces. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"> Grady
boasts that a telephone call to Mr. Hannichek will make everything right. His
alter-ego urges him to call. Grady telephones and tells the man on the other
end that he’s low on money and it’s time for Grady to get what he deserves. The
man abruptly ends the call. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"> Grady
says that it doesn’t matter. He was a big man once and he’ll be a big man
again. His alter-ego appears in the surface reflection of a kettle to remind
Grady of a time not long ago when Grady had nice clothes and left big tips as
compensation for his small size. Grady angrily throws the kettle across the
room.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"> His
alter-ego makes Grady an offer. At this moment, Grady can have anything he
wants, anything in the world. Grady says that he wants to be the biggest. He
shouts that he wants to be <b>BIG!</b> <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"> Later,
Grady tries to sleep but is restless with a thunderstorm raging outside. Grady
realizes something is wrong, something he can’t quite grasp. He looks down and
sees his feet hanging off the end of the bed. Alarmed, Grady sits up and turns
on a lamp. Now he knows what’s wrong. He has grown physically, and he has grown
a great deal. Grady romps around the room, everything small to his perspective.
He must be eight feet tall. His wish has been answered. He is BIG. </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt5pSFxLMtucTjiQl81dG_l9b4702asV-IIUfGOQPuhSCVBiptTNBxO_jidv3FcFkKOnES9IIzwlMHBBw9f9pCB0Q1AW-THHp09y1KlEA1H5BVG7G_zhzsgDvTC0hjTCZoIT0lx2JScztML2a89FjawhRWxH7OOyys_QBds-qkRgr9lRoK_bQl6WYjGFI/s1223/Last%20Night%20of%20a%20Jockey%205.PNG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="846" data-original-width="1223" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt5pSFxLMtucTjiQl81dG_l9b4702asV-IIUfGOQPuhSCVBiptTNBxO_jidv3FcFkKOnES9IIzwlMHBBw9f9pCB0Q1AW-THHp09y1KlEA1H5BVG7G_zhzsgDvTC0hjTCZoIT0lx2JScztML2a89FjawhRWxH7OOyys_QBds-qkRgr9lRoK_bQl6WYjGFI/s320/Last%20Night%20of%20a%20Jockey%205.PNG" width="320" /></a></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"> Grady
wonders if he is dreaming. His alter-ego assures him that he is not dreaming. This
is his new reality. Grady takes a celebratory drink and calls an old
girlfriend, but is angered when she won’t give him the time of day. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"> The
telephone rings. Grady listens, speaks briefly, hangs up, and then tells his
alter-ego that a lawyer from the racing commission is going to call him. His
alter-ego tells Grady that people are capable of great heights and terrible
lows, and he, the alter-ego, is the final bit of strength that pushes a person
one way or the other. He asks Grady if it wouldn’t have been better to have
wished to win the Kentucky Derby or to win a clean and honest race. Grady
admits that would have been great. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"> The
telephone rings. The caller is Mr. Newman from the racing commission. He gives
Grady good news and Grady is ecstatic, thankful. He hangs up the telephone and
mocks his alter-ego. The racing commission has reinstated him, he brags. The
laughter of his alter-ego booms with a flash of lighting and a peal of thunder.
Grady is now ten feet tall. His head scrapes the ceiling of the room. </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5RCPWtQBX3GLODAtm8DW0f_VzDXcDHMQg1_cU7YRqo6Wz5D0BOohQ9m-lLdyBalWViNjxHf_z4JrHquaXf8ZkEgHFGY5KxMgaJvYUx1Z041xB6GJhYB9uD3D9xhbCfR77nY0MI2Teb5TEKPpHjb5tmM8649n31K8GqAO2LweW6xJbWA3aCyl-Pbh1UFI/s1225/Last%20Night%20of%20a%20Jockey%207.PNG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="849" data-original-width="1225" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5RCPWtQBX3GLODAtm8DW0f_VzDXcDHMQg1_cU7YRqo6Wz5D0BOohQ9m-lLdyBalWViNjxHf_z4JrHquaXf8ZkEgHFGY5KxMgaJvYUx1Z041xB6GJhYB9uD3D9xhbCfR77nY0MI2Teb5TEKPpHjb5tmM8649n31K8GqAO2LweW6xJbWA3aCyl-Pbh1UFI/s320/Last%20Night%20of%20a%20Jockey%207.PNG" width="320" /></a></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"> It
hits home like a thunderbolt. Grady is too big to ever race again, too big, in
fact, to live any sort of normal life. In a rage, Grady destroys the furniture
and begs to be made small again. His alter-ego tells Grady that he’s always been
small, and the only time he was big was when he was being honest and unselfish.
Then the voice is silent as Grady weeps amid the tattered remains of his tiny
room.</span><b><span style="font-size: 14.0pt;"> </span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><i><span style="font-size: 14.0pt;">Rod Serling’s Closing Narration:</span></i></b><i><span style="font-size: 14.0pt;"><o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">“The
name is Grady, ten feet tall, a slightly distorted offshoot of a good breed of
humans who race horses. Unfortunately for Mr. Grady, he learned too late that
you don’t measure size with a ruler, you don’t figure height with a yardstick,
and you never judge a man by how tall he looks in a mirror. The giant is as he
does. You can make a pari-mutuel bet on this, win, place or show, in or out of </span></i><span style="font-size: 14.0pt;">The Twilight Zone.”</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-size: 14.0pt;">Commentary: </span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMa3YipVJjLYJ-wu7OjptQdJlcaOT22SpYIM9dhXrOXFi2KYJWxtk5HWvy6C8A0FSataF21Nq_Qr7h0kj-OAiGS6D0-zt6cYq-o1DModapoUcvy6BQoXqgdtOt-QQ2LXhh8sCLlVo52ba4_R00zIEkIyX_2p4shSbrdKKZyPduk7kinL8bm8SwJh2n550/s1224/Last%20Night%20of%20a%20Jockey%208.PNG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="844" data-original-width="1224" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMa3YipVJjLYJ-wu7OjptQdJlcaOT22SpYIM9dhXrOXFi2KYJWxtk5HWvy6C8A0FSataF21Nq_Qr7h0kj-OAiGS6D0-zt6cYq-o1DModapoUcvy6BQoXqgdtOt-QQ2LXhh8sCLlVo52ba4_R00zIEkIyX_2p4shSbrdKKZyPduk7kinL8bm8SwJh2n550/s320/Last%20Night%20of%20a%20Jockey%208.PNG" width="320" /></a></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"> “The
Last Night of a Jockey” is the most minimal episode produced on the series.
Besides the obligatory appearance and voice of series host Rod Serling, the
episode features a single performer, a single voice, and a single set, though
this last qualification is a half-truth, since the speculative element of the
story required the use of three sets (two of which were almost entirely
custom-made) over the three-day filming of the episode in order to display the
process of Grady growing larger while everything around him grew smaller. In
this way, the episode is a minor marvel of claustrophobic design and Mickey
Rooney’s wildly energetic performance is amplified by the increasingly reduced
space and elements. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;"><span style="font-size: 14.0pt;">The episode was
originally intended to be slightly less minimal as it was to include another
voice, that of prolific actor Vic Perrin (1916-1989), who was scripted as an
unseen landlord who speaks to Grady through the door to Grady’s room. Although
this scene was removed from the episode, Perrin remained on set for the
duration of filming in order to provide Mickey Rooney with the lines for Grady’s
alter-ego, before the lines were recorded by Rooney for the finished episode. Perrin
was a prolific performer who was frequently in demand for his voice, providing
narrations and voice work for radio, documentary films, and amusement park
attractions. Perrin probably remains best-known for providing the Control Voice
on <i>The Outer Limits. <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;"><span style="font-size: 14.0pt;">Many viewers of the
series connect this episode with Rod Serling’s thematically and structurally
similar first season episode, <a href="https://twilightzonevortex.blogspot.com/2013/01/nervous-man-in-four-dollar-room_6.html" target="_blank">“Nervous Man in a Four Dollar Room.”</a> Although not
as minimal as “The Last Night of a Jockey,” the earlier episode concerns a man,
Jackie Rhodes (Joe Mantell), trapped by his own fears in a single room with
only a telephone to connect him to the outside world. Jackie Rhodes, like Grady
in “The Last Night of a Jockey,” also finds himself confronted by his
alter-ego, but “Nervous Man in a Four Dollar Room” is a redemptive episode, one
in which the principal character undergoes a metaphysical transformation that
strengthens and redeems him, whereas Grady is destroyed by his selfish impulses
and by his inability to see beyond the scope of his own petty desires. Serling,
who wrote “The Last Night of a Jockey” specifically for Mickey Rooney, may also
have found inspiration for the episode in “Eddie,” an earlier television
triumph for Rooney in which he played a fearful man alone in a room with only a
telephone to connect him to the outside world. More on that in a moment. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;"><span style="font-size: 14.0pt;">The thematic changes
were likely made simply to distinguish what is essentially a remake of the
earlier episode as something different and fresh, though it may also give some
insight into where Rod Serling was as a writer after a length of four
continuously grueling seasons of the series. In interviews at the time, Serling
reiterated that he felt burned out, that he felt like he was repeating himself
while also losing perspective on what was good writing and what was bad writing.
Serling was always his own harshest critic, and although a viewer can find many
examples of Serling recycling ideas, themes, titles, and characters stretching
all the way back to the beginning of his television writing career, this is in
no way an indication of bad writing on Serling’s part. Earlier in the fifth season
Serling wrote what is perhaps his finest script of the season, “In Praise of
Pip,” a significant portion of which was recycled from an earlier television
drama written by Serling for <i>Kraft
Television Theatre.</i> Like all prolific writers, Serling revisited certain
thematic ground, but he was such a talented storyteller that everything he
wrote possessed some interesting features for the viewer. “The Last Night of a
Jockey” is no different in this regard. Despite the somewhat ludicrous nature
of the speculative element and the jokey nature of the punchline, Serling’s
tightly scripted single character study and Rooney’s emotionally explosive
performance lift the episode above the average offering on the series. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;"><span style="font-size: 14.0pt;">Rod Serling, as well as
other writers on the series, experimented with minimalism (in terms of character,
environment, and, in at least one example, dialogue) throughout the course of
the series, often to great effect. This was likely a choice made as much out of
financial necessity <i>(The Twilight Zone </i>was
never an expensive series) as it was a creative one. Besides “Nervous Man in a
Four Dollar Room,” interested viewers may wish to explore such Serling-penned
episodes as “Where Is Everybody?” and “King Nine Will Not Return” for
variations on the theme of a single character against the elements of <i>The Twilight Zone. <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;"><span style="font-size: 14.0pt;">“The Last Night of a
Jockey” was not the first, last, or most significant pairing of Rod Serling and
Mickey Rooney on television. Earlier, the two combined for a triumphant live
production of Ernest Lehman’s “The Comedian” for <i>Playhouse 90 </i>on Valentine’s Day, 1957. Rooney gave a powerful
performance as the brash, arrogant, and cruel vaudeville comedian Sammy
Hogarth. The actor netted an Emmy Award nomination for his performance and the
production earned Rod Serling a third Emmy Award for his outstanding adaptation
of Lehman’s novelette from the January, 1952 issue of <i>Cosmopolitan. </i>The television production was such a success that
Signet Books released that same year a paperback collection of Lehman’s works
titled <i>The Comedian and Other Stories.</i><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;"><span style="font-size: 14.0pt;">Working together on “The
Comedian”<i> </i>resulted in a close
personal friendship between Rod Serling and Mickey Rooney, but the chance to
work again with Serling was not the only draw for Rooney to <i>The Twilight Zone. </i>There was also the
opportunity to reunite with producer William “Bill” Froug (1922-2013), recently
hired as series producer on <i>The Twilight
Zone.</i> <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;"><span style="font-size: 14.0pt;">On November 17, 1958, <i>Alcoa Goodyear Theater </i>presented the
aforementioned “Eddie,” in which Rooney portrayed a small-time hoodlum who has
one night to raise $900 to pay his debts or else face a beating or worse.
“Eddie” was a one-man showcase for Rooney, not dissimilar to “The Last Night of
a Jockey,” and Rooney delivered what is essentially a monologue on a telephone
as the eponymous character attempts to raise money to avoid the consequences of
his debts. William Froug was a producer on the series who worked closely with
the scriptwriters and the performers. He received the script, originally titled
“Sammy,” and, after retitling it and cleansing the script of anti-Semitic
elements, immediately thought of Rooney as perfect for the role, certain that Rooney
would win an Emmy for his performance. As fate would have it, everyone involved
in the production of “Eddie” won an Emmy except Mickey Rooney, who received a
nomination but lost to Fred Astaire. Froug won an Emmy for producing, as did
Jack Smight for directing, and Alfred Brenner and Ken Hughes for writing. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;"><span style="font-size: 14.0pt;">Froug told the story of
his encounter with Rooney at the Emmy Awards ceremony that year. As Froug told
it, Rooney was in full Grady mode, drunk in the men’s restroom and pounding on
the mirror above the sink in anger at having lost to Fred Astaire. Also losing
to Astaire that year was Rod Steiger for Rod Serling’s controversial <i>Playhouse 90 </i>production, “A Town Has
Turned to Dust,” which Serling later reworked for the second season <i>Twilight Zone </i>episode, “Dust.” “A Town
Has Turned to Dust” also featured future <i>Twilight
Zone </i>performers William Shatner and James Gregory, as well as Fay Spain,
who later worked with Serling and Rooney on an episode of Rod Serling’s <i>Night Gallery. </i>More on that in a moment.
<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;"><span style="font-size: 14.0pt;">William Froug initially
announced to the press that Mickey Rooney was being brought in to direct an
episode of <i>The Twilight Zone,</i> one
possibly featuring Rooney’s frequent costar Judy Garland. Rooney made his
directorial debut in 1951 with <i>My True
Story </i>for Columbia Pictures. He would not get the chance to direct an
episode of <i>The Twilight Zone </i>however,
nor would Judy Garland appear on the series. Rooney was instead given the star
treatment with a tailor-made script by Rod Serling and as individual a showcase
as the series could offer. “The Last Night of a Jockey” was the first aired of
the episodes produced on the series by William Froug.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;"><span style="font-size: 14.0pt;">William Froug, who is
likely best remembered today as a producer on <i>Bewitched </i>and <i>Gilligan’s
Island,</i> as well as the author of several books on screenwriting, was
brought in as producer on the series after the unexpected departure of producer
Bert Granet after only thirteen episodes of the fifth season. Granet left the
series for a larger CBS paycheck to rescue a floundering John Houseman series
at the network. Froug was a talented producer and writer with a long and
successful career in both radio and television who was, by most accounts, a highly
likeable man who nevertheless did not seem the best fit for the series. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;"><span style="font-size: 14.0pt;">Froug made decisions which
contributed to a downturn in the quality of content during the fifth season,
none so consequential as jettisoning several scripts from the show’s regular
writers in favor of new writers and new scripts, many of which proved well
below the show’s creative standards. Among the scripts sold to Bert Granet to
later get the axe from Froug were works by regular <i>Twilight Zone </i>writers Richard Matheson, Charles Beaumont, and Jerry
Sohl, as well as a script from veteran radio writer Arch Oboler of the
influential <i>Lights Out </i>radio series.
Matheson’s script, “The Doll,” was removed from the production schedule due to
its nominal similarity to the now-classic episode “Living Doll,” written by
Jerry Sohl under the name of Charles Beaumont. Matheson’s script was later printed
in the <a href="https://twilightzonevortex.blogspot.com/2019/09/reading-rod-serlings-twilight-zone.html" target="_blank">June, 1982 issue</a> of <i>Rod Serling’s
The Twilight Zone Magazine, </i>which may have led to it being produced in 1986
for the first season of Steven Spielberg’s <i>Twilight
Zone </i>inspired television series <i>Amazing
Stories. </i>The star of the episode, John Lithgow, won an Emmy Award for his
performance. Jerry Sohl saw two of his scripts cancelled, “Who Am I?” and
“Pattern for Doomsday,” both of which were included in <i>Filet of Sohl: The Classic Scripts and Stories of Jerry Sohl, </i>edited
by Christopher Conlon and published by BearManor Media in 2003. Charles
Beaumont’s unproduced script, “Gentlemen, Be Seated,” based on his story from
the April, 1960 issue of <i>Rogue, </i>later
appeared in <i>The Twilight Zone Scripts of
Charles Beaumont, Volume 1, </i>edited by Roger Anker and published by Gauntlet
Press in 2004. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;"><span style="font-size: 14.0pt;">Froug even saw one of
his own scripts, “Many, Many Monkeys,” rejected on the series, likely due to
the gruesome nature of the story, which included layers of tissue growing over the
eyes of afflicted people, blinding them. The script was later produced for the
third season of the first <i>Twilight Zone </i>revival
series in 1989. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;"><span style="font-size: 14.0pt;">Rod Serling and Mickey
Rooney teamed again in 1972 for “Rare Objects,” a darkly comedic and
entertaining offering on the third and final season of Rod Serling’s <i>Night Gallery.</i> Written by Serling and directed
by Jeannot Szwarc, “Rare Objects” tells the story of August “Augie” Kolodney, a
gangster who comes increasing close to death with each passing attempt on his
life by rival gangsters. Augie is also losing the trust of his closest
companions, including a girlfriend played by the aforementioned Fay Spain. A backstreet
doctor treating a bullet wound from the latest attempt on Augie’s life suggests
to the gangster that he contact the mysterious Dr. Glendon, who can offer Augie
a way out of his dangerous life. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;"><span style="font-size: 14.0pt;">Dr. Glendon, played by
Raymond Massey, proves to be a wealthy and eccentric collector of unique and
priceless items who also collects unique people and wishes to add Augie to his
collection. Glendon is attracted to Augie since Augie is at the top of his
profession, even if that profession is racketeering.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;"><span style="font-size: 14.0pt;">After drugging Augie’s
wine, with a drug whose properties also extend Augie’s lifespan, Dr. Glendon
leads Augie to a hidden wing of his large and secluded house which contains a
row of lavish prison cells. Here, Dr. Glendon displays his collection of unique
people, all of whom are thought lost or dead, and all of whom Dr. Glendon has
kept alive and imprisoned for many years beyond their natural lifespans. These
unique people include Princess Anastasia, Judge Joseph Crater, polar explorer
Roald Amundsen, Amelia Earhart, and the prize of Dr. Glendon’s collection,
Adolf Hitler, whom Dr. Glendon acquired at enormous costs in South America. <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXfQFnhUFhRTPKjvgWdfgXcR0izLhEmpfRYGVg6Iv70JY_NxP8Wa0rmqRZKO9miAb57Ovn-f4fcYlpYcrAfh5qoBzr8KGtNRmnY03Q47Hp2O819U8gf-i3zvR4xBJjrvmHOZ0qqy9A0xbjcd5IfqCnpHseOpK7Ktnb1Q1SenSwlFrkhTeK52SALCkXICE/s749/Night%20Gallery%20Rare%20Objects.PNG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="441" data-original-width="749" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXfQFnhUFhRTPKjvgWdfgXcR0izLhEmpfRYGVg6Iv70JY_NxP8Wa0rmqRZKO9miAb57Ovn-f4fcYlpYcrAfh5qoBzr8KGtNRmnY03Q47Hp2O819U8gf-i3zvR4xBJjrvmHOZ0qqy9A0xbjcd5IfqCnpHseOpK7Ktnb1Q1SenSwlFrkhTeK52SALCkXICE/s320/Night%20Gallery%20Rare%20Objects.PNG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Rooney as Augie Kolodney, imprisoned</td></tr></tbody></table></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;"><span style="font-size: 14.0pt;">Dr. Glendon, with the
help of his trusted manservant Joseph, then places the drugged and weakened Augie
into his own private cell to live for a very long time as a unique addition to the
doctor’s collection. This is the fulfillment of Glendon’s promise to remove
Augie from his dangerous life to live in secluded comfort behind a locked door.
<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;"><span style="font-size: 14.0pt;">Rod Serling adapted his
script to prose as “Collector’s Items,” the original title of the teleplay, for
<i>Night Gallery 2 </i>from Bantam Books (1972).
Serling’s prose adaptations are always a treat since he typically expands on
character and incident in interesting ways. “Collector’s Items” includes
interesting variations concerning the unique people imprisoned by Dr. Glendon. For
the story, Serling removes Princess Anastasia and Roald Amundsen and adds the infamous
fugitive Nazi Martin Bormann as well as Michael Rockefeller. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;"><span style="font-size: 14.0pt;">“The Last Night of a
Jockey” never reaches the heights of the best episodes of the series but
remains a fascinating single-character portrait with some of Rod Serling’s best
writing of the fifth season and an energetic and unforgettable performance by
Mickey Rooney. Aided by clever and effective production design and special
effects, the episode remains a largely satisfying entry in the uneven fifth
season. For those interested, I previously wrote about “The Last Night of a
Jockey” (along with several other episodes) in <a href="https://twilightzonevortex.blogspot.com/2018/11/the-twilight-zone-and-film-noir.html" target="_blank">my post</a> on <i>The Twilight Zone’s </i>connections to film noir and in <a href="https://twilightzonevortex.blogspot.com/2021/04/calling-twilight-zone.html" target="_blank">another post</a> on
the integral part a telephone plays in many episodes. Thanks for reading! <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-size: 14.0pt;">Grade:
B</span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-size: 14.0pt;">Grateful
Acknowledgements:</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-The
Twilight Zone Companion </span></i><span style="font-size: 14pt;">(3<sup>rd</sup>
ed.) by Marc Scott Zicree (Silman-James, 2018)</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"> </span><i><span style="font-size: 14.0pt;">-The
Twilight Zone: Unlocking the Door to a Television Classic </span></i><span style="font-size: 14pt;">by Martin Grams, Jr. (OTR, 2008)</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"> </span><i><span style="font-size: 14.0pt;">-Inside
The Twilight Zone </span></i><span style="font-size: 14pt;">by Marc Scott
Zicree (CBS DVD/Image Entertainment, 1999)</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"> </span><i><span style="font-size: 14.0pt;">-A
Critical History of Television’s The Twilight Zone, 1959-1964 </span></i><span style="font-size: 14pt;">by Don Presnell and Marty McGee (McFarland & Co.,
1998)</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-Rod
Serling’s Night Gallery: An After-Hours Tour </span></i><span style="font-size: 14pt;">by Scott Skelton and Jim Benson (Syracuse University Press, 1999)</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"> </span><i><span style="font-size: 14.0pt;">-Night
Gallery 2 </span></i><span style="font-size: 14pt;">by Rod Serling (Bantam
Pathfinder, 1972)</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"> </span><span style="font-size: 14pt;">-William Froug Interview (Part 1 of 2) (Archive
of American Television (emmytvlegends.org))</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"> </span><span style="font-size: 14pt;">-The Internet Speculative Fiction
Database (isfdb.org)</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"> </span><span style="font-size: 14pt;">-The Internet Movie Database (imdb.com)</span><b><span style="font-size: 14.0pt;"> </span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><i><span style="font-size: 14pt;"><u>Notes:</u> </span></i></b></p><div class="separator" style="clear: both; text-align: center;"><b><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEH6sV4qAJZC3jj1aYeUhFSxW9AdpOYLP9cEYwFLa7C_sS1AwRYhgBmgulPZvLcYXzsdRAHHzBcGooVAMf5WKvMvv1HapMShqkDJzxn-hjAfzqZnm0XCLRfE4zTkPEw_FaxAr9GdT0Cc9-FLOAdE-h05kWhLR30rNI2_kzoh_YvEC_eUJh2wG_xjBF0tI/s1095/Last%20Night%20of%20a%20Jockey%209.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="835" data-original-width="1095" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEH6sV4qAJZC3jj1aYeUhFSxW9AdpOYLP9cEYwFLa7C_sS1AwRYhgBmgulPZvLcYXzsdRAHHzBcGooVAMf5WKvMvv1HapMShqkDJzxn-hjAfzqZnm0XCLRfE4zTkPEw_FaxAr9GdT0Cc9-FLOAdE-h05kWhLR30rNI2_kzoh_YvEC_eUJh2wG_xjBF0tI/s320/Last%20Night%20of%20a%20Jockey%209.jpg" width="320" /></a></i></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;"> </span></i><i><span style="font-size: 14.0pt;">--Joseph
M. Newman also directed the fifth season episodes “In Praise of Pip,” “Black
Leather Jackets,” and “The Bewitchin’ Pool.”</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;"> </span></i><i><span style="font-size: 14.0pt;">--Mickey
Rooney also appeared on the </span></i><span style="font-size: 14pt;">Playhouse
90 <i>production of “The Comedian,” written
by Rod Serling from the story by Ernest Lehman, broadcast on February 14, 1957.
Rooney was also in the third season episode of</i> Night Gallery <i>titled “Rare Objects,” written by Rod
Serling and directed by Jeannot Szwarc. Serling adapted his teleplay, as
“Collector’s Items,” for </i>Night Gallery 2 <i>(Bantam Pathfinder, 1972).</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">--“The
Last Night of a Jockey” was adapted as a </span></i><span style="font-size: 14pt;">Twilight Zone Radio Drama <i>starring
Bruno Kirby.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;"> </span></i><i><span style="font-size: 14.0pt;">--Rod
Serling’s teleplay for “The Last Night of a Jockey” was included in the tenth
and final volume of </span></i><span style="font-size: 14pt;">As Timeless as
Infinity: The Complete <i>Twilight Zone </i>Scripts
of Rod Serling, <i>edited by Tony Albarella
(Gauntlet Press, 2012).</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"> </span><i><span style="font-size: 14.0pt;">--Although
Grady’s first name is never spoken in the episode, it can be seen to be Michael
on the decorative plaque in which his alter-ego appears.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;"> </span></i><i><span style="font-size: 14.0pt;">--In
the first season episode “Walking Distance,” Martin Sloan (Gig Young) can be
heard naming off the families who occupy the houses which line his childhood
street, one of whom is named Rooney, a nod by Serling to his good friend.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;"> </span></i><i><span style="font-size: 14.0pt;">--In
1964, as </span></i><span style="font-size: 14pt;">The Twilight Zone <i>was ending, Rod Serling began work on a new
anthology series</i> <i>with the ABC network
tentatively titled </i>Witches, Warlocks and Werewolves.<i> The project ultimately fell through as Serling and an ABC executive
did not see eye-to-eye on the content of the series. The replacement series
which ABC ordered was the short-lived sitcom </i>Mickey, <i>starring Mickey Rooney. </i>Rod Serling’s Triple W: Witches, Warlocks
and Werewolves <i>was the title of a
paperback anthology ghost-edited by science fiction writer Gordon R. Dickson
and published by Bantam Books in 1963.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;"> </span></i><b><span style="font-size: 14.0pt;">-JP</span></b> </p>Jordan Prejeanhttp://www.blogger.com/profile/18153214679480741539noreply@blogger.com2tag:blogger.com,1999:blog-1318310043864039191.post-10330145244324158612021-12-31T10:16:00.026-06:002023-10-26T11:13:42.017-05:00"A Kind of a Stopwatch"<p><br /></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhXFTytbdNWS5gBg36d3zIVV7dMSMh2zLXAXH3schZn0lcoekHBhi3Je_YQW9Wt644CnkIZTjyzWFn6Ey4CXsxqY3Kfx0vHDoi8_khPglRUhd7mMM-FQCMXM921cO9LFqHYSjQhvynSj-BRH5He3EvalkLdi5ycy9AygVB_V-0G5aaVV69ItrpsxKq1=s640" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="640" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEhXFTytbdNWS5gBg36d3zIVV7dMSMh2zLXAXH3schZn0lcoekHBhi3Je_YQW9Wt644CnkIZTjyzWFn6Ey4CXsxqY3Kfx0vHDoi8_khPglRUhd7mMM-FQCMXM921cO9LFqHYSjQhvynSj-BRH5He3EvalkLdi5ycy9AygVB_V-0G5aaVV69ItrpsxKq1=w400-h300" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Patrick McNulty (Richard Erdman) receives a gift<br />from his new friend, Mr. Potts (Leon Belasco)</td></tr></tbody></table><h3 style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-size: medium;"><span><br /></span></span></h3><h3 style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-size: medium;"><span>“A Kind of a Stopwatch”<br /></span><span style="font-weight: normal;">Season Five, Episode 124<br /></span><span style="font-weight: normal;"><i>Original Airdate:</i> October 18, 1963</span></span></h3><div><span style="font-size: medium; font-weight: normal;"><span><br /></span></span></div>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: left;"><i><b><span style="font-size: medium;">Cast:</span></b></i></p><h3 style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-size: medium; font-weight: normal;"><i>Patrick Thomas McNulty:</i><span> Richard Erdman<br /></span><i>Joe:</i><span> Herbie Faye<br /></span><i>Potts:</i><span> Leon Belasco<br /></span><span><i>Secretary:</i> Doris Singleton<br /></span><span><i>Mr. Cooper:</i> Roy Roberts<br /></span><span><i>Charlie:</i> Richard Wessel<br /></span><span><i>Bar Room Patron:</i> Ken Drake<br /></span><span><i>Attendant:</i> Ray Kellogg<br /></span><span><i>Television Announcer:</i> Sam Balter<br /></span><span><i>Frozen man / Close-up shots of McNulty’s hand:</i> Robert
McCord</span></span></h3>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><b><span style="font-size: medium;">Crew:</span></b></i></p>
<h3 style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-size: medium; font-weight: normal;"><span><i>Writer:</i> Rod Serling (teleplay based on an unpublished
story idea by Michael D. Rosenthal and Jerry McNeely (uncredited))<br /></span><span><i>Director:</i> John Rich<br /></span><span><i>Producer:</i> Bert Granet<br /></span><span><i>Director of Photography:</i> Robert Pittack, a.s.c.<br /></span><span><i>Production Manager:</i> Ralph W. Nelson<br /></span><span><i>Art Direction:</i> George W. Davis, Walter Holscher<br /></span><span><i>Film Editor:</i> Richard Heermance, a.c.e.<br /></span><span><i>Set Direction:</i> Henry Grance, Robert R. Benton<br /></span><span><i>Assistant Director:</i> Charles Bonniwell, Jr.<br /></span><span><i>Casting:</i> Patricia Rose<br /></span><span><i>Music:</i> Van Cleave<br /></span><span><i>Sound:</i> Franklin Milton, Phillip N. Mitchell<br /></span><span><i>Mr. Serling’s Wardrobe:</i> Eagle Clothes<br /></span><span><i>Filmed at MGM Studios:</i></span></span></h3>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><b><span style="font-size: medium;"><br /></span></b></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><b><span style="font-size: medium;">And Now, Mr. Serling:</span></b></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><i>“Next time on </i>The Twilight Zone,<i> we probe into the
element of time and present a very oddball opus entitled ‘A Kind of a Stopwatch.’
We tell the story of a man, a stopwatch, and an incredible deviation to the
norm, said norm being the usual twenty-four-hour day, said deviation involving
what happens when a stopwatch is pushed and everything stops, not just time. To
titillate and intrigue, ‘A Kind of a Stopwatch.’ Next, on </i>Twilight Zone.<i>”</i></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><i><br /></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><i><span style="font-size: medium;">Rod Serling’s Opening Narration:</span></i></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjHg_NBGUxdIx3mgOh-dbmO0Wi8omnGgp4A9uixEsknVz0gUFNdpp1pB4eKGV0TkN8jsuC54SI5KRF_sTz21SlYOgEdpHBLhqi44ADueONbeeDtNIowYfFne5xsQyeBNn7qk6qbKRPqs5PJD_gAIhLFRipJy6Y08GSQabLcdOxtuk37Qu2hpDZ6rK-P=s640" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="480" data-original-width="640" height="150" src="https://blogger.googleusercontent.com/img/a/AVvXsEjHg_NBGUxdIx3mgOh-dbmO0Wi8omnGgp4A9uixEsknVz0gUFNdpp1pB4eKGV0TkN8jsuC54SI5KRF_sTz21SlYOgEdpHBLhqi44ADueONbeeDtNIowYfFne5xsQyeBNn7qk6qbKRPqs5PJD_gAIhLFRipJy6Y08GSQabLcdOxtuk37Qu2hpDZ6rK-P=w200-h150" width="200" /></span></a></div><span style="font-size: medium;"><br /><span><i>“Submitted for your approval, or at least your
analysis, one Patrick Thomas McNulty, who at age forty-one is the biggest bore on
Earth. He holds a ten-year record for the most meaningless words spewed out
during a coffee break. And it’s very likely that, as of this moment, he would have
gone through life in precisely this manner. A dull, argumentative bigmouth who
sets back the art of conversation a thousand years. I say he very likely would
have except for something that will soon happen to him. Something that will
considerably alter his existence, and ours. Now you think about that now
because this is, the Twilight Zone.”</i></span></span><div><span style="font-size: medium;"><i><br /></i></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: medium;">Summary:</span></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhMggT5-IKZEyO7tvYTx4-WY24MBJ3PAL4r6f2e0zl-BTjDvXWFaoHyI2IgPpOLISVyuuEu4ihEcuQEhrLDbtExxSqy6ZmruxFiVlFZC7zXI3Lr8Eh6Ag7QIOJRRHEeDYr1v92Y96L40_ZA9t5mCoRLyPvCU0PHW62aeYv5_AGHZUAjk69a-424uFCC=s640" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="480" data-original-width="640" height="150" src="https://blogger.googleusercontent.com/img/a/AVvXsEhMggT5-IKZEyO7tvYTx4-WY24MBJ3PAL4r6f2e0zl-BTjDvXWFaoHyI2IgPpOLISVyuuEu4ihEcuQEhrLDbtExxSqy6ZmruxFiVlFZC7zXI3Lr8Eh6Ag7QIOJRRHEeDYr1v92Y96L40_ZA9t5mCoRLyPvCU0PHW62aeYv5_AGHZUAjk69a-424uFCC=w200-h150" width="200" /></span></a></div><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"> </span><span style="font-family: arial;">Patrick
McNulty is an irritating motormouth with a penchant for unrealized ambitions.
The world would function better if someone simply gave him a chance to fix it.
He is despised by both co-workers and acquaintances but seems mostly unaware of
this fact. After continuously avoiding his job duties to pitch irrelevant
financial schemes to his boss, he is fired.</span></span></p><p></p>
<p style="line-height: normal; margin-bottom: 0in; text-align: left;"><span><span style="font-family: arial; font-size: medium;"> Later,
after managing to chase away nearly all of the clientele from his neighborhood
bar, McNulty introduces himself to the only person left. Potts, an older man who
seems very drunk, gifts McNulty a stopwatch and after a very confusing
explanation, gets up and leaves. Joe, the owner of the bar, complains that
McNulty repeatedly drives away his customers. As Joe sweeps up for the night,
McNulty fiddles with his new gift. Suddenly, Joe freezes. Thinking it’s a gag,
McNulty investigates and then looks at the stopwatch. He presses the button and
Joe continues sweeping. McNulty presses the button again. Joe’s movements
cease. He presses it again and Joe continues. Confused, he decides to leave.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span><span style="font-family: arial; font-size: medium;"> At
his apartment later, McNulty continues to test the stopwatch. He clicks the
button and his goldfish stops moving. He decides that he simply needs some sleep
but when he get ups the next morning he tries it again with the same results.
He then walks over to the window and tries the button. Traffic outside stops
completely. McNulty now realizes what he has been given.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: arial; font-size: medium;"> The
next day, McNulty arrives at his old job to show his formers co-workers that he
finally has something worthy of their attention. After being told to leave, he
clicks the stopwatch and proceeds to rearrange things in the office. Afterwards,
McNulty goes to the bar to try to prove his worth but no one takes him
seriously there either. He clicks the watch and the world stops. He attempts to
give the bar patrons the same treatment he gave his co-workers but his hijinks
go mostly unnoticed.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span><span style="font-size: medium; mso-tab-count: 1;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhs9S6AbR4_kcPtQ64t77cYDJTrsIqzN8Ks-iw64BOtFB9QWloGkxmMvRvbUNhuhkzfzu0JaJ2A24v3BYXcdNh9w4Cg35l-Qmec7ds38iW0lpxOaHBytPZQXiaeNtON9DBknWna8gq6PFEk3sAnypyu_Q7Q2g2NNvj9CVlIE86IMhdAWQFvyfqp1o4g=s640" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="480" data-original-width="640" height="150" src="https://blogger.googleusercontent.com/img/a/AVvXsEhs9S6AbR4_kcPtQ64t77cYDJTrsIqzN8Ks-iw64BOtFB9QWloGkxmMvRvbUNhuhkzfzu0JaJ2A24v3BYXcdNh9w4Cg35l-Qmec7ds38iW0lpxOaHBytPZQXiaeNtON9DBknWna8gq6PFEk3sAnypyu_Q7Q2g2NNvj9CVlIE86IMhdAWQFvyfqp1o4g=w200-h150" width="200" /></span></a></div><span style="font-size: medium;"> <span style="font-family: arial;">Testing
the limits of his new authority, McNulty decides to rob a bank. As he wheels a
mountain of cash towards the front door, he loses his grip on the stopwatch and
it falls to the ground. He picks it up and clicks it repeatedly but nothing
happens. The people in the bank remain frozen. Stunned, he races to the office,
and then to the bar, but finds the same situation everywhere he goes. Everyone
is silent. Everything is still. The world has simply stopped. Patrick McNulty,
the conversationalist, is now the sole inhabitant of a lifeless planet.</span></span></div><div><span style="font-family: arial; font-size: medium;"><br /></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><i><span style="font-size: medium;">Rod Serling’s Closing Narration:</span></i></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><i>“Mr. Patrick Thomas McNulty, who had a gift of time.
He used it and misused it, and now he’s just been handed the bill. Tonight’s
tale of motion and McNulty, in the Twilight Zone.” <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: medium;"><br /></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: medium;">Commentary:</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"> <span style="font-family: arial;"> </span><span style="font-family: arial;">“A
Kind of a Stopwatch” is the fourth episode of the show’s final season and,
while an enjoyable one, it is certainly flawed and feels like a bit of a
let-down after the three stellar episodes that precede it. It’s premise, already
a well-worn narrative of the genre when this episode first aired, is instantly
predictable and altogether uninteresting, with a plot that frequently ignores
logic. However, because of its well-executed twist ending, it has become one of
the more memorable episodes from the show’s final season. It has been spoofed
on <i>The Simpsons, Futurama, Johnny Bravo, Wings</i>, and numerous other television
programs and its premise was recycled for the debut episode of the 1980’s
revival series of <i>The Twilight Zone</i> in the segment “A Little Peace and Quiet.”
It is also one of several episodes referenced by Dan Aykroyd and Albert Brooks
during the prologue of <i>Twilight Zone: The Movie</i> (1983)—it is, in fact, the episode
that Brooks mistakenly insists is an episode of <i>The Outer Limits.</i> It’s an
episode that has become an iconic part of the show but its origins went
somewhat unknown for decades.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span><span style="font-size: medium; mso-tab-count: 1;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgtggCvVyy-0NniF2_fUdbGv9J6ofh-SJlFRJHYulVODWRFGxl7gHqvDcVIq3ubWOqgP9_hVfYKkAwoUq9WZa8YELslPMljoOySIcyq0drJcXji3D5c7Qf3_q3XEMRbgevtUOEnXZRlqZv1jZZ_0T3N4z_rv9ivO46U1S5dqfhWqc3Lg8IJcumUenOT=s640" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="480" data-original-width="640" height="150" src="https://blogger.googleusercontent.com/img/a/AVvXsEgtggCvVyy-0NniF2_fUdbGv9J6ofh-SJlFRJHYulVODWRFGxl7gHqvDcVIq3ubWOqgP9_hVfYKkAwoUq9WZa8YELslPMljoOySIcyq0drJcXji3D5c7Qf3_q3XEMRbgevtUOEnXZRlqZv1jZZ_0T3N4z_rv9ivO46U1S5dqfhWqc3Lg8IJcumUenOT=w200-h150" width="200" /></span></a></div><span style="font-size: medium;"><span style="font-family: arial;"> </span><span style="font-family: arial;">In
the early sixties, Michael D. Rosenthal was a student at the University of
Wisconsin. One of his professors was a young screenwriter named Jerry McNeely.
McNeely sold his first script, “The Staring Match,” to <i>Studio One</i> in 1957 and
by the time that “A Kind of a Stopwatch” aired he had seen a dozen or so of his
scripts made into episodes of various television series including <i>Dr. Kildare</i>,
for which he eventually wrote ten episodes. Unusual for the time, McNeely chose
to remain a faculty member in the university’s speech department even though he
was achieving success as writer, sending in scripts through the mail and taking
the occasional trip to Los Angeles to meet with agents and producers. One day
in class Rosenthal pitched McNeely an idea about a stopwatch that could stop
time and restart it again with the simple click of a button. Not an earth-shattering
premise but one that McNeely thought that he could sell to a television series.
So he pitched it to his agent with the insistence that Rosenthal receive the
onscreen credit if they were able to land a sale. His agent knew Rod Serling
and thought it would be well-received on <i>The Twilight Zone</i> so McNeely wrote a
five paragraph synopsis and Bert Granet agreed to buy it for Cayuga Productions.</span></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="mso-tab-count: 1;"> </span><span style="font-family: arial;">This
is Rosenthal’s only credit as a writer and for many years no one knew exactly
who he was. Many assumed it was a pseudonym. Jerry McNeely went on to a
successful career in television, writing scripts for numerous television series
and later creating the ABC series <i>Owen Marshall, Counselor at Law</i>. He was also
nominated for an Emmy for penning the CBS drama <i>Something for Joey</i> in 1977.
While McNeely declined screen credit for “A Kind of a Stopwatch,” he did use
the interaction to get on the radar of Serling and company who then hired him
to adapt the Henry Slesar story “The Self-Improvement of Salvadore Ross” which
aired later in the fifth season.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span><span style="font-family: arial; font-size: medium;"><span style="mso-tab-count: 1;"> </span>McNeely’s
original one-page story, reprinted in full in Martin Grams, Jr.’s <i>The Twilight
Zone: Unlocking the Door to a Television Classic</i> (OTR, 2008), differs from the
episode in many ways and Serling wrote numerous drafts of the script before
arriving at the story that everyone now knows. In McNeely’s version, a man buys
a second-hand chronometer from a pawnshop. After discovering that the stopwatch
mechanism is broken, he tinkers with it and manages to fix it only to discover
that he can stop the flow of time with the click of a button. At first, he uses
it to seek petty vengeance on the people who have wronged him in the past. Then
he gets the idea of robbing a bank. His plan is to stop time and drive from New
York to California, rob a very large, prominent bank, and then drive back to
New York and restart time. His reasoning, of course, is that the money can
never be traced to him and if it is he can easily prove that he was in New York
the entire time. His long trip across an America suspended in time proves to be
boring and lonely and he begins to miss civilized conversation. After the
robbery proves successful, he decides that he will place himself into a
position of political power. However, before he can achieve his goal he drops
the stopwatch while time is suspended and it breaks into several dozen pieces.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span><span style="font-size: medium; mso-tab-count: 1;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjRYTCgkq53t43MHrpJ15gIlzkaBCZFgrh0-O5zKM2zkgaFMYlEJDrCAZi1ozjRdip-9jbKcjkHkbybiULlGrIYRC5S13XPBm69Q9zVeklbMSPPtoJhE-DzSodSg0MVGQG0mw3qUzMdFVd4vYRqq3UdHsm6vMxXf0mF_fHFop4g2AFsxnrZZeO0ur-b=s640" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="480" data-original-width="640" height="150" src="https://blogger.googleusercontent.com/img/a/AVvXsEjRYTCgkq53t43MHrpJ15gIlzkaBCZFgrh0-O5zKM2zkgaFMYlEJDrCAZi1ozjRdip-9jbKcjkHkbybiULlGrIYRC5S13XPBm69Q9zVeklbMSPPtoJhE-DzSodSg0MVGQG0mw3qUzMdFVd4vYRqq3UdHsm6vMxXf0mF_fHFop4g2AFsxnrZZeO0ur-b=w200-h150" width="200" /></span></a></div><span style="font-size: medium;"> <span> <span style="font-family: arial;">Serling
keeps many elements of McNeely’s treatment but fleshes it out into a full
episode, making McNulty a motor mouth and filling the script with clever
dialogue. Serling’s greatest achievement here isn’t the twist ending itself,
which is both incredibly predictable and also highly reminiscent, both visually
and thematically, of season one’s “Time Enough at Last” in which Burgess
Meredith plays a bookworm who just wants peace and quiet so he can read and
then ends up shattering his bifocals after an atomic bomb wipes out most of
humanity. The script’s greatest strength is the abrupt tonal shift from a
light, whimsical comedy to something much darker. Although the audience never
really hates Patrick McNulty, thanks mostly to Erdman’s performance, they
certainly never sympathize with him, at least not until the final few moments
of the episode. The sixty seconds or so where the audience witness Erdman's cries to the universe for help are quite moving and leave the audience with a
feeling of empathy for a character that exists, for most of the episode, as a
comedic punching bag.</span></span></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="mso-tab-count: 1;"> </span><span style="font-family: arial;">The
main flaw in Serling’s script is found in the character of Potts and the
ambiguous origins of the magical stopwatch. McNeely’s synopsis sees the main
character purchase a used stopwatch at a second-hand store, having never seen
it before, which is really the perfect origin story. It renders the stopwatch
completely anonymous and ignores any explanation about where it came from or
how it acquired its magical features. It simply exists. As far as the audience
is aware, no other living person knows about it. Serling apparently felt the
need to give the stopwatch some kind of an origin so he created Potts, the
inebriated man in the bar whom McNulty buys a drink. Often, in stories of a
similar likeness, stories where one person is given a magical trinket or such
by another person, like the potion in season one’s “The Chaser” or even the
genie’s wishes in season two’s “The Man in the Bottle,” the giver of the
trinket is clearly aware of the ominous nature of the gift and what can happen
to its owner when it is abused. Serling appears to deliberately forgo this
trope here as Potts seems to have no knowledge of the stopwatch’s supernatural
abilities. He simply says that it is a family heirloom, which makes the plot of
the story questionable. Has the stopwatch always had magic powers or is this a
new development? And if it has, why doesn’t Potts know about it? Surely, he
pressed the button on the stopwatch at least once, just to see if it worked,
even if it has been in his possession only a short time. Or if the ability to
stop time with the stopwatch is exclusive to McNeely for some reason then what
is the reason? On top of all this, Potts utters a string of random, dated
references that leave the viewer puzzled as to both their meaning and their
purpose in the story.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span><span style="font-family: arial; font-size: medium;"><span style="mso-tab-count: 1;"> </span>When
McNulty greets his new friend he asks him, “What do you know, what do you say?”
Potts responds with three phrases. The first thing he says is “fifty-four forty
or fight,” which was a well-known political slogan coined by President James K.
Polk while running for office in 1844. It refers to the United States’ dispute
with the British over the area of land which now makes up Oregon, Washington,
and Idaho. He then says “Damn the torpedoes, full speed ahead,” a very famous
military command given by United States Navy Admiral David Farragut in 1864
during the Battle of Mobile Bay in the American Civil War. His final greeting
is “It takes a heap of living to make a house a home,” a line taken from the
poem “A Heap o’ Livin” (1916) by Edgar A. Guest, a hugely popular American poet
during the first half of the century. Potts later references Abner Doubleday, a
Union Army Major General during the Civil War who is often credited with having
invented baseball.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span><span style="font-family: arial; font-size: medium;">These references were all at least fifty years old
when this episode aired in 1964 and, as far as can be determined given the
conversation that follows, are all completely random and contain no insight
into who Potts is or where the stopwatch came from. Serling’s intention with
these phrases is likely to imply that Potts, who has a very noticeable Russian
accent, has immersed himself in American history and culture in order to adjust
to his new home. The scene’s ambiguity does give Potts and the stopwatch an
added layer of mysticism but, ultimately, something is lost in translation from
page to screen. It feels like Serling was a bit uncertain with this character
and it only adds to a tapestry of flaws throughout the episode.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgTHP9g6q2x3tRMweN-re8mGCpdwnNAzD6vSzAlqRShSrrECJutqxLe_B_CeJ9mplC48rJWXLBB1NQukF4shrMiw-FrQtqe-wkeT4kPlSNXT9tGTCUrNVhoO6OyvxgdxTwiOKwzQUL2Dn_EGufejvHUDeE2lMtCb6k3EFW20V7Gka_XzqGmkoSxDwr2=s640" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="480" data-original-width="640" height="150" src="https://blogger.googleusercontent.com/img/a/AVvXsEgTHP9g6q2x3tRMweN-re8mGCpdwnNAzD6vSzAlqRShSrrECJutqxLe_B_CeJ9mplC48rJWXLBB1NQukF4shrMiw-FrQtqe-wkeT4kPlSNXT9tGTCUrNVhoO6OyvxgdxTwiOKwzQUL2Dn_EGufejvHUDeE2lMtCb6k3EFW20V7Gka_XzqGmkoSxDwr2=w200-h150" width="200" /></span></a></div><span style="font-size: medium;"> <span style="font-family: arial;">If “A Kind of a Stopwatch” has a saving grace aside
from its effective ending, it is the sheer likability of its leading man,
Richard Erdman, who gives a brilliant comedic performance as the unfortunate
Patrick McNulty. This was Erdman’s only appearance on <i>The Twilight Zone</i> but
several years earlier he appeared in the Robert Parrish western <i>Saddle the Wind</i>
(1958), for which Serling wrote the screenplay. Erdman was signed to a contract
with Warner Brothers while still a teenager and his career as an actor spanned
over seven decades. He was often cast in comedic roles as rowdy sailors or
awkward outcasts, similar to the role he plays here, although a number of his
well-known roles were as serious characters. Probably his most well-known film
role was as the American P.O.W. squad leader in Billy Wilder’s masterful World
War II film, <i>Stalag 17</i> (1951). Other notable film roles include Fred
Zinnemann’s <i>The Men </i>(1950), Robert Parrish’s <i>Cry Danger</i> (1951), Fritz Lang’s
<i>The Blue Gardenia</i> (1953), and the World War II film <i>Tora! Tora! Tora!</i>
(1970). The last decade of his career saw a renewed interest from the public
when he was cast as elderly college student Leonard in the massively successful
television series <i>Community.</i></span></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span><span style="font-family: arial; font-size: medium;">His performance here is impressive mostly because of
McNulty’s complete and total lack of social awareness but also because he
remains in motion for much of the episode, giving an otherwise dull story a
continuous surge of energy. McNulty is repeatedly insulted throughout the
episode by almost everyone he comes into contact with and the audience is led
to believe that he is either totally oblivious to their contempt for him or he
simply doesn’t care, a line Erdman tiptoes remarkably well. This causes McNulty
to bounce from character to character vying for the attention of anyone who
will listen, a device that would tire easily in the hands of a lesser actor but
Erdman takes a well-measured approach and even manages to make McNulty sort of likable. According to Erdman, McNulty speaks so quickly and has so much
dialogue in this episode that he was still memorizing pages of the script between
each take.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiN0pG9PIO0iPnWTrRZJKd-4f7xjXNz4NUYwWMjTFh-huQdB6QUC6rHjN8Ptnd8TgkMuTnkJd3phK58sueh2wNarYDA-5ODPaYlJ1KrSz1ca09ciZyreUwGxH4M6CXURPOB69BVYvt5STZdHipFootOd-Aos-kvpYkE-zGZskifnxcR-RCn8FAtZqdj=s640" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="480" data-original-width="640" height="150" src="https://blogger.googleusercontent.com/img/a/AVvXsEiN0pG9PIO0iPnWTrRZJKd-4f7xjXNz4NUYwWMjTFh-huQdB6QUC6rHjN8Ptnd8TgkMuTnkJd3phK58sueh2wNarYDA-5ODPaYlJ1KrSz1ca09ciZyreUwGxH4M6CXURPOB69BVYvt5STZdHipFootOd-Aos-kvpYkE-zGZskifnxcR-RCn8FAtZqdj=w200-h150" width="200" /></span></a></div><span style="font-size: medium;"> <span style="font-family: arial;">The supporting cast here is a mix of fairly
recognizable performers from the golden age of television. Herbie Faye, who
plays Joe the bartender, appeared as Cpl. Sam Fender on four seasons of <i>The
Phil Silvers Show</i> and again on <i>The New Phil Silvers Show</i>. He also appeared in
the 1962 film version of Rod Serling’s <i>Requiem for a Heavyweight </i>where he also
plays a bartender. Doris Singleton is probably best remembered for her
appearances on<i> I Love Lucy</i> and several other Lucille Ball programs. She also
had a reoccurring role on <i>My Three Sons</i>. Russian actor Leon Belasco enjoyed a
highly prolific career that spanned over half a century. He had small roles in
a handful of major films including <i>Casablanca</i> (1942), <i>Holiday Inn </i>(1942),
<i>Yankee Doodle Dandy</i> (1942), <i>Son of Ali Baba </i>(1952), and <i>The Art of Love</i> (1965). A
lifelong musician, he was often cast as band leaders or solo musicians as well
as numerous shop owners, waiters, or hotel attendants. Roy Roberts also had a
long career as an actor appearing in many western and war films. His notable
film roles include <i>My Darling Clementine</i> (1946), <i>He Walked by Night</i> (1948), <i>House
of Wax</i> (1953), and <i>Chinatown</i> (1974). He also had reoccurring roles on several
television series including <i>Oh! Suzanna, McHale’s Navy, The Beverly
Hillbillies, Petticoat Junction,</i> and <i>Gunsmoke.</i> And, finally, the voice of the
television broadcaster here is that of basketball player turned famed
sportscaster Sam Balter.</span></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="mso-tab-count: 1;"> </span><span style="font-family: arial;">This
was the second and final episode of <i>The Twilight Zone</i> for director John Rich.
Rich also directed the season two episode “A Most Unusual Camera,” another story
that concerns supernatural gadgetry. Rich began his career at the dawn of
television directing episodes for many of the live anthology dramas of the
time, eventually working his way into episodic television in the late fifties. Today
he is remembered for his work on <i>The Dick Van Dyke Show</i> and <i>All in the Family</i>,
both of which earned him Primetime Emmy Awards. In the 1980’s he formed a
television production company with friend Henry Winkler called, appropriately,
Henry Winkler/John Rich Productions where they were executive producers for the
CBS series <i>MacGyver.</i> He also directed numerous episodes of <i>Gunsmoke, Bat
Masterson, Where’s Raymond?, Gomer Pyle: USMC, The Brady Bunch,</i> and <i>Benson.</i> His
brief career as a feature film director includes the Janet Leigh romantic
comedy, <i>Wives and Lovers </i>(1963), the Elvis Presley films, <i>Roustabout</i> (1964) and
<i>Easy Come, Easy Go</i> (1967), and the slapstick comedy, <i>Boeing, Boeing</i> (1965),
with Tony Curtis and Jerry Lewis.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgHToYmFwXxv0jR0_TZ4LrkMO_u8jORt_AFt-uCzd5AvnUS7f8qXy7eRzO-D0gBMf-bUbpTrwfD3iS2xWLwWo4sDw49THI7i96Rzphw9_GaISKrn5SLiNuM9hA4CcP39cnkNXsSuMaWdAVU6rB6rKMNoxMH2kuiqSkRufHnJQdBavHrrqz5LbAUsVWQ=s640" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="480" data-original-width="640" height="150" src="https://blogger.googleusercontent.com/img/a/AVvXsEgHToYmFwXxv0jR0_TZ4LrkMO_u8jORt_AFt-uCzd5AvnUS7f8qXy7eRzO-D0gBMf-bUbpTrwfD3iS2xWLwWo4sDw49THI7i96Rzphw9_GaISKrn5SLiNuM9hA4CcP39cnkNXsSuMaWdAVU6rB6rKMNoxMH2kuiqSkRufHnJQdBavHrrqz5LbAUsVWQ=w200-h150" width="200" /></span></a></div><span style="font-size: medium;"> <span style="font-family: arial;"> </span><span style="font-family: arial;">Not counting the sequences of awkward stock footage
that appear at various points throughout the episode, Rich’s direction in “A
Kind of a Stopwatch” is really quite good. As we discussed in our reviews for
several earlier episodes that feature tableau scenes of motionless characters like
season one’s “Elegy” and season three’s “Still Valley,” filming someone or something
that is suspended in time is incredibly difficult. No human being can appear
perfectly still for more than a few seconds so to counteract their involuntary
movements directors often keep the camera in constant motion so the audience
doesn’t get a glimpse of someone blinking or twitching. Rich accomplishes this
exceedingly well here by simply letting Richard Erdman pace relentlessly
through several different scenes while his co-stars stand still around him. The
problem with solitary objects is that to make them appear suspended in time,
for instance to make a baseball appear frozen in mid-air, directors from this
period often had to rely on still photography which is immediately noticeable
to the audience. Rich does his best to avoid this but CBS likely favored as
many stock images as possible as it was cheaper. In one effective shot during
the office scene after McNulty breaks the stopwatch, a tissue is seen suspended
in mid-air above a trash can while McNulty remains in motion behind it.</span></span><div><span style="font-family: arial; font-size: medium;"><br /></span></div><div><span style="font-family: arial; font-size: medium;"><span> </span><span> A quick mention should be made of Van Cleave's original score here which adds some much-needed atmosphere to the episode. There are two main pieces of music in this episode, one used to emphasis the audience's view of McNulty's character, that he is laughably unlikable, and another, faster piece used during the scenes in which time is suspended. This second piece is clever as its fast, repetitive pace induces a sense of anxiety in the audience that McNulty will somehow be caught during one of his escapades. The payoff for this comes at the end of the episode when McNulty breaks the stopwatch and the music abruptly stops and both the audience and McNulty are plunged into total silence, giving the audience a sense of the world in which McNulty is now doomed to live.</span><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"> <span style="font-family: arial;"> </span><span style="font-family: arial;">As
noted earlier, the premise for “A Kind of a Stopwatch” was recycled for a
segment during the premiere episode of the first revival of <i>The Twilight Zone</i>
in September, 1985 called “A Little Peace and Quiet.” The only similarity
between the two stories is the notion that one person can stop and start time
all by themselves. There is also a visual similarity because both shows feature
scenes with actors frozen in place and a lot of creative camera work to make it
seem genuine. Also, like the original episode, the ending is an abrupt switch
from situational comedy to a genuinely bleak aftermath. Aside from these
similarities, the two stories are very different and neither Serling, Rosenthal,
nor McNeely receive any on-screen credit nor is the original episode referenced
in the later episode at all. Instead, sole writing credit goes to James
Crocker, who would later write an updated version of the Charles Beaumont classic “Shadow Play” for the revival’s second season.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: medium;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhLg0LQGGngI92tefSexXWoI-W1XfgQDCVDKJVVFDXMTOJ-L8z7JNnV6zbCWDj-5dTgcEZXZF53rajt2nU3QxKfaZczW_qrxwUI4TMsETCa041wfngrk-jrDWUQlJeIC58Gl1iAc0n8eh9YKRLNVnSmmN3O9rhvOL86Dd1zAqgc5-B7cR8KrLAe80KO=s640" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="480" data-original-width="640" height="150" src="https://blogger.googleusercontent.com/img/a/AVvXsEhLg0LQGGngI92tefSexXWoI-W1XfgQDCVDKJVVFDXMTOJ-L8z7JNnV6zbCWDj-5dTgcEZXZF53rajt2nU3QxKfaZczW_qrxwUI4TMsETCa041wfngrk-jrDWUQlJeIC58Gl1iAc0n8eh9YKRLNVnSmmN3O9rhvOL86Dd1zAqgc5-B7cR8KrLAe80KO=w200-h150" width="200" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Melinda Dillon and the magic<br />amulet in "A Little Peace and<br />Quiet"</span></td></tr></tbody></table><span style="font-size: medium;"><span> </span><span style="font-family: arial;"> </span><span style="font-family: arial;">In the newer version, directed by the great Wes
Craven, Melinda Dillon plays Penny, a housewife and mom of four small children
who has grown weary and frustrated at the constant grind of daily life with her
loud, needy family. While working in her garden one day she finds a box buried
in the ground. Inside the box she finds a gold amulet. Without really
questioning how it got there she decides to wear the amulet around her neck. Later
that day, she is having an argument with her husband and, out of frustration,
yells at him to be quiet. He freezes. Frantic, she tells him to start talking
again. He resumes his rant. She tries this several more times with and without
the amulet around her neck and discovers that while wearing it she can stop
time and start it back up whenever she wants. She immediately uses this to her
advantage. She eats breakfast by herself, avoids crowds while shopping, and
avoids other annoyances like screaming children and a nagging husband who
snores. Throughout the episode she also ignores several news segments warning of
possible nuclear warfare with the Soviet Union. At one point, she is even
solicited by a nonprofit antiwar group at her front door. She ignores them and
uses the opportunity to freeze time and move their immobile bodies away from
her house. The comedic tone of the episode changes abruptly when a radio
broadcast announces that the Soviets have launched missiles into United States
airspace. Nuclear war has been declared and people have only minutes left.
Panicked, she freezes time, realizing that she may never see her family again.
She walks outside into chaos frozen in time. Hundreds of people are in the
streets trying to get to safety. The camera pans up into the night sky—over a
movie theatre marquee bearing the titles <i>Fail Safe</i> and <i>Dr. Strangelove</i>—to see a
nuclear warhead just a few hundred feet above the ground.</span></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"> <span style="font-family: arial;"> </span><span style="font-family: arial;">Like
the original series episode, the 1985 story has its drawbacks but it also offers
a fresh take on a familiar theme. In this episode, Crocker simply flips the
situational formula Serling created in the original, a motor mouth who annoys
people, to make the hero more sympathetic to the audience and, in turn, cause
the ending to feel all the more tragic. Amplifying the tragic ending is the
fact that, unlike McNulty, who is unable to cause time to move forward again as
a result of his own greed, Penny has to choose between living totally alone, or
restarting time and perishing with her loved ones. Add to this the fact that
the horrific events have nothing to do with her or the amulet, although Crocker
does try hard to make the audience believe that this is somehow the result of
her ignoring the repeated signs of impending nuclear warfare throughout the
episode. The switch from a stopwatch, which has a very distinct, visible and
audible mechanism that lets the audience know when the magic happens, to an
amulet necklace, which has no such indicator, is a bit of a let-down. But for
the most part, the updated version is pretty good. Melinda Dillon gives a great
performance and Craven’s direction is solid the entire way through. There are
two large crowd shots with hundreds of extras frozen in place, one a tracking
shot at ground level and one on a crane, that are both really impressive. The
episode also taps into very real cold war fears that permeated political
culture at the time.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span><span style="font-family: arial; font-size: medium;"><span style="mso-tab-count: 1;"> </span>While
it has become a recognizable episode of the show, “A Kind of a Stopwatch” is
not without its flaws or its critics. Limited by a predictable premise, questionable
plot elements, awkward stock footage, and a noticeable resemblance to several
previous episodes of the show, it simply isn’t strong enough to surprise an
audience this far into the show’s run. However, witty dialogue, an impressive
balance of tone, and a great performance from its leading man make this episode
worthy of at least a viewing or two.<o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span><span style="font-family: arial; font-size: medium;"><br /></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-family: arial; font-size: medium;">Grade: C</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-family: arial; font-size: medium;"><br /></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-family: arial; font-size: medium;">Grateful acknowledgment is made to the following:</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span><span style="font-family: arial; font-size: medium;"><i>The Twilight Zone: Unlocking the Door to a Television
Classic</i> by Martin Grams, Jr. (OTR, 2008)</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span><span style="font-family: arial; font-size: medium;">"A Kind of a Stopwatch" episode commentary by Martin Grams, Jr., <i>The Twilight
Zone: The Complete Series</i> Blu-ray (Image Entertainment, 2016)</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span><span style="font-family: arial; font-size: medium;">The Internet Movie Database</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span><span style="font-family: arial; font-size: medium;">Washington State Archives</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span><span style="font-family: arial; font-size: medium;">United States Naval Institute<o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span><span style="font-family: arial; font-size: medium;"><br /></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span><span style="font-family: arial; font-size: medium;"><br /></span></span></p>
<h3 style="line-height: normal; margin-bottom: 0in; text-align: left;"><i><b><span style="font-family: arial; font-size: medium;">Notes:</span></b></i></h3><h3 style="text-align: left;"><i><b><span style="font-family: arial; font-size: medium;"><br /></span></b></i></h3>
<h3 style="line-height: normal; margin-bottom: 0in; text-align: left;"><span style="font-size: medium; font-weight: normal;"><span><span style="font-family: arial;">__John Rich also directed the season two episode “A
Most Unusual Camera.”<br /></span></span><span><span style="font-family: arial;">__Jerry McNeely also wrote the teleplay for the season
five episode “The Self-Improvement of Salvadore Ross,” adapted from a short
story by Henry Slesar.<br /></span></span><span><span style="font-family: arial;">__The debut episode of the 1980’s revival of <i>The
Twilight Zone</i> features a segment called “A Little Peace and Quiet” which is
loosely inspired by “A Kind of a Stopwatch” although none of the original
writers are credited. Instead, sole screen credit goes to James Crocker. It was
directed by Wes Craven and stars Melinda Dillon.<br /></span></span><span><span style="font-family: arial;">__“A Kind of a Stopwatch” was adapted into a <i>Twilight
Zone Radio Drama</i> (2002) by writer Dennis Etchison. It stars Lou Diamond
Phillips as Patrick McNulty.<br /></span></span><span><span style="font-family: arial;">__“A Kind of a Stopwatch” is one of several episodes
referenced by Dan Aykroyd and Albert Brooks during the prologue of <i>Twilight
Zone: The Movie</i> (1983), along with the season one episodes “Time Enough at
Last” and “The After Hours.”<br /></span></span><span><span style="font-family: arial;">__The script for this episode went through so many
drafts that two separate versions of it appear in <i>As Timeless as Infinity: The
Complete Twilight Zone Scripts of Rod Serling,</i> Vol. Three (Gauntlet Press, 2006;
edited by Tony Albarella). The title on both scripts is “A Kind of Stopwatch.”</span></span></span></h3>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-family: arial; font-size: medium;"><b><br /></b></span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-family: arial; font-size: medium;"><b>Brian</b></span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-family: arial; font-size: medium;"><b><br /></b></span></i></p></div></div>Brian Duranthttp://www.blogger.com/profile/02724290376009803159noreply@blogger.com3tag:blogger.com,1999:blog-1318310043864039191.post-28332971277192066062021-09-13T07:00:00.003-05:002021-09-13T07:00:00.227-05:00Reading Rod Serling’s The Twilight Zone Magazine, Part 25<p> <i><span style="font-size: 14pt;">In
which we take a closer look at each issue. For our capsule history of the
magazine, go <a href="http://twilightzonevortex.blogspot.com/2012/01/rod-serlings-twilight-zone-magazine.html"><span style="color: white;">here.</span></a></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">Volume
3, Number 3 </span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2giyQruKCkS_BvVf6gM0QyhVb4c5-9d7EG_8aAnbsFJF6MojV_4jX6h4hTTscnecl5pX8fEgtaQuY-8CSEPLnQZXYDjjgPgPRkVMvze8jmQNhlC5SCdJPrzqV8GWPXz02CWBdKi-UpPuY/s545/Cover.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="545" data-original-width="400" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2giyQruKCkS_BvVf6gM0QyhVb4c5-9d7EG_8aAnbsFJF6MojV_4jX6h4hTTscnecl5pX8fEgtaQuY-8CSEPLnQZXYDjjgPgPRkVMvze8jmQNhlC5SCdJPrzqV8GWPXz02CWBdKi-UpPuY/w294-h400/Cover.jpg" width="294" /></a></span></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">(July/August,
1983)<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Cover
Art:</span></i><span style="font-size: 14pt;"> Joe Burleson <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Supernatural
Cats! <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">TZ
Publications, Inc.</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">President
& Chairman: </span></i><span style="font-size: 14pt;">S. Edward Orenstein<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Secretary/Treasurer:
</span></i><span style="font-size: 14pt;">Sidney Z. Gellman<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Executive
Vice Presidents: </span></i><span style="font-size: 14pt;">Leon Garry, Eric
Protter<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Executive
Publisher: </span></i><span style="font-size: 14pt;">S. Edward Orenstein<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Publisher:
</span></i><span style="font-size: 14pt;">Eric Protter<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Associate
Publisher and Consulting Editor: </span></i><span style="font-size: 14pt;">Carol
Serling<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Editor:
</span></i><span style="font-size: 14pt;">T.E.D. Klein<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Managing
Editor: </span></i><span style="font-size: 14pt;">Jane Bayer<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Associate
Editor: </span></i><span style="font-size: 14pt;">Robert Sabat<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Books
Editor: </span></i><span style="font-size: 14pt;">Thomas M. Disch<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Contributing
Editors: </span></i><span style="font-size: 14pt;">Gahan Wilson, Marc Scott
Zicree<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Design
Director: </span></i><span style="font-size: 14pt;">Michael Monte<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Art
Director: </span></i><span style="font-size: 14pt;">Pat E. McQueen<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Art
Production: </span></i><span style="font-size: 14pt;">Susan Lindeman, Carol Sun<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Typesetting:
</span></i><span style="font-size: 14pt;">Irma Landazuri<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Production
Director: </span></i><span style="font-size: 14pt;">Stephen J. Fallon<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Controller:
</span></i><span style="font-size: 14pt;">Thomas Schiff<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Assistant
to the Publisher: </span></i><span style="font-size: 14pt;">Judy Linden<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Public
Relations Manager: </span></i><span style="font-size: 14pt;">Jeffrey Nickora<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Accounting
Manager: </span></i><span style="font-size: 14pt;">Chris Grossman<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Accounting
Assistant: </span></i><span style="font-size: 14pt;">Annmarie Pistilli<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Office
Assistant: </span></i><span style="font-size: 14pt;">Miriam Wolf<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Vice
President, Circulation Director: </span></i><span style="font-size: 14pt;">Milton
J. Cuevas<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Circulation
Manager: </span></i><span style="font-size: 14pt;">Carole A. Harley<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Circulation
Assistant: </span></i><span style="font-size: 14pt;">Karen Martorano<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Eastern
Circulation Manager: </span></i><span style="font-size: 14pt;">Hank Rosen<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Advertising
Manager: </span></i><span style="font-size: 14pt;">Rachel Britapaja<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Advertising
Sales Representative: </span></i><span style="font-size: 14pt;">Richard Brennan<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Advertising
Production Manager: </span></i><span style="font-size: 14pt;">Marina Despotakis<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Advertising
Assistant: </span></i><span style="font-size: 14pt;">Katherine Lys <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><u><span style="font-size: 14pt;">Contents:</span></u></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--In the Twilight Zone: “Ailurophilia”
by T.E.D. Klein<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--Other Dimensions: Books by Thomas M.
Disch<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--Other Dimensions: Screen by Gahan
Wilson<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--Other Dimensions: Nostalgia by Ron
Goulart<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--Other Dimensions: TZ Trivia Crossword
#1<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--Other Dimensions: Etc. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--TZ Interview: H.P. Lovecraft by Peter
Cannon <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--Required Reading: “Something About
Cats” by H.P. Lovecraft<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--“Huggins’ World” by Ennis Duling <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--“Open Frame” by Jack C. Haldeman II<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--Cartoon by Curt Ferguson <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--“Edison Came to Stay” by A. Wayne
Carter<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--TZ Screen Preview: <i>Brainstorm </i>by James Verniere<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--TZ Screen Preview: An Advanced Look at
<i>Twilight Zone: The Movie<o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--“Confessions of a Freelance Fantasist”
by Isidore Haiblum<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--The Fantasy Five-Foot Bookshelf by
Disch, Wagner, Hadji, and Klein<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--“The Peddler’s Bowl” by Gordon Linzner
<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--“The Better Choice” by S. Fowler
Wright<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--“The Book” by Gahan Wilson<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--A Feline Portfolio<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--“Mistral” by Jon Wynne-Tyson <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--Show-by-Show Guide: TV’s Twilight
Zone: Part Twenty-Five by Marc Scott Zicree<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--TZ Classic Teleplay: “Five Characters
in Search of an Exit” by Rod Serling<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--Looking Ahead <o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--In
the Twilight Zone: “Ailurophilia” by T.E.D. Klein </span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4NTyojB1ZO6Z7MqvS_mxKF2isDY2xcua3QbuqGYazFgymgGs451JmDSe0bjc47PcnxbedB0X-dY3XezLSM6v_iZ2M_MaoX_Bf0B12Me2F4SQ36N9nb04JfDNzwuXrANG9oLuu-xdXK6VZ/s1057/In+the+Twilight+Zone+%2528Maximilian%2529.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="662" data-original-width="1057" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4NTyojB1ZO6Z7MqvS_mxKF2isDY2xcua3QbuqGYazFgymgGs451JmDSe0bjc47PcnxbedB0X-dY3XezLSM6v_iZ2M_MaoX_Bf0B12Me2F4SQ36N9nb04JfDNzwuXrANG9oLuu-xdXK6VZ/s320/In+the+Twilight+Zone+%2528Maximilian%2529.jpg" width="320" /></a></span></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-Klein
begins his editorial by stating that the three most popular subjects for books
were once considered to be Abraham Lincoln, doctors, and dogs. Now, Klein
reflects, the three most popular subjects appear to be golf, Nazis, and cats.
This issue of the magazine takes the latter as its subject and Klein offers to
send a poster of TZ cat Maximilian (pictured, illustration by Randy Jones) to
the first nine readers (for nine lives) to write in with the correct number of
cat images contained in the issue. <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-The
centerpiece of the issue is an epistolary interview with H.P. Lovecraft,
together with a reprinting of Lovecraft’s essay, “Something About Cats.” Klein
shares quotes from Lovecraft’s ex-wife Sonia H. Davis (also known as Sonia
Greene) and Lovecraft’s friend W. Paul Cook that illustrate Lovecraft’s
affection for cats. Klein also explains that the interview with Lovecraft contained
in the issue was compiled using Lovecraft’s voluminous letters as published by
Arkham House. The remainder of the editorial is business as usual, with Klein providing
briefs on the issue’s contributors, beginning with Lovecraft scholars Peter
Cannon (who “interviews” Lovecraft) and S.T. Joshi, who writes an introduction
and notes for “Something About Cats,” before moving on to the contributors of
fiction for the issue, Jon Wynne-Tyson, Gordon Linzner, Ennis Duling, Jack C.
Haldeman II, A. Wayne Carter, S. Fowler Wright, and Gahan Wilson, the latter of
whom makes a second appearance with his usual column as TZ’s film critic.
Klein also mentions that Marc Scott Zicree’s </span></i><span style="font-size: 14pt;">The Twilight Zone Companion <i>is in
its fourth printing and has been nominated for an American Book Award.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--Other
Dimensions: Books by Thomas M. Disch </span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9IiqJf_moCIMI26gyW3PlgcN69YFjRhjlamQkwJ6MN-2ocoHuxWbeFq-ZqenSlrtICBziNBjeb28DDw3sXRR8bUmpf88nZqfR3s6V7C5JbMFOn9Cm4ppBi2kju0-Inpjk32hFRftYhvHM/s1371/Books.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="676" data-original-width="1371" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9IiqJf_moCIMI26gyW3PlgcN69YFjRhjlamQkwJ6MN-2ocoHuxWbeFq-ZqenSlrtICBziNBjeb28DDw3sXRR8bUmpf88nZqfR3s6V7C5JbMFOn9Cm4ppBi2kju0-Inpjk32hFRftYhvHM/s320/Books.jpg" width="320" /></a></span></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>-Disch begins by sharing two images of the Cheshire Cat (in keeping with the theme of the issue) from the Barry Moser-illustrated edition of </i>Alice in Wonderland <i>(pictured), which Disch previously recommended in this column for the Christmas shopping season. Next, Disch thoroughly takes apart works by two of the leading
horror writers of the time, Peter Straub and Karl Edward Wagner, the latter of
whom appears alongside Disch later in the issue for “The Fantasy Five-Foot
Bookshelf.” Disch has a great deal to say about Straub’s </i></span><span style="font-size: 14pt;">Floating Dragon, <i>little
of it positive in tone. He writes: “Straub plots much as he butchers, producing
such a multiplicity of possible explanations that there is sure to be at least
one alibi for any crime against logic.” Disch provides an excerpt from the
novel in order to illustrate Straub’s writing style and sums up his thoughts on
the novel by reprinting several interjections from the section “Unbelief” in </i>Roget’s
International Thesaurus (Third Edition). <i>Disch
next places Karl Edward Wagner’s story collection, </i>In a Lonely Place, <i>under the critical microscope. Disch
generally finds Wagner’s writing as insufferable as Straub’s, but concedes:
“Straub is just as guilty as Wagner of using such pseudohistory as window
dressing for his spook show, but with Wagner it’s less exasperating, partly
because Wagner seems so much more sincere as he performs his ancient rites,
partly because there is a dramatic shapeliness to his tales, the result of
their having a beginning, middle, and an end.”<o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-Another
work that receives the sharp end of Disch’s critical spear is </span></i><span style="font-size: 14pt;">The Elfstones of Shannara <i>by Terry Brooks. Describing Brooks as unrivaled among Tolkien
imitators, Disch writes: “Brooks’s Wonder Bread prose is as exciting as a game
of Dungeons and Dragons at a birthday party for pathologically shy
six-year-olds.” </i>The Mists of Avalon <i>by
Marion Zimmer Bradley, a retelling of the legends of Camelot from the primary
perspective of Morgan le Fay, fares little better in Disch’s view. He writes:
“Male readers should be warned, however, that as a purveyor of wish-fulfilling
fantasies (Once upon a time the world was ruled by a Secret Sisterhood, the
Druids, and the greatest and loveliest of all Druids was Vivian, High Priestess
of Avalon . . .), Bradley caters primarily to women, especially women (a
majority, I fear) who think there may be something in astrology and psychic
powers and that science and reason are tools of patriarchal power.”</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-Concerning
</span></i><span style="font-size: 14pt;">King of the Wood <i>by John Maddox Roberts, Disch writes: “Roberts’s dreamland is
chockablock with antiquarian detail that has been well-digested and
reconstituted by his imagination, so that the result is not a cabinet of curios
but a vivid panorama of a true-seeming never-never-land.” Disch singles out
“The Monkey’s Bride” by Michael Bishop from the anthology </i>Heroic Visions, <i>edited by Jessica Amanda Salmonson, while
writing that the rest of the book’s contributors produce “work that is either
amiable or decorative in the manner of the better sorts of handicraft at a
Renaissance Fair.”</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-Disch
saves his best praise for </span></i><span style="font-size: 14pt;">Hart’s Hope
<i>by Orson Scott Card, describing Card as
“undoubtedly one of the brightest ascendant stars in the field of fantasy and
science fiction.” Disch concludes his column by quoting from a novel Card has
been publishing in an “Independent Student Newspaper” disassociated from Brigham
Young University. Card writes: “And the temptation of the flesh has become even
more powerful in these last days. Because the scientists have wrought seeming
miracles, mortals have come to believe whatever sounds like science. The enemy
has wasted no time teaching mortals to spout rational-sounding explanations of
why it is healthier to indulge the lusts of the flesh than to resist them.” As
Disch writes: “Any writer who can, in all sincerity, produce that paragraph </i>and
<i>a book like </i>Hart’s Hope <i>has got enough internal contradictions to
power his own printing press.”</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--Other
Dimensions: Screen by Gahan Wilson </span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRwXj5fbWqYISQFbCDJsfvwjJC_d9HF_zw1uqDbOMYxziow83jpYTWpm-TeZVvpm23gtxHA6oC9oBrj0soQNMcJcKp36E1cBrNvws3zQAqcwzDXlDRFU9sMky_VqQ72-Rr2Ef_tWGlw3Sa/s689/Screen.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="576" data-original-width="689" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRwXj5fbWqYISQFbCDJsfvwjJC_d9HF_zw1uqDbOMYxziow83jpYTWpm-TeZVvpm23gtxHA6oC9oBrj0soQNMcJcKp36E1cBrNvws3zQAqcwzDXlDRFU9sMky_VqQ72-Rr2Ef_tWGlw3Sa/s320/Screen.jpg" width="320" /></a></span></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-Wilson
reviews two films this issue, </span></i><span style="font-size: 14pt;">The
Entity <i>and </i>Sorceress. <i>Wilson spends the majority of the column on </i>The
Entity, <i>the controversial film based on
actual events in which Barbara Hershey (pictured) plays Carla Moran, a single
mother who finds herself the repeated victim of an invisible (or unseen) sexual
assailant. The film was scripted by Frank De Felitta, from his 1978 novel based
on the case of Doris Bither, and directed by Sidney J. Furie. An earlier novel
by De Felitta, </i>Audrey Rose <i>(1975), a
nightmarish tale of reincarnation, was scripted by the author for the 1977 film
directed by Robert Wise. The novel was based on real events from De Felitta’s family
life. </i>The Entity <i>was a controversial
film, and remains so today, due to its graphic depiction of sexual violence,
made even more disturbing by the fact that the assailant is heard but never
seen, nor, as Wilson points out, properly explained. Is it a ghost? A demon? An
invisible man? The film offers little in terms of resolution and functions
rather like a document of a particularly disturbing case history. <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-Wilson
briefly examines the relationship between sex and horror in cinema, covering
pre-code horror films, monster movies, and vampire films before writing: “Now,
however, with </span></i><span style="font-size: 14pt;">The Entity, <i>we have arrived at a new era in monsters. .
. we can, at least, observe the very explicit </i>effects <i>of a monster who indulges in actual sex, and generally even in the
missionary position!” Wilson does not question whether or not the film is
actually based on real events but dislikes the use of this marketing approach,
regardless of the truth, since make-believe easily elicits a willing suspension
of disbelief while “based on actual events” leads the viewer to scrutinize
everything presented in the film. This annoyance aside, Wilson writes: “It
certainly has a nasty premise, and it could have been a thoroughly disgusting
movie. But thanks to Sidney J. Furie of </i>Ipcress File <i>fame, who directed it, and to an oddly sincere sort of script by Frank
DeFelitta, based on his novel (which is, presumably, based on some actual
incident), and to the acting, by Barbara Hershey, in the really
hard-to-beat-for-difficulty role of the supernaturally violated victim, the
movie ends up being quite sympathetic.” Wilson also praises the film’s
disturbing makeup effects by Stan Winston and James Kagel, very nearly guessing
the method by which the artists achieved the effects. For the scenes in which
Hershey is assaulted, only the actress’s head was above the bed setting. Hershey
sat, unseen, on the floor below while, from her neck down, a fake body was
constructed which could be manipulated using cables and air bladders. Wilson
concludes on a typically humorous note: “However it was accomplished, I think
it’s safe to state it is the very first such whatsis ever assembled, and it
would have made a lifetime’s living for an old-time carnival sideshow man.”</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-Wilson
also briefly considers the fantasy film </span></i><span style="font-size: 14pt;">Sorceress,
<i>an exploitation sword and sorcery film written
by Jim Wynorski and directed by Jack Hill (as “Brian Stuart”).</i> <i>Wilson begins his review this way: “If </i>The
Entity <i>manages to tiptoe around the
pitfall of being disgusting, </i>Sorceress, <i>gleefully,
does not. It </i>wants <i>to be disgusting, </i>strives
<i>for it, and succeeds completely.” Wilson
equates the film with the cheap movie serials of his youth, with the added
pleasures of sex and sadism thrown in, and spends the rest of his column
describing the more outrageous scenes in the film.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--Other
Dimensions: Nostalgia by Ron Goulart </span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdAiQkERZMO26URPcTa2MQIrhUBsHdvTfa2PEyJ62Rw29_lnebupken424hZGBPWG6qQhU7oFhW9AlfL0dAWCQ8SqsGwmTYTyf9QSXjKsaRwmChlItWe7d-BJIOPCCNRbxAJ6WqkM431Yy/s773/Nostalgia.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="773" data-original-width="655" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdAiQkERZMO26URPcTa2MQIrhUBsHdvTfa2PEyJ62Rw29_lnebupken424hZGBPWG6qQhU7oFhW9AlfL0dAWCQ8SqsGwmTYTyf9QSXjKsaRwmChlItWe7d-BJIOPCCNRbxAJ6WqkM431Yy/s320/Nostalgia.jpg" width="271" /></a></span></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-Old
time radio is the nostalgic subject this issue, with a focus on mystery,
suspense, and horror programs of the 1930s and 1940s. Goulart lends a personal
perspective to describing the best-known programs, beginning with Orson
Welles’s (pictured) </span></i><span style="font-size: 14pt;">The Mercury
Theatre on the Air. <i>Goulart briefly
mentions the infamous </i>The War of the Worlds <i>broadcast of 1938 (Goulart remembers it as 1940), as well as the
meeting between H.G. Wells and Orson Welles in October, 1940 during H.G. Wells’s
U.S. lecture tour. They met in San Antonio, TX, where Orson Welles was also
giving a lecture. Although H.G. Wells was vocal in his dislike of Orson Welles’s
adaptation of </i>The War of the Worlds, <i>the
meeting between the two men was cordial. From there, Goulart considers Orson
Welles’s time as radio’s </i>The Shadow, <i>and
expands the discussion to cover his general love for the program, especially
the music, the spooky narration, and the outrageous episode titles. <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-Goulart
neglects to mention that Orson Welles performed in Lucille Fletcher’s “The
Hitch-Hiker” on the long-running, and star-studded, program </span></i><span style="font-size: 14pt;">Suspense, <i>a
radio play that was adapted by Rod Serling for the first season of </i>The
Twilight Zone. <i>Goulart does mention
Fletcher’s other famous radio play, “Sorry, Wrong Number,” perhaps the most
popular episode of </i>Suspense,<i> and praises
the play’s star performer, Agnes Moorehead (radio’s Margo Lane on </i>The
Shadow),<i> who, according to Goulart, performed
the play seven additional times due to listener demand. The film version of
“Sorry, Wrong Number,” starring Barbara Stanwyck and Burt Lancaster, appeared
in 1948. Lucille Fletcher provided the film’s script and collaborated with
Allan Ullman in adapting the script into a novel, released the same year. Goulart
notes that Agnes Moorehead, known for her evocative voice, was awarded a role
on </i>The Twilight Zone, <i>in Richard
Matheson’s “The Invaders,” in which she doesn’t speak a word.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-The
history of </span></i><span style="font-size: 14pt;">I Love a Mystery, <i>Goulart’s favorite program, is discussed in
some detail, as are the unique offerings to be found on </i>Lights Out <i>(Goulart’s pick for the scariest radio program)</i>
<i>and </i>Quiet, Please. <i>Goulart profiles the two creatives who made
these programs special: Wyllis Cooper and Arch Oboler. Goulart describes the
way in which Cooper created </i>Lights Out, <i>Cooper’s
subsequent departure from the program to try his hand at screenwriting in
Hollywood, Oboler’s arrival on the program, leading to its greatest success,
and Cooper’s return to radio with the artful but commercially unsuccessful </i>Quiet,
Please. <i>Arch Oboler wrote one of the more
intriguing “lost” (unproduced) episodes of </i>The Twilight Zone, <i>a script titled “What the Devil!” that was
slated for the fifth and final season of the series. The script describes the
fate of an obnoxious couple in a sports car who decide to duel with the driver,
who happens to be the Devil, of a truck loaded with explosives on a lonely
stretch of Arizona highway.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-Even
more popular than </span></i><span style="font-size: 14pt;">Lights Out, <i>Goulart tells us, was the horror series </i>Inner
Sanctum, <i>the creation of writer/director Himan
Brown. Remembered for the ghoulish humor of the program’s host, Raymond
(Raymond Edward Johnson), Goulart provides a typical example of Raymond’s
opening narration. Having run out of space, Goulart ends his column with a
fleeting mention of another program, </i>Escape, <i>which adapted tales from such writers as John Collier, H.G. Wells, and
Algernon Blackwood.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--Other
Dimensions: TZ Trivia Crossword #1</span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxmcjWNB5LsXa_K5Tq4rEy6mf1oONyoKxb5U4PvvTvNfc1le8-N4ojheA4tL-W_OdSfu0qmJFGZymaYaRhVGcfwbNYMNOIa51YnUDYzWEIyOI8l3ajQr5BE5Y5oy3rXfwAZ70oi_qnySHG/s2048/Crossword.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1440" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxmcjWNB5LsXa_K5Tq4rEy6mf1oONyoKxb5U4PvvTvNfc1le8-N4ojheA4tL-W_OdSfu0qmJFGZymaYaRhVGcfwbNYMNOIa51YnUDYzWEIyOI8l3ajQr5BE5Y5oy3rXfwAZ70oi_qnySHG/w450-h640/Crossword.jpg" width="450" /></a></b></div><b><br /><span style="font-size: 14pt;"><br /></span></b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwe87H9btUbTUtb5IL7EYjR831tFFb1VehpZt3Br7mGsSKX6Y5L-bYqVb1wBTG7xsyfcQgUX8CPPG5rdZgl8ooqGp0U0I4QwAeRvbh1OBN__5dg9m1TfmiFBedEBOuLsgfNp_OQAD3iW-S/s2048/Crossword+Answers.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1367" data-original-width="2048" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwe87H9btUbTUtb5IL7EYjR831tFFb1VehpZt3Br7mGsSKX6Y5L-bYqVb1wBTG7xsyfcQgUX8CPPG5rdZgl8ooqGp0U0I4QwAeRvbh1OBN__5dg9m1TfmiFBedEBOuLsgfNp_OQAD3iW-S/w400-h268/Crossword+Answers.jpg" width="400" /></a></div><br /><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--Other
Dimensions: Etc. </span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDTfn_Jn9XEOcWC1HEdOkSAj79f6Yg8pRud-KS7RPUx2O0atx5y-0dURDBGFx2VIhaRQp1HsuToXO7bVrf80FipiXOXVq7n1nnNKnOT8Uv1mvBNGGnCdnDPMpcLoP65unZjQxm8fu1zZjt/s945/Etc.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="862" data-original-width="945" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDTfn_Jn9XEOcWC1HEdOkSAj79f6Yg8pRud-KS7RPUx2O0atx5y-0dURDBGFx2VIhaRQp1HsuToXO7bVrf80FipiXOXVq7n1nnNKnOT8Uv1mvBNGGnCdnDPMpcLoP65unZjQxm8fu1zZjt/s320/Etc.jpg" width="320" /></a></span></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Illustration by Robert Price <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-The
miscellany column this month includes an interview with actor Donald
Sutherland, a brief response to a newspaper article on the avant-garde musical
artist Laurie Anderson, and a reprinting of a humorous article by Robert M.
Price concerning a narrative trend in horror fiction.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-The
magazine’s resident film reporter James Verniere provides a concise biography
of Donald Sutherland and interviews the actor concerning Sutherland’s
appearances in genre films. They begin by discussing Sutherland’s early
appearances in horror films such as </span></i><span style="font-size: 14pt;">Castle
of the Living Dead <i>(1964), </i>Dr.
Terror’s House of Horrors <i>(1965), and </i>Fanatic
<i>(aka </i>Die! Die! My Darling!) (1965), <i>the latter scripted by Richard Matheson from
a novel by Anne Blaisdell. Next, they discuss the commercial failure of the
film </i>Don’t Look Now <i>(1973), a
psychological horror film adapted from the story by Daphne du Maurier in which
Sutherland appears alongside Julie Christie. The film was directed by Nicholas
Roeg, whose career as a cinematographer included photographing Roger Corman’s </i>The
Masque of the Red Death <i>(1964),</i> <i>co-scripted by Charles Beaumont, and François
Truffaut’s adaptation of Ray Bradbury’s </i>Fahrenheit 451.<i> Although </i>Don’t Look Now<i> was
not successful upon its initial release, it has since come to be considered
among the finest horror/suspense films of its era. Sutherland blames the film’s
failure on </i>The Exorcist, <i>which opened
two months after </i>Don’t Look Now, <i>as
well as, and perhaps more importantly, Paramount Studio’s lack of support for
the film. Finally, Sutherland explains the reasons why he accepted a role in
the remake of </i>Invasion of the Body Snatchers, <i>which essentially came down to a great script and a director with a
vision. Directed by Philip Kaufman, the 1978 version of </i>Invasion of the Body
Snatchers <i>is an important entry in the
science fiction/horror genre, widely considered to be the equal of the original
film version of Jack Finney’s novel (1956, directed by Don Siegel, starring
Kevin McCarthy of </i>The Twilight Zone’s <i>“Long
Live Walter Jameson” and </i>Twilight Zone: The Movie)<i> due to its convincing urban setting, depth of characterization, excellent
performances, gruesome makeup effects, and relentlessly grim tone. The original
film version is marred by a superficially happy ending attached to the film at
the insistence of the studio.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-The
magazine received numerous letters concerning an article in the </span></i><span style="font-size: 14pt;">Chicago Tribune <i>headlined
with “Laurie Anderson blends a twilight zone with pop.” The magazine did not
immediately respond because no one on the editorial staff knew of Laurie
Anderson. “However,” the article states, “it now seems that everyone else in
the world </i>does <i>know who she is, and
TZ film chronicler Jim Verniere just phoned to say that a lengthy musical
composition of hers will be featured in </i>The Keep, <i>the horror movie previewed in our last issue.”</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-A
reprint of an article by author, publisher, and anthologist Robert M. Price,
from his fanzine </span></i><span style="font-size: 14pt;">Crypt of Cthulhu, <i>humorously catalogs the absurd practice among
horror writers of having a character write a narrative until the point of their
demise (pictured). Price provides several examples. The trend began, as far as Price’s
article is concerned, with H.P. Lovecraft’s “Dagon.” Lovecraft is represented a
second time with an excerpt from “The Diary of Alonzo Typer,” a story written with William Lumley. Other authors
followed in Lovecraft’s footsteps and Price shares examples from stories by Lin
Carter, August Derleth, Robert Bloch, and Frank Belknap Long. Fittingly, Price
ends the article with “. . . but wait! Good God! What’s that coming out of the
garbage disposal – eeeeyahh! glub, glub . . .”</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--TZ
Interview: H.P. Lovecraft by Peter Cannon </span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXlSUjlIVJZgtsB6oMFe6Uvih6gnM_LgLsI0ulqTguhHCU3AZXEW5QPXkmHSUeeyriVd6vnd6QMy6RV5NZ6439BLd3ffhbsXCqZAfjavruvfg1cClwYF8oeOXRUGiPVB1IZInaYixI5Z7S/s869/Lovecraft+Interview.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="869" data-original-width="614" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXlSUjlIVJZgtsB6oMFe6Uvih6gnM_LgLsI0ulqTguhHCU3AZXEW5QPXkmHSUeeyriVd6vnd6QMy6RV5NZ6439BLd3ffhbsXCqZAfjavruvfg1cClwYF8oeOXRUGiPVB1IZInaYixI5Z7S/s320/Lovecraft+Interview.jpg" width="226" /></a></span></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">“TZ joins America’s acknowledged master
of cosmic horror for a gentlemanly talk about dreams, nightmares, and the
delights of Providence, Rhode Island.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-Howard
Phillips Lovecraft, author of fantasy and horror fiction, best known for his
association with </span></i><span style="font-size: 14pt;">Weird Tales <i>magazine, whose posthumous appreciation as
an important American author greatly eclipses the scant recognition received
during his lifetime, died in 1937, forty-six years before this issue hit
newsstands. Therefore, this interview with Lovecraft is an artistic deception.
This feature on Lovecraft was likely originally slated to follow the same
format as “The Essential Writers” column from previous issues, in which a deceased
writer of supernatural fiction is profiled in an essay by a literary historian
(Mike Ashley or Jack Sullivan) and represented with a notable story. Previous
issues included features on M.R. James, J. Sheridan Le Fanu, William Hope
Hodgson, Arthur Machen, and L.P. Hartley. Later issues featured the Benson
brothers, Shirley Jackson, and H. Russell Wakefield. It was Carol Serling who
suggested that the feature on H.P. Lovecraft take a different approach. Knowing
that the magazine wished to reprint excerpts from Lovecraft’s letters,
published in several volumes by Arkham House, Serling suggested the interview
format, with Lovecraft’s answers taken from his vast correspondence.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-The
interviewer is Peter Cannon, a Lovecraft scholar and author of Lovecraftian
fiction. Cannon is faithful to the artifice, using his opening remarks to
provide a brief outline of Lovecraft’s life and writings and to describe
traveling to Providence to meet with Lovecraft for the interview. Cannon covers
a great amount of material over the course of the interview. He begins by recording
Lovecraft’s thoughts on Providence, Lovecraft’s beloved native city, as well as
Lovecraft’s love for England and his penchants as an Anglophile. Lovecraft’s attempts
to set stories in other locations are discussed, as is Lovecraft’s bleak view
of humanity’s place in the cosmos. From there, the interview moves along a
biographical track, recording Lovecraft’s memories of his upbringing, his early
love of science (especially astronomy) and reading, the death of Lovecraft’s
father, Lovecraft’s admiration for his maternal grandfather, Whipple Van Buren
Phillips, and the deaths of both Phillips and Lovecraft’s maternal grandmother,
the latter event plunging the Lovecraft household into “a gloom from which it
never recovered.”</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-Other
topics discussed include the way in which the death of Lovecraft’s grandmother
brought nightmares that in turn inspired imagery in Lovecraft’s poetry. Revealed
also is the prosaic truth behind the naming of the mad sorcerer Abdul Alhazred,
author of the dreaded book of black magic, </span></i><span style="font-size: 14pt;">The Necronomicon.<i> The name was
applied to Lovecraft himself by a relative, in a bit of roleplaying, when the
young Lovecraft became enamored of the region described in the </i>Arabian
Nights. <i>Lovecraft’s school days are
briefly touched upon, as are Lovecraft’s earliest published writings, science
articles and miscellaneous written contributions by a teenaged Lovecraft for
local newspapers. From here, the interview delves into Lovecraft’s stories,
beginning with “Herbert West – Reanimator,” a story Lovecraft despised, and a
story that was considered by most to be strictly minor Lovecraft until director
Stuart Gordon and writer Dennis Paoli adapted the story for the 1985 cult film,
</i>Re-Animator.<i> Lovecraft describes
breaking into </i>Weird Tales <i>magazine as
a contributor, and also describes the conditions which resulted in his turning
down the publisher’s offer to edit the magazine (the required move to Chicago
proved prohibitive). <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-Lovecraft
very briefly describes his marriage to Sonia H. Greene, as well as the eventual
disintegration of the marriage, and avoids directly commenting on an indirect
question about sex. Lovecraft describes his evolution as a political thinker,
his love of the writings of Edgar Allan Poe, Lord Dunsany, Arthur Machen, M.R.
James, and Algernon Blackwood, and his generally low opinion of the fiction
published in </span></i><span style="font-size: 14pt;">Weird Tales. <i>Lovecraft describes the rare instance of a
dream inspiring a story, as in “The Statement of Randolph Carter,” and provides
comments on a number of his other stories. Lovecraft held a very low opinion of
almost all of his stories, stating that the only stories he felt were
successful were “The Colour Out of Space” and “The Music of Erich Zann.”
Lovecraft describes the occasional difficulties in placing many of his most
notable works, including “The Call of Cthulhu” and </i>At the Mountains of
Madness, <i>and provides details on the only
book publication of his work to appear during his lifetime, an error-filled
edition of “The Shadow Over Innsmouth,” with illustrations by Frank Utpatel,
published by Visionary Press in 1936. Lovecraft explains why Putnam’s initially
planned to publish a collection of his tales before ultimately declining, and
describes the lack of satisfaction achieved in ghostwriting stories or
collaborating with other authors.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-Lovecraft
gives his opinion concerning popular horror films of the time (he generally found
them boring), describes his love of the southern U.S., as well as his reticence
to set a story there (he associates warmth with happiness), and bemoans the
gradual shrinking of markets for quality weird fiction. Lovecraft explains the
reason he has never held down a regular job (he never learned an employable skill),
and describes the methods by which he is able (barely) to live on a minuscule
budget. The interview concludes with Lovecraft’s autobiographical poem,
“Background.” Cannon provides a final statement describing the circumstances of
Lovecraft’s death and the creation of the publisher Arkham House by Lovecraft’s
friends August Derleth and Donald Wandrei in order to preserve Lovecraft’s
writings. Finally, Cannon provides a list of works by Lovecraft and others for
those interested in reading further. The interview is illustrated with several
photographs, including two profiles of Lovecraft, a photograph of one of
Lovecraft’s handwritten letters to Clark Ashton Smith, a photograph of
Lovecraft’s tombstone in Swan Point Cemetery in Providence, and a current
(1983) photograph of the house in which Lovecraft lived. Also included is
Lovecraft’s sketch of his home, the cover (by A.R. Tilburne) for the November,
1938 issue of </span></i><span style="font-size: 14pt;">Weird Tales <i>(containing Lovecraft’s “The Nameless
City”), and Virgil Finlay’s famous illustrative portrait of Lovecraft as an
eighteenth-century gentleman.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-On
a final note, the earliest adaptations of Lovecraft’s stories on American
television arrived courtesy of Rod Serling’s </span></i><span style="font-size: 14pt;">Night Gallery. <i>The second season
of the series brought two Lovecraft adaptations, “Pickman’s Model” and “Cool
Air,” the latter adapted by Serling, both of which are considered to be among
the show’s best segments.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--Required
Reading: “Something About Cats” by H.P. Lovecraft </span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKYZEebmdHoNelV7bVZ1s1Snqc7oufeGfcSoAPPcbi-fwh9OIu7AE4uszTogh3hP2fSBEGdNa1lR8tXrYMZtJvvZAjkRlBOYVc0PoBIwR0xpv77Ttnxnd97IrcJCfuNRY-Nprn-aTjQ8x8/s500/Something+About+Cats.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="500" data-original-width="342" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKYZEebmdHoNelV7bVZ1s1Snqc7oufeGfcSoAPPcbi-fwh9OIu7AE4uszTogh3hP2fSBEGdNa1lR8tXrYMZtJvvZAjkRlBOYVc0PoBIwR0xpv77Ttnxnd97IrcJCfuNRY-Nprn-aTjQ8x8/s320/Something+About+Cats.jpg" width="219" /></a></span></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">With an introduction and notes by S.T. Joshi<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Illustrated by Jason Eckhardt<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">“HPL’s definitive defense of a creature
who, if not <i>man’s </i>best friend, is
certainly the gentleman’s” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-This
dense, witty, philosophical, and sometimes outrageous (and hilarious) written defense
of the domesticated cat, presented here in edited form, is one of Lovecraft’s best-known
and most oft-reprinted essays, a mode of writing in which, according to
Lovecraft scholar S.T. Joshi, “Lovecraft fully reveals that astounding
erudition, found only indirectly in the tales, that made him one of the most
intelligent men of his generation.” The essay was first published
(posthumously) as “Cats and Dogs” in the Summer, 1937 issue of the amateur
magazine </span></i><span style="font-size: 14pt;">Leaves, <i>edited by Lovecraft’s friend and literary executor Robert H. Barlow. It
was collected as the title work in </i>Something About Cats and Other Pieces, <i>edited by August Derleth and published by
Arkham House in 1949. The essay was written much earlier, in 1926, and Joshi
details the genesis of the piece in his introduction: “It was inspired by
Lovecraft’s lifelong connection with amateur journalism. In November of 1926
the Blue Pencil Club, a group of amateur writers based in New York City, was
planning to hold a debate on the aesthetic superiority of cats or dogs.
Lovecraft had become closely associated with this group during his two years
spent in New York, but in April of 1926 he had left the ‘pest zone’ of Brooklyn
to return to the tranquil and familiar environs of his native Providence. Not
wishing to be left out of the discussion, however, he wrote a lengthy treatise
for his good friend James F. Morton to read to the club.” The debate itself was
inspired by a similar debate that occurred in the pages of the </i>New York
Herald Tribune <i>in October of 1926, in
which the critic Carl Van Doren wrote an article defending the cat as the
gentleman’s chosen companion. The article prompted rebuttals and attacks from
the writers Albert Payson Terhune and Harvey O’Higgins.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-The
essay is an artful if straightforward rebuttal of the negative conceptions that
have formed around the image of the domesticated cat throughout the course of
human history. It also addresses dogs and dog-lovers in an honest, if sometimes
insulting, manner. Lovecraft discusses the physical beauty of the cat, famous
writers and artists who admired cats, the Egyptian worship of cat idols, the
mysteries of cat behavior, and the general inability of some people to live
with an animal companion as independent in its behavior as themselves. Lovecraft
concludes: “Beauty, sufficiency, ease, and good manners – what more can
civilization require? We have them all in the divine little monarch who lounges
gloriously on his silken cushion before the hearth. Loveliness and joy for
their own sake – pride and harmony and coordination – spirit, restfulness, and
completeness – all here are present, and need but a sympathetic disillusionment
for worship in full measure.”</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-Cats
appear in several of Lovecraft’s tales. As S.T. Joshi points out in his
introduction: “who can forget that scene in </span></i><span style="font-size: 14pt;">The Dream-Quest of Unknown Kadath <i>[1927;
published 1943] when legions of cats save Randolph Carter from loathsome
toadlike entities on the moon, leaping back to earth before dawn?” Cats take a
central role in Lovecraft’s gruesome revenge story, “The Cats of Ulthar” (1920)
and remain an unfortunate figure from one of Lovecraft’s most popular tales,
“The Rats in the Walls” (1924). In the tale, the narrator’s cat is given an
appallingly racist name which has repeatedly served as fodder for those
detractors who have attacked Lovecraft’s growing stature as a writer due to the
racism and xenophobia Lovecraft revealed in private letters and, often
indirectly, several of his tales.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--“Huggins’
World” by Ennis Duling </span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBS0s2tARwzi27UMlVxGCIJz_XXJIrabutkDE6ltmmK8OmWCjqlQXE33qpN5O_CUlhJeOYwUBxqzV0q6xD7LrrujPi77T2qe1D9YM3-Ivr-1lFETEI1GWgkZXUClRhnMfSyBilbGEKVoDr/s726/Huggins+World.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="362" data-original-width="726" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBS0s2tARwzi27UMlVxGCIJz_XXJIrabutkDE6ltmmK8OmWCjqlQXE33qpN5O_CUlhJeOYwUBxqzV0q6xD7LrrujPi77T2qe1D9YM3-Ivr-1lFETEI1GWgkZXUClRhnMfSyBilbGEKVoDr/s320/Huggins+World.jpg" width="320" /></a></span></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Illustrated by Nicola Cuti<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">“Seen from the inside, the funny papers
weren’t very funny.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-A
journalist is intrigued by a long-running newspaper cartoon, </span></i><span style="font-size: 14pt;">Huggins’ World, <i>which
seems never to change over time. The journalist attempts to contact the strip’s
creator, feeling there may be a story there which will jumpstart the
journalist’s sagging career. The journalist is invited to the creator’s home,
making the journey via an old, abandoned railway. Once arrived, the journalist
realizes, to his horror, that not only has he arrived in the actual world of
the cartoon (a zany town with frighteningly insane residents) but that he is
trapped there. In a final act of desperation, the journalist discovers the
location of the cartoonist’s drawing board and draws a doorway back to his
world. The story was reprinted in </i>The Year’s Best Fantasy Stories: 10 <i>(1984),</i> <i>edited by Arthur W. Saha.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--“Open
Frame” by Jack C. Haldeman II </span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGLQekeA3CTfYujQwFXaYkhuLjAHBmPecpTm44Wr2YbsaR7lDnfWnILf1PESNsdkASEzrn3WNY5G5F_vqWrJDkI6VJfTuB6DFckqXOZoJu-1hd0KpqryYSfNR8-2T34zTXoAv74FQMCGkz/s1151/Open+Frame.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1151" data-original-width="1122" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGLQekeA3CTfYujQwFXaYkhuLjAHBmPecpTm44Wr2YbsaR7lDnfWnILf1PESNsdkASEzrn3WNY5G5F_vqWrJDkI6VJfTuB6DFckqXOZoJu-1hd0KpqryYSfNR8-2T34zTXoAv74FQMCGkz/s320/Open+Frame.jpg" width="312" /></a></span></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Illustrated by Rosanna Chinchilla<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">“He was just your average Joe, but
somewhere inside lurked a genius” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-For
a brief time, an average man becomes incredibly intellectually gifted. In this
state, he deduces that the Earth has long moved through a vast electromagnetic
field that has diminished the brain power of everyone on the planet. The planet
has now moved free of this field. With his newfound intellectual gifts, the man
makes plans to improve his life and pursue an array of new fields of study. But
it was only a hiccup. Earth again moves into the electromagnetic field and the
man loses his newfound intellectual ability.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>-Jack
C. Haldeman II (1941-2002), a prolific and accomplished science fiction writer
specializing in short fiction, returned to the pages of TZ Magazine with the story "Judgment Day" in the March/April, 1984 issue. Another story, "Dead Man's Tie," appeared in the February, 1987 issue. Haldeman collaborated with George Alec Effinger for the story "The Funny Trick They Played on Old McBundy's Son" in the Summer, 1986 issue of </i>Night Cry. <i>Haldeman also </i></span><span style="font-size: 14pt;"><i>wrote the copious story notes for the posthumously published anthology </i>Rod Serling’s Other Worlds <i>(1978), which included an introduction by Richard Matheson and stories by Ray Bradbury, Theodore Sturgeon, William F. Nolan, Fritz Leiber, and Dennis Etchison, among others. Haldeman's younger brother, Joe Haldeman, best-known as the author of </i>The Forever War <i>(1975), previously appeared in the pages of TZ Magazine for the May, 1981 issue with the story "Seven and the Stars." </i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--Cartoon
by Curt Ferguson</span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy16sn-HphMX0REUBvqldUbrMvljfjyQdMQLSL66IelBqFaYmspfzxUNp_nKOMlXwhrm6cGrdPsMkY0ENnLor6pcdYd5wQRrTflk-llyB_q2IhS4ly5Ovrgow-riPDDZZyym7c4pBg12I7/s2048/Cartoon.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1524" data-original-width="2048" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy16sn-HphMX0REUBvqldUbrMvljfjyQdMQLSL66IelBqFaYmspfzxUNp_nKOMlXwhrm6cGrdPsMkY0ENnLor6pcdYd5wQRrTflk-llyB_q2IhS4ly5Ovrgow-riPDDZZyym7c4pBg12I7/w640-h476/Cartoon.jpg" width="640" /></a></b></div><b><span style="font-size: 14pt;"><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;"><br /></span></b></p>--“Edison
Came to Stay” by A. Wayne Carter <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3GyPIK-NLTpwONWUZRw8utXlUVt8YMnhxADG0EJB3nEEQmNArvouOKRGiivd2d8mIk7z1oEDADxrkxP0u6E_vNKQ917yXc_FHUIMJF7MJwMaqxyi3TfgOrvsjF0eL1B8HWTT0hw2H7mm8/s1072/Edison+Came+to+Stay.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="820" data-original-width="1072" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3GyPIK-NLTpwONWUZRw8utXlUVt8YMnhxADG0EJB3nEEQmNArvouOKRGiivd2d8mIk7z1oEDADxrkxP0u6E_vNKQ917yXc_FHUIMJF7MJwMaqxyi3TfgOrvsjF0eL1B8HWTT0hw2H7mm8/s320/Edison+Came+to+Stay.jpg" width="320" /></a></div></span></b><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Illustrated by Gregory Cannone <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">“For phone-machine freaks, a cautionary
tale. Start reading at the sound of the beep.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-An
answering machine, nicknamed Edison by its owner, develops a mind of its own
while recording the increasing eccentric behavior of its owner, the
frustrations and suspicions of his associates, and, eventually, the evidence of
a murder. The tale is told almost entirely in the form of transcripts from an
answering machine. This story is an interesting entry in the tale of
technological terror, using a recent innovation, the telephone answering
machine, to explore the dehumanizing aspects of our increasing reliance on technology
to facilitate interpersonal relationships, a theme explored numerous times on </span></i><span style="font-size: 14pt;">The Twilight Zone. <i> </i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--TZ
Screen Preview: <i>Brainstorm </i>by James Verniere </span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn4fosqG3qMpoWlvICDd2rJn0lQoKKwuL1NeSoFWDij83bf1hkTO7SsOQ0lAts9NSDFDgZjGEMHNSM-vnd3M5oty9G63-5-m8NlQmtpCCWchCqIOqkIO9SiFACfe7t6vPVMtKBu3_ATNGJ/s1250/TZ+Screen+Preview.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="756" data-original-width="1250" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn4fosqG3qMpoWlvICDd2rJn0lQoKKwuL1NeSoFWDij83bf1hkTO7SsOQ0lAts9NSDFDgZjGEMHNSM-vnd3M5oty9G63-5-m8NlQmtpCCWchCqIOqkIO9SiFACfe7t6vPVMtKBu3_ATNGJ/s320/TZ+Screen+Preview.jpg" width="320" /></a></span></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">“Despite the death of one of its stars,
special effects wizard Douglas Trumbull believes he’s saved the film. James
Verniere reports.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-Verniere
documents the troubles on the set of the film </span></i><span style="font-size: 14pt;">Brainstorm, <i>directed
by Douglas Trumbull and starring Christopher Walken, Natalie Wood (pictured),
Louise Fletcher and Cliff Robertson (star of </i>The Twilight Zone’s <i>“A Hundred Yards Over the Rim” and “The
Dummy”). The film is notable as the final film role of Natalie Wood, who died
in a boating accident before photography was completed on the film. Wood’s
death, which continues to be a subject of fascination for many who believe
there was more to the actress’s death than an accident, nearly derailed the
film. Despite the insistence of director Trumbull that the film could be
completed without Wood, MGM/UA attempted to scrap the project and collect on an
insurance claim with Lloyds of London. Trumbull convinced Lloyds that the film
could be completed and was given the go-ahead to finish. MGM/UA eventually came
around once Trumbull screened a rough cut of the film for the studio. Trumbull
is best-known as a special effects artist, working on such films as </i>2001: A
Space Odyssey, Star Trek: The Motion Picture, Blade Runner, <i>and </i>Close Encounters of the Third Kind. <i>Trumbull’s opportunities as a feature-film
director virtually evaporated after the troubled production of </i>Brainstorm, <i>a film which, due to the studio’s reluctance
to properly market the film, was a commercial failure. Trumbull previously
directed the science fiction ecology film </i>Silent Running <i>(1972) but it was also commercially unsuccessful.
Verniere briefly interviews Trumball concerning the filming of </i>Brainstorm.<i> The feature is accompanied by several color
photographs from the film.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--TZ
Screen Preview: An Advanced Look at <i>Twilight
Zone: The Movie </i></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-size: 14pt;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgouNFVQ4BZ5Yodi7CMWfiQKjx-o6bjzmgAKlSkOagMKLXFdNLEbFTdFVdNGFkhJei6snKZdyUzi_4UDFhZmURWYBzv3vGsNuXYdjXoTrqHJSZN9UqTZkduzzFmWE5aeYwGVArzlTR-JR5I/s358/TZ+Screen+Preview+2.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="284" data-original-width="358" height="159" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgouNFVQ4BZ5Yodi7CMWfiQKjx-o6bjzmgAKlSkOagMKLXFdNLEbFTdFVdNGFkhJei6snKZdyUzi_4UDFhZmURWYBzv3vGsNuXYdjXoTrqHJSZN9UqTZkduzzFmWE5aeYwGVArzlTR-JR5I/w200-h159/TZ+Screen+Preview+2.jpg" width="200" /></a></i></span></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">“What’s in store for the summer? A trip
back to <i>The Twilight Zone, </i>courtesy Steven
Spielberg and John Landis.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-This
is a photo-feature serving as a preview of </span></i><span style="font-size: 14pt;">Twilight Zone: The Movie <i>as well
as a preview of the next issue of TZ Magazine, which is devotedly almost
entirely to documenting the production of the film. The text that accompanies
the photographs describes each segment of the film, including director George Miller's remake of Richard Matheson's "Nightmare at 20,000 Feet" (pictured), which I wrote about in detail in my previous <a href="https://twilightzonevortex.blogspot.com/2021/08/nightmare-at-20000-feet.html"><span style="color: white;">post.</span></a></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--“Confessions
of a Freelance Fantasist” by Isidore Haiblum </span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix4mz3maxpWpxsVK1tdvwjZBNslC51hbU5TOtEw5K2G8ygiWLh4VP0BGeVG64ToV_eQi74LswWb-_ydtfOOmgx8FnzcoCR0jNcs8GR7YfR6ouQWdd1seTl1N2xVAhphIm_oh9pkWT8adfB/s879/Confessions+of+a+Freelance+Fantasist.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="879" data-original-width="795" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix4mz3maxpWpxsVK1tdvwjZBNslC51hbU5TOtEw5K2G8ygiWLh4VP0BGeVG64ToV_eQi74LswWb-_ydtfOOmgx8FnzcoCR0jNcs8GR7YfR6ouQWdd1seTl1N2xVAhphIm_oh9pkWT8adfB/s320/Confessions+of+a+Freelance+Fantasist.jpg" width="289" /></a></span></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Illustrated by the author<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">“A survival guide in the form of a
memoir”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-In
the previous issue, science fiction and fantasy author Isidore Haiblum
(1935-2012), using a humorously self-deprecating tone that is carried over into
this installment, wrote about his cloistered upbringing in an ethnic Jewish
community, his discovery of hardboiled detective stories, which spurred a desire
to write, and his breakthrough as a writer when he connected with author/editor
Larry Shaw at Dell Books. In this installment, Haiblum describes his life as a
published author, from falling into the science fiction genre (“I do not view
my lack of scientific knowledge as an obstacle”), to writing the first ethnic
Jewish science fiction novel </span></i><span style="font-size: 14pt;">(The
Tsaddik of the Seven Wonders),<i> to
injecting his love of hardboiled detective fiction into his novels. Haiblum
also describes the ups and downs of having an agent, seeing his works published
in hardcover, as well as in foreign editions, and the challenges of working
with artists to achieve an appropriate cover image.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--The
Fantasy Five-Foot Bookshelf by Thomas M. Disch, Karl Edward Wagner, R.S. Hadji,
and T.E.D. Klein</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">“More recommended reading lists from
those in the know – and shame on you if you’ve never heard of Claude Seignolle
or Philip George Chadwick.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-Last
issue I shared the pages from the first part of this feature. This time around,
I’ve decided to simply list the selections chosen by the authors. In most
cases, each author also provides a sentence of two explaining why the works in
question deserve their lofty positions.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><u><span style="font-size: 14pt;"><b>13 Great Works of Fantasy from the
Last 13 Years</b></span></u></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Selected by Thomas M. Disch<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">1.
One Hundred Years of Solitude </span></i><span style="font-size: 14pt;">by
Gabriel Garcia Marquez<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">2.
The Pagan Rabbi and Other Stories </span></i><span style="font-size: 14pt;">by
Cynthia Ozick <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">3.
Invisible Cities </span></i><span style="font-size: 14pt;">by Italo Calvino<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">4.
Shamp of the City-Solo </span></i><span style="font-size: 14pt;">by Jaimy
Gordon<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">5.
The Great Victorian Collection </span></i><span style="font-size: 14pt;">by
Brian Moore<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">6.
The Sinking of the Odradek Stadium and Other Novels </span></i><span style="font-size: 14pt;">by Harry Matthews<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">7.
The Auctioneer </span></i><span style="font-size: 14pt;">by Joan Samson<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">8.
Dancers at the End of Time </span></i><span style="font-size: 14pt;">by Michael
Moorcock<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">9.
Alyx </span></i><span style="font-size: 14pt;">by Joanna Russ<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">10.
Kingdoms of Elfin </span></i><span style="font-size: 14pt;">by Sylvia Townsend
Warner<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">11.
Lovers Living, Lovers Dead </span></i><span style="font-size: 14pt;">by Richard
Loritz<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">12.
Childhood and Other Neighborhoods </span></i><span style="font-size: 14pt;">by
Stuart Dybek<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">13.
Little, Big </span></i><span style="font-size: 14pt;">by John Crowley<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><u><span style="font-size: 14pt;"><b>13 Neglected Masterpieces of the
Macabre</b></span></u></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Selected by R.S. Hadji <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">1.
Basil Netherby </span></i><span style="font-size: 14pt;">by A.C. Benson<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">2.
Bury Him Darkly </span></i><span style="font-size: 14pt;">by John Blackburn<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">3.
The Dark Chamber </span></i><span style="font-size: 14pt;">by Leonard Cline<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">4.
The Sorcerer’s Apprentice </span></i><span style="font-size: 14pt;">by Hanns
Heinz Ewers<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">5.
The Shiny Narrow Grin </span></i><span style="font-size: 14pt;">by Jane Gaskell<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">6.
Children of the Black Sabbath </span></i><span style="font-size: 14pt;">by Anne
Hebert<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">7.
Neither the Sea Nor the Sand </span></i><span style="font-size: 14pt;">by
Gordon Honeycombe<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">8.
Tales of the Uneasy </span></i><span style="font-size: 14pt;">by Violet Hunt <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">9.
A Book of Bargains </span></i><span style="font-size: 14pt;">by Vincent
O’Sullivan<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">10.
The Hole of the Pit </span></i><span style="font-size: 14pt;">by Adrian Ross<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">11.
Randall’s Round </span></i><span style="font-size: 14pt;">by Eleanor Scott<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">12.
The Accursed </span></i><span style="font-size: 14pt;">by Claude Seignolle<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">13.
Medusa </span></i><span style="font-size: 14pt;">by E.H. Visiak<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><u><span style="font-size: 14pt;"><b>13 Best Science Fiction Horror Novels</b></span></u></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Selected by Karl Edward Wagner<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">1.
The Death Guard </span></i><span style="font-size: 14pt;">by Philip George
Chadwick <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">2.
Final Blackout </span></i><span style="font-size: 14pt;">by L. Ron Hubbard<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">3.
Vampires Overhead </span></i><span style="font-size: 14pt;">by Alan Hyder<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">4.
The Quatermass Experiment </span></i><span style="font-size: 14pt;">by Nigel
Kneale<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">5.
Quatermass and the Pit </span></i><span style="font-size: 14pt;">by Nigel
Kneale<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">6.
The Cadaver of Gideon Wyck </span></i><span style="font-size: 14pt;">by
Alexander Laing<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">7.
The Flying Beast </span></i><span style="font-size: 14pt;">by Walter S.
Masterman<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">8.
The Black Corridor </span></i><span style="font-size: 14pt;">by Michael
Moorcock<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">9.
Land Under England </span></i><span style="font-size: 14pt;">by Joseph O’Neill<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">10.
The Cross of Carl </span></i><span style="font-size: 14pt;">by Walter Owen <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">11.
Freak Museum </span></i><span style="font-size: 14pt;">by R.R. Ryan<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">12.
Frankenstein </span></i><span style="font-size: 14pt;">by Mary Shelley<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">13.
The Day of the Triffids </span></i><span style="font-size: 14pt;">by John
Wyndham<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><u><span style="font-size: 14pt;"><b>The 13 Most Terrifying Horror Stories</b></span></u></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Selected by R.S. Hadji<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">1. “The Striding Place” by Gertrude
Atherton<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">2. “Negotium Perambulans” by E.F. Benson<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">3. “The Willows” by Algernon Blackwood<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">4. “The Jar” by Ray Bradbury<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">5. “In the Bag” by Ramsey Campbell<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">6. “The Upper Berth” by F. Marion
Crawford<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">7. “Mujina” by Lafcadio Hearn<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">8. “Pigeons from Hell” by Robert E.
Howard<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">9. “The Ash-Tree” by M.R. James<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">10. “The Thing in the Cellar” by David
H. Keller<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">11. “The Graveyard Rats” by Henry
Kuttner<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">12. “The Haunter of the Dark” by H.P.
Lovecraft<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">13. “The Frontier Guards” by H. Russell
Wakefield<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><u><span style="font-size: 14pt;"><b>The 13 Most Terrifying Horror Stories</b></span></u></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Selected by T.E.D. Klein<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">1. “Casting the Runes” by M.R. James<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">2. “The Novel of the Black Seal” by
Arthur Machen<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">3. “The Willows” by Algernon Blackwood<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">4. “The Dunwich Horror” by H.P.
Lovecraft<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">5. “Bird of Prey” by John Collier<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">6. “Who Goes There?” by John W. Campbell<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">7. “They Bite” by Anthony Boucher<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">8. “Stay Off the Moon!” by Raymond F.
Jones<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">9. “Ottmar Balleau X 2” by George Bamber<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">10. “First Anniversary” by Richard
Matheson<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">11. “The Autopsy” by Michael Shea<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">12. “The Trick” by Ramsey Campbell<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">13. “To Build a Fire” by Jack London<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-Klein
also offers a few “honorable mentions” for his list, including “Fritzchen” by
Charles Beaumont, “Mimic” by Donald A. Wollheim, “A Bit of the Dark World” by
Fritz Leiber, </span></i><span style="font-size: 14pt;">Ringstones<i> by Sarban, and </i>The House on the
Borderland <i>by William Hope Hodgson.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--“The
Peddler’s Bowl” by Gordon Linzner </span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFSjhNUUxNxxi4Y_UCwlnmLIneKqbteO5jivZ5cFgKwuAq9S1lcq0VhdS6N6a5aSBIXguPruoTd8iRX9KjUaCdNI03n5F4nEh-TvaEbie_s-rGERowm6cOLWQTyeQRCdNZXxgC61cDrNbm/s1399/The+Peddler%2527s+Bowl.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1399" data-original-width="1061" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFSjhNUUxNxxi4Y_UCwlnmLIneKqbteO5jivZ5cFgKwuAq9S1lcq0VhdS6N6a5aSBIXguPruoTd8iRX9KjUaCdNI03n5F4nEh-TvaEbie_s-rGERowm6cOLWQTyeQRCdNZXxgC61cDrNbm/s320/The+Peddler%2527s+Bowl.jpg" width="243" /></a></span></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Illustrated by José Reyes<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">“The bowl held magic, that much was
clear. But was it a blessing . . . or a curse?”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-A
poor couple in medieval Japan receives an unusual visitor after dark. He is a
peddler of wares but is not trying to sell them anything. Instead, the peddler
offers that they eat from his bowl. The couple is wary at first and then
terribly frightened when it is revealed that the bowl was crafted by forest
spirits and contains magical properties. When that magical property is revealed
to be an endless bowl of steamed rice, however, the man and his wife eat
greedily. The wife wakes the husband in the middle of the night and forces him
to help her steal, while the peddler sleeps, as much rice from the peddler’s
magic bowl as they are able before the sun rises. Desperate to beat the dawn,
the wife reaches her hand into the bowl. The bowl reduces the wife’s hand to a
bloody stump. To make matters worse, all of the rice the couple pilfered has
transformed into an inedible muck. The peddler, a kind-hearted man, wished only
to share a meal with the couple. He travels the countryside, sharing the rice
from his magical bowl with the poorest households. He foolishly neglected to explain to the couple the nature of the magic. The contents of the bowl cannot be given if not freely offered and cannot be gathered and stored beyond a single meal. </span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-Gordon
Linzner returns to the pages of TZ Magazine with another tale of magical Japan.
Linzner previously appeared in the magazine with the story "The Inn of the Dove" for the June, 1981 issue. Linzner also appeared with the story "Moshigawa's Homecoming" in the November, 1981 issue, and the story "MTA Announces New Plans to Ease Subway Congestion" in the September, 1982 issue. A later story, "The Magistrate's Pillow," appeared in the March/April, 1985 issue. </span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--A
Pair of Cat-Tales</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">“Two faces of your friendly neighborhood
feline: demonic . . . and delightful”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--“The
Better Choice” by S. Fowler Wright </span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNn5f57QQ848LYKklE_6GHoDYZbboUTFY2Fl4zwq99sVT2_ISdXeiy65cXrZOu8qd8JrBwjVZCPy1omYq3wJEg7yO7VsKnSCoBDlj_dblhCoTi_ELCI4AGEfxDgk6zxaC0wVjE3OEJwDK8/s1184/The+Better+Choice.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1184" data-original-width="783" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNn5f57QQ848LYKklE_6GHoDYZbboUTFY2Fl4zwq99sVT2_ISdXeiy65cXrZOu8qd8JrBwjVZCPy1omYq3wJEg7yO7VsKnSCoBDlj_dblhCoTi_ELCI4AGEfxDgk6zxaC0wVjE3OEJwDK8/w133-h200/The+Better+Choice.jpg" width="133" /></a></span></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Illustration by Frank Beyda<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-A
scientist and his wife are discussing the possibilities, as well as the
advantages and disadvantages, of transforming the wife into a cat. The
scientist believes he can achieve the transformation and the wife offers herself
up as a subject. Many days later, the wife, now in the form of a cat, returns
to their home, having had many exciting adventures. The scientist opens the
door for her, where she can enter the home and return to her human life. Instead,
she bounds away into the night, content to remain a cat. This story originally
appeared in </span></i><span style="font-size: 14pt;">Science Fiction
Adventures in Mutation <i>(1955), edited by
Groff Conklin. <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--“The
Book” by Gahan Wilson </span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxjtPEVkbEKMyEXsTHHOoXbpr6mbcDSRW8WmGattMtB1eUspUfUxWtgLpQ8BpDIZSFxQ9pyYlKFkJjoNi1dx5AvqZIKJjkBWWoROJkoJYk7iob_3NineQhwSfsfXpnj7gd2XRFIrffyAjY/s876/The+Book.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="876" data-original-width="844" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxjtPEVkbEKMyEXsTHHOoXbpr6mbcDSRW8WmGattMtB1eUspUfUxWtgLpQ8BpDIZSFxQ9pyYlKFkJjoNi1dx5AvqZIKJjkBWWoROJkoJYk7iob_3NineQhwSfsfXpnj7gd2XRFIrffyAjY/w193-h200/The+Book.jpg" width="193" /></a></span></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Illustration by Frank Beyda<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-A
book collector named Doren is astonished to find a rare grimoire at an absurdly
low price on the shelves of his favorite used bookstore. He expects to receive
trouble from the shop’s proprietor, who will undoubtedly recognize the error in
price and instead charge Doren a price closer to the book’s actual worth. To
Doren’s surprise, the shop owner offers no resistance when Doren brings the
book to the counter for purchase. Unbeknownst to Doren, however, an evil spirit
in the form of a cat, who has long plagued the shop’s owner, follows the new
owner of the cursed book out of the shop. This story is reprinted from its
initial appearance in the June, 1962 issue of </span></i><span style="font-size: 14pt;">Playboy. <i>It was
collected in </i>The Cleft and Other Odd Tales <i>(1998). <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--A
Feline Portfolio </span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3fTDUIa-K307pzuEdN640E7hAxVGPFvzrhqcCEPtsJJufIDIutcPKhUr1abjX-fKc5ZbA00Y2PSbv8e9xGFMEBu15EOhtLU3IjrzeTYlaNnQs2OfmEzy9hpMOjE2atYhkWZgOEhHzXW2M/s740/A+Feline+Portfolio.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="740" data-original-width="539" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3fTDUIa-K307pzuEdN640E7hAxVGPFvzrhqcCEPtsJJufIDIutcPKhUr1abjX-fKc5ZbA00Y2PSbv8e9xGFMEBu15EOhtLU3IjrzeTYlaNnQs2OfmEzy9hpMOjE2atYhkWZgOEhHzXW2M/w146-h200/A+Feline+Portfolio.jpg" width="146" /></a></span></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">“TZ artists look at the most perfect
supernatural creature of them all.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-The
magazine’s art director asked the magazine’s usual artists to dig into their
files and share their most interesting or unusual cat illustrations. The
results comprise this portfolio, with illustrations by John Canizzo (pictured),
Randy Jones, Nicola Cuti, E.T. Steadman, Annie Alleman, Stephen W. Andrus,
Yvonne Buchanan, Chris Pelletiere, Rosanna Chinchilla, Peter Kuper, Ahmet
Gorgun, Richard Basil Mock, and Frances Jetter. Also included are several
quotes on cats.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--“Mistral”
by Jon Wynne-Tyson </span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeV3_tdPW8W8R9y4wyrTrO57SVb_BkpS1P4z5b4-QZQmNmVpx3IWVt7pvIEZw-VbedvFO8C9iegsbv-H5M_UG-qkt_HssBUhyphenhyphenPbJMUer9YkpmxtTEcJix6d8v-bk_svHCrrx2TeqmXnjJ0/s1197/Mistral.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1197" data-original-width="1039" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeV3_tdPW8W8R9y4wyrTrO57SVb_BkpS1P4z5b4-QZQmNmVpx3IWVt7pvIEZw-VbedvFO8C9iegsbv-H5M_UG-qkt_HssBUhyphenhyphenPbJMUer9YkpmxtTEcJix6d8v-bk_svHCrrx2TeqmXnjJ0/s320/Mistral.jpg" width="278" /></a></span></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Collage with an illustration by Aubrey
Beardsley<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">“When the wind known as <i>le mistral </i>blows, memories return, masks
are torn away, and horror unsheathes its claws.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-While
vacationing in an area of France far removed from the usual tourist spots, the
narrator encounters a school friend from many years ago. The friend is
accompanied by a beautiful and exotic woman who reminds the narrator of a
feline. The narrator learns that the woman insists on a disciplined life. She
does not eat meat, vacation where it is cold, or remain in a place where an
unnatural wind blows. The narrator makes the mistake of feeding the woman meat
from his dinner plate, resulting in the woman’s ravenous behavior. The
narrator’s friend and the woman leave soon after the narrator offers the use of
his car. Later, the narrator finds his wrecked car near the roadside. Nearby,
he finds the body of his friend, clawed to ribbons as though from a wild animal.
There is no sign of the woman, and she is never seen again. “Mistral” was reprinted
in the first issue of TZ Magazine’s sister publication, </span></i><span style="font-size: 14pt;">Night Cry. <i>It
was also selected for </i>The Year’s Best Horror Stories: Series XII <i>(1984), edited by Karl Edward Wagner. Jon
Wynne-Tyson previously appeared in the magazine for the October, 1982 issue. A
later story, “Monarch of the Glen,” appeared in the Winter, 1985 issue of </i>Night
Cry.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--Show-by-Show
Guide: TV’s Twilight Zone: Part Twenty-Five by Marc Scott Zicree</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-Zicree
is winding down his episode guide to the original series by providing the cast
and crew credits, Rod Serling’s opening and closing narrations, and summaries
for the fifth season episodes “Sounds and Silences,” “Caesar and Me,” and “The
Jeopardy Room.” Unlike in his then-recently published </span></i><span style="font-size: 14pt;">The Twilight Zone Companion, <i>Zicree’s guide in the pages of TZ Magazine does not include his
production history of the series, episode commentaries, or writer profiles. <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--TZ
Classic Teleplay: “Five Characters in Search of an Exit” by Rod Serling </span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYDm6hngvDOZKjC8Nr6v1dCmftrJRW5Jg8gJPcWM0Qs3iGFxW_4Ab2t82Ym-5oto0fHeAI83mwmhvUEajtjo24jAwXyRRWrzkIM4P6q0miNvMIizlWhpRjbhA4ptL7aIHc5eIVsYY-yBTv/s658/Five+Characters+in+Search+of+an+Exit.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="658" data-original-width="336" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYDm6hngvDOZKjC8Nr6v1dCmftrJRW5Jg8gJPcWM0Qs3iGFxW_4Ab2t82Ym-5oto0fHeAI83mwmhvUEajtjo24jAwXyRRWrzkIM4P6q0miNvMIizlWhpRjbhA4ptL7aIHc5eIVsYY-yBTv/w102-h200/Five+Characters+in+Search+of+an+Exit.jpg" width="102" /></a></span></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-Reprinted
here is Rod Serling’s teleplay for the excellent third season episode, “Five
Characters in Search of an Exit.” The script was based on an unpublished story,
“The Depository,” by Marvin Petal. It was directed by Lamont Johnson and
featured William Windom, Susan Harrison, Murray Matheson, Kelton Garwood, and
Clark Allen as a group of misfits trapped in an unfamiliar place with no memory
of who they are or how they got there. The episode also features Carol Hill and
Mona Houghton, the latter being the daughter of series producer Buck Houghton. For
more interesting facts about the episode, revisit Brian’s <a href="https://twilightzonevortex.blogspot.com/2016/09/five-characters-in-search-of-exit.html"><span style="color: white;">review.</span></a><o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">--Looking
Ahead: In the September/October TZ</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">-Next
month brings a special issue, an in-depth look at the making of </span></i><span style="font-size: 14pt;">Twilight Zone: The Movie. <i>The issue also includes George Clayton Johnson's teleplay for his classic TZ episode, "Kick the Can," remade by Steven Spielberg for </i>Twilight Zone: The Movie,<i> as well as an afterword by Johnson proposing a new ending to the play and describing the episode's transition to the big screen. Marc Scott Zicree completes his show-by-show guide to the series and reflects back on his personal journey in researching the series and on </i>The Twilight Zone's <i>unique appeal. </i><o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtOHQTmi41_ofk_ZvriXP2jRulp7o44bvv3qtz8fi0nZ00CH9WSohIepaCMOytzVJV2kNRO4kwZqI7E_Dmj64e4X-sIqwbqE7WD2bVxgnG3GXj9ijQ_zLOggfDr88QM0qJCKorRiaraiPU/s1080/Looking+Ahead.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="797" data-original-width="1080" height="472" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtOHQTmi41_ofk_ZvriXP2jRulp7o44bvv3qtz8fi0nZ00CH9WSohIepaCMOytzVJV2kNRO4kwZqI7E_Dmj64e4X-sIqwbqE7WD2bVxgnG3GXj9ijQ_zLOggfDr88QM0qJCKorRiaraiPU/w640-h472/Looking+Ahead.jpg" width="640" /></a></div><span style="font-size: 14pt;"><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><br /></span></p>If you’ve read this far then I thank you
and hope you’ve enjoyed revisiting this issue of </span><i style="font-size: 14pt;">Rod Serling’s The Twilight Zone Magazine. </i><span style="font-size: 14pt;">See you next time!</span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face="Calibri, sans-serif" style="font-size: 14pt;"><b>-JP</b></span></p>JPhttp://www.blogger.com/profile/14808904189056290207noreply@blogger.com3tag:blogger.com,1999:blog-1318310043864039191.post-59275899703346991492021-08-23T07:00:00.469-05:002021-12-31T10:27:20.465-06:00"Nightmare at 20,000 Feet"<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjybF3_eCTFZDo2abGM12jSQkLqDF0cmheOI-TWxcfZWIi731zUFeXFTI1BIM4GWMwNB4dqzRlnr2DK5dGhrwGIkikGbliDNOR6PxM7XgjBOu9ebS83P1qHVPABb6UoYfYVxCAKX7Danhpn/s929/Shatner+3.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="708" data-original-width="929" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjybF3_eCTFZDo2abGM12jSQkLqDF0cmheOI-TWxcfZWIi731zUFeXFTI1BIM4GWMwNB4dqzRlnr2DK5dGhrwGIkikGbliDNOR6PxM7XgjBOu9ebS83P1qHVPABb6UoYfYVxCAKX7Danhpn/w400-h305/Shatner+3.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">William Shatner as Robert Wilson</td></tr></tbody></table><span style="font-size: 14pt;"></span><p></p><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">“Nightmare at 20,000 Feet”</span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Season Five, Episode 123<o:p></o:p></span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Original Air Date: </i>October 11, </span><span style="font-size: 14pt;">1963<o:p></o:p></span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><b><i><span style="font-size: 14pt;">Cast:<o:p></o:p></span></i></b></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Robert (Bob) Wilson: </i>William Shatner </span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Julia Wilson: </i>Christine White </span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; line-height: normal; margin-bottom: 0in;"><span style="font-size: 18.6667px;"><i>Flight Engineer: </i>Edward Kemmer </span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; line-height: normal; margin-bottom: 0in;"><span style="font-size: 18.6667px;"><i>Stewardess (Betty Crosby): </i>Asa Maynor </span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Gremlin: </i>Nick Cravat </span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; line-height: normal; margin-bottom: 0in;"><span style="font-size: 18.6667px;"><i>Police Officer: </i>David Armstrong </span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; line-height: normal; margin-bottom: 0in;"><span style="font-size: 18.6667px;"><i>Passengers: </i>Slim Bergman, Estelle Etterre, Madeline Finochio, Ed Haskett, Hath Howard, Robert McCord, Beryl McCutcheon, Jean Olson</span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><b><i><span style="font-size: 14pt;">Crew:<o:p></o:p></span></i></b></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Writer: </span></i><span style="font-size: 14pt;">Richard Matheson (based on his story) </span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><i style="font-size: 14pt;">Director: </i><span style="font-size: 14pt;">Richard Donner </span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Producer: </i>Bert Granet</span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Director of Photography: </i>Robert W. Pittack </span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Production Manager: </span></i><span style="font-size: 14pt;">Ralph W. Nelson<o:p></o:p></span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Art Direction: </span></i><span style="font-size: 14pt;">George W. Davis & Walter Holscher <o:p></o:p></span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Film Editor: </i>Thomas W. Scott</span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Set Decoration: </span></i><span style="font-size: 14pt;">Henry Grace & Robert R. Benton<o:p></o:p></span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Assistant Director: </i>Charles Bonniwell, Jr. </span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Casting: </i>Patricia Rose</span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; line-height: normal; margin-bottom: 0in;"><span><i style="font-size: 14pt;">Music: </i><span style="font-size: 18.6667px;">stock </span></span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Sound: </span></i><span style="font-size: 14pt;">Franklin Milton & Philip N. Mitchell <o:p></o:p></span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Gremlin makeup designed by </i>William Tuttle <i>and applied by </i>Grant Keate</span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Mr. Serling’s Wardrobe: </span></i><span style="font-size: 14pt;">Eagle Clothes</span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Filmed at MGM Studios </i></span></div><p><b><i><span style="font-size: 14pt;">And Now, Mr. Serling:</span></i></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">“On
</span></i><span style="font-size: 14pt;">The Twilight Zone <i style="mso-bidi-font-style: normal;">next comes more exciting work from the
typewriter of Richard Matheson. Our show is called ‘Nightmare at 20,000 Feet.’
William Shatner and Christine White share performing honors in an aircraft, but
it’s the kind of flight none of us have ever experienced, and, I might add, I
hope none of us ever will. ‘Nightmare at 20,000 Feet,’ next time out on </i>The
Twilight Zone.” </span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><i><span style="font-size: 14pt;">Rod Serling’s Opening Narration: </span></i></b></p><div class="separator" style="clear: both; text-align: center;"><b><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2N6GLYBPMUA2v1fMuM79I4hXOd0ZDVZa0gYVw-q7JoMesaVWCVe4re4ufax_Gr1eh863-Kt7leFuuEwR3gPD6LInHais-hIs6PQwc5hz47NnV01fHN3XWt0mhVIiVlj8iHkGxehmDThar/s558/Serling+as+host.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="427" data-original-width="558" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2N6GLYBPMUA2v1fMuM79I4hXOd0ZDVZa0gYVw-q7JoMesaVWCVe4re4ufax_Gr1eh863-Kt7leFuuEwR3gPD6LInHais-hIs6PQwc5hz47NnV01fHN3XWt0mhVIiVlj8iHkGxehmDThar/s320/Serling+as+host.jpg" width="320" /></a></i></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">“Portrait
of a frightened man: Mr. Robert Wilson, thirty-seven, husband, father, and
salesman on sick leave. Mr. Wilson has just been discharged from a sanitarium
where he spent the last six months recovering from a nervous breakdown, the
onset of which took place on an evening not dissimilar to this one, on an
airliner very much like the one in which Mr. Wilson is about to be flown home –
the difference being that, on that evening half a year ago, Mr. Wilson’s flight
was terminated by the onslaught of his mental breakdown. Tonight, he’s
travelling all the way to his appointed destination, which, contrary to Mr. Wilson’s
plan, happens to be in the darkest corner of </span></i><span style="font-size: 14pt;">The Twilight Zone.”<i> <o:p></o:p></i></span></p><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">Summary: </span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirixqwZMLscPhOTxAeLVcUmlFiNdGWDtDq3IR5adrr1X-1qzegPJ8XnPuCWvB_Hrr6onen1AkzJKe2Ba6LBZ7_TQ3wOoTWRI5tyvz1gGso0exFIxxRt52IeSBctpu8odlQm5NTEQT_J5t3/s941/Shatner+and+White+1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="714" data-original-width="941" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirixqwZMLscPhOTxAeLVcUmlFiNdGWDtDq3IR5adrr1X-1qzegPJ8XnPuCWvB_Hrr6onen1AkzJKe2Ba6LBZ7_TQ3wOoTWRI5tyvz1gGso0exFIxxRt52IeSBctpu8odlQm5NTEQT_J5t3/s320/Shatner+and+White+1.jpg" width="320" /></a></b></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Bob
Wilson boards a passenger airplane with his wife, Julia. Wilson is noticeably
nervous. He is uncomfortable with his seat being next to the emergency exit. He
is startled when the cabin door slams closed. This is not simply a fear of
flying, but rather that Wilson has spent the last six months in a sanitarium
recovering from a nervous breakdown, the onset of which occurred on an
airplane. Released by his doctor, Wilson is determined to begin living again,
feeling guilt for having left Julia alone to take care of their children while
he was institutionalized. Julia does her best to calm him and assure him that
he <i style="mso-bidi-font-style: normal;">is</i> cured. </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig3p4EwLcOQ6ypBdIevYK0IWL5onqDKWypkjCDFwxRDS25VjT5jyUrFNt6k9DZxHl6d1URXCxt9wq4GhaOyUyaPT1pbDOizpxVd8KYqymBgeJqSEnFtwSNgzaTHQvmO_LbbbGlMF7BBbG1/s937/Shatner+and+Gremlin+2.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="705" data-original-width="937" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig3p4EwLcOQ6ypBdIevYK0IWL5onqDKWypkjCDFwxRDS25VjT5jyUrFNt6k9DZxHl6d1URXCxt9wq4GhaOyUyaPT1pbDOizpxVd8KYqymBgeJqSEnFtwSNgzaTHQvmO_LbbbGlMF7BBbG1/s320/Shatner+and+Gremlin+2.jpg" width="320" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Julia
falls asleep shortly after takeoff but Wilson is too nervous to sleep. He looks
out the window at the gathering storm. Then Wilson sees something else. On the wing
of the airplane is a figure resembling a man but grotesque in form. The figure moves
across the wing and pokes at a propeller. Wilson panics and calls the stewardess.
“There’s a man out there,” Wilson tells her. The stewardess looks at him
incredulously. “Look!” Wilson turns to the window. There is no one to be seen. Wilson
understands the madness of what he is saying and admits to having made a
mistake. Julia awakens but the stewardess assures her that everything is
alright. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Wilson
reassures Julia and she falls asleep again. Wilson closes the curtain on his
window and tries to read a newspaper. He cannot ignore the window for long,
however, and soon throws open the curtain. There, pressed close to the glass,
is a hideous face regarding him. Wilson looks away, repeating over and again: “It
isn’t there!” Wilson again calls the stewardess but the creature flies away
from the window before the stewardess arrives. Wilson, fearful of being thought
unwell, instead asks about the storm. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8wtN6lnpt3IzBtyGAx2Kg0NbQcnf8Kvv8DuXa-G__eH64xyWkRpoqzFo1MDiXYBnjgGMlFDMo0IdD5AgsqYo1V0GME-IxmAB9ug-FWYK5zTaERjX0W-cjYvofSZgqvQrXuW2NwbLbVXuz/s934/Shatner+and+Gremlin.jpg" style="clear: right; display: inline; float: right; font-size: 14pt; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="709" data-original-width="934" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8wtN6lnpt3IzBtyGAx2Kg0NbQcnf8Kvv8DuXa-G__eH64xyWkRpoqzFo1MDiXYBnjgGMlFDMo0IdD5AgsqYo1V0GME-IxmAB9ug-FWYK5zTaERjX0W-cjYvofSZgqvQrXuW2NwbLbVXuz/s320/Shatner+and+Gremlin.jpg" width="320" /></a><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Shortly
thereafter, Wilson again sees the creature on the wing of the airplane. The
creature begins tampering with the housing on an engine, prying it up and
meddling with the mechanism. Wilson is now convinced that he is not imagining
what he is seeing. He is fearful, as well, for this creature may damage the
plane and send it careening to the ground. </span><span style="font-size: 14pt;"><br /><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Wilson
wakes Julia. He tries to calmly explain what he has seen. He tells her that he
is sure it is real. At first he thought perhaps a mechanic had been forgotten
during takeoff. Now he believes it may be a gremlin like those described by
pilots during WWII. The creature jumps away whenever anyone other than Wilson
looks out the window. Now, however, it is threatening the safety of the plane.
This is why Wilson has decided to tell her. He knows it looks as though he is
suffering another breakdown but he assures her that this time is different. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Julia
cannot disguise the look of shock on her face, and this enrages Wilson. Still,
he tries to remain calm. He tells her to alert the pilots, have them observe the
wing. If they see nothing, he’ll commit himself when they land. But if they do
see something . . . <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Julia
hurriedly agrees. She gets up and walks to the cockpit door. The stewardess
cuts her off and Julia states that her husband wishes to see the flight engineer.
The stewardess reluctantly agrees. Wilson looks out the window again to see the
creature reappear and continue tampering with the airplane’s engine. Wilson hollers
for them to hurry. Julia and the flight engineer rush over. Wilson repeats his
story about something on the wing of the plane. He urges the flight engineer to
look out the window. Again, there is nothing unusual to be seen. </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj2_SegUhkRVh1ymrA-MKuWbg721mcXx0bP1BsJmLKZ7BqjRKT5kAZvjTyDGy-ZbBB62AOQO6KloV2O6uA5VZO_6HvIWX7gtJHOkyxf8tJBpC-dERWgzOosTN7KbojuOHQ_GipHng-H0WH/s918/Everyone+Look.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="714" data-original-width="918" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj2_SegUhkRVh1ymrA-MKuWbg721mcXx0bP1BsJmLKZ7BqjRKT5kAZvjTyDGy-ZbBB62AOQO6KloV2O6uA5VZO_6HvIWX7gtJHOkyxf8tJBpC-dERWgzOosTN7KbojuOHQ_GipHng-H0WH/s320/Everyone+Look.jpg" width="320" /></a></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>The
flight engineer tells Wilson to remain calm, that they have also seen it but
wish not to alarm the other passengers. At first, Wilson is elated that someone
else has seen the creature, but he quickly realizes that the flight engineer is
only validating his story in order to calm him down. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Insulted,
Wilson declares he’ll say nothing more, willing to let the plane crash before
being thought insane. The flight engineer gives Julia a sleeping tablet to give
to Wilson, who dutifully takes it. Julia falls asleep again. Wilson removes the
sleeping tablet held in his mouth and throws it to the floor. The creature
returns, taunting Wilson. Wilson looks over his shoulder and finds the solution
to his quandary. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>A
sleeping police officer is seated a few rows behind. At the police officer’s
hip is a service revolver. Wilson stands up, careful not to wake Julia, and
walks toward the officer. Wilson makes a pretense of dropping something to the
floor. He kneels down to retrieve it, gently removing the officer’s revolver in
the process. Wilson puts the gun in his coat and returns to his seat. </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3b4J9S14AkrgU3SzdyvTvehIFya39XI80q43Twz0MTOwc_fCtjT87gHiSgjPXQ65No3GVaBg8SxdaOc99KZ8fi15rnDI9dYsaQyd5fDUwNt9OWKj-vxuhb4710uTDs6sv172h4d6rfKqJ/s832/Wilson+steals+the+gun.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="709" data-original-width="832" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3b4J9S14AkrgU3SzdyvTvehIFya39XI80q43Twz0MTOwc_fCtjT87gHiSgjPXQ65No3GVaBg8SxdaOc99KZ8fi15rnDI9dYsaQyd5fDUwNt9OWKj-vxuhb4710uTDs6sv172h4d6rfKqJ/s320/Wilson+steals+the+gun.jpg" width="320" /></a></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Wilson
eyes the emergency exit and buckles his seatbelt. He wakes Julia and asks her
to get him a glass of water. Dazed, she gets up and walks to the back of the
cabin. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Wilson
removes the gun from his coat and opens the emergency exit. In a whoosh, cabin
pressure is lost and Wilson is nearly pulled from the airplane. Only his
seatbelt holds him in. The other passengers erupt into a screaming panic.
Wilson takes aim and fires at the creature on the wing, wounding it and
knocking it from the airplane. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Later.
The plane has landed and Wilson is being removed on a stretcher. “It’s okay
now,” Julia comforts him. Wilson knows this to be true. He’s made sure of it. Right
now, however, he is the only one who knows. As we move along the airplane’s
wing, we see that the housing on an engine is partially torn away and wrenched
upwards. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><i><span style="font-size: 14pt;">Rod Serling’s Closing Narration: </span></i></b></p><div class="separator" style="clear: both; text-align: center;"><b><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk7y9ijqZ7Gfbll5CXdjk9_zPi3jkmTmrE_L0j-aAVfLfKoFKs7y9hH8cWyCbmzBC9ZbVKv-rhgy7DlRoQYYiOum0-wy62PcO2ZZz4T-6J-zMfiHcM-s7Ne_aXalE3hJqLGGCXHoQrNlFj/s936/After+the+Flight.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="710" data-original-width="936" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk7y9ijqZ7Gfbll5CXdjk9_zPi3jkmTmrE_L0j-aAVfLfKoFKs7y9hH8cWyCbmzBC9ZbVKv-rhgy7DlRoQYYiOum0-wy62PcO2ZZz4T-6J-zMfiHcM-s7Ne_aXalE3hJqLGGCXHoQrNlFj/s320/After+the+Flight.jpg" width="320" /></a></i></b></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">“The
flight of Mr. Robert Wilson has ended now, a flight not only from Point A to
point B, but also from the fear of recurring mental breakdown. Mr. Wilson has
that fear no longer, though, for the moment, he is, as he has said, alone in
this assurance. Happily, his conviction will not remain isolated too much
longer, for happily, tangible manifestation is very often left as evidence of
trespass, even from so intangible a quarter as </span></i><span style="font-size: 14pt;">The Twilight Zone.”<i style="mso-bidi-font-style: normal;">
<o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">Commentary:</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;"><u>I.</u></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">“Suddenly, his stomach muscles jerked in violently and
he felt his eyes strain forward. There was something crawling on the wing.”<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>-Richard
Matheson, “Nightmare at 20,000 Feet” </span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpWRUYtxGR4Py93fiNxjiLuNQAiCm25vfAZQB6E6uMzujav9ahN_0wLw-Gfl48vEDJ5grXOK80nShc9SitZUw6Gp8FAFLLGA4rnI5hwowq7dGon0baR-lp-KxxiYASLZ79IeIWa3X6H51i/s899/Alone+By+Night+cover.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="899" data-original-width="536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpWRUYtxGR4Py93fiNxjiLuNQAiCm25vfAZQB6E6uMzujav9ahN_0wLw-Gfl48vEDJ5grXOK80nShc9SitZUw6Gp8FAFLLGA4rnI5hwowq7dGon0baR-lp-KxxiYASLZ79IeIWa3X6H51i/s320/Alone+By+Night+cover.jpg" width="191" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Cover illustration<br />by Richard Powers</td></tr></tbody></table><br /><o:p></o:p><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">In
1962, a year before its appearance on </span><i style="font-size: 14pt;">The
Twilight Zone, </i><span style="font-size: 14pt;">the creature on the wing of the airplane first frightened
readers when Richard Matheson’s short story, “Nightmare at 20,000 Feet,”
appeared in the paperback horror anthology </span><i style="font-size: 14pt;">Alone
by Night, </i><span style="font-size: 14pt;">edited by Michael and Don Congdon and published by Ballantine
Books. </span><i style="font-size: 14pt;">Alone by Night </i><span style="font-size: 14pt;">was one in a
loose series of paperback books published from 1958-1962 and advertised under the
umbrella title: Ballantine’s</span><i style="font-size: 14pt;"> Chamber of
Horrors. </i><span style="font-size: 14pt;">Perhaps the first paperback horror line in U.S. publishing, and
now highly collectible for the distinctive cover art of American artist Richard
Powers, Ballantine’s </span><i style="font-size: 14pt;">Chamber of Horrors </i><span style="font-size: 14pt;">was
an eclectic series that included single-author collections from Gerald Kersh,
Fritz Leiber, H. Russell Wakefield, H.P. Lovecraft, August Derleth, Joseph
Payne Brennan, John Keir Cross, and Ray Russell, as well as anthologies compiled
by television horror host Zacherley (John Zacherle), magazine publisher Calvin
Thomas Beck </span><i style="font-size: 14pt;">(Castle of Frankenstein),</i><span style="font-size: 14pt;">
literary critic Basil Davenport, SF anthologist Groff Conklin, and </span><i style="font-size: 14pt;">The Twilight Zone </i><span style="font-size: 14pt;">writer Charles
Beaumont. Beaumont’s 1962 anthology, </span><i style="font-size: 14pt;">The
Fiend in You, </i><span style="font-size: 14pt;">compiled with an uncredited William F. Nolan, included stories by </span><i style="font-size: 14pt;">The Twilight Zone </i><span style="font-size: 14pt;">writers George Clayton
Johnson and Henry Slesar, as well as selections from Beaumont and Richard
Matheson, “Perchance to Dream” and “Mute,” respectively, that were adapted for </span><i style="font-size: 14pt;">The Twilight Zone. </i></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggeHMCyZLEg-GGuMgmf4oSGxoDu1pka07vsgHqY6vvTBQtiYG4IDXv1RTl9KnMvwuSdeueeam3_3qe221nwzS8d4Yyn2wSxoeneFGuGa6bLh826X43RJZqus7iy8W3spQLU8JSimEMjLKs/s730/Don+Congdon%252C+from+the+jacket+of+Combat+WWII.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="730" data-original-width="513" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggeHMCyZLEg-GGuMgmf4oSGxoDu1pka07vsgHqY6vvTBQtiYG4IDXv1RTl9KnMvwuSdeueeam3_3qe221nwzS8d4Yyn2wSxoeneFGuGa6bLh826X43RJZqus7iy8W3spQLU8JSimEMjLKs/s320/Don+Congdon%252C+from+the+jacket+of+Combat+WWII.jpg" width="225" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Don Congdon</td></tr></tbody></table><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Another
anthologist associated with Ballantine’s <i style="mso-bidi-font-style: normal;">Chamber
of Horrors</i> was literary agent Don Congdon (1918-2009). A native of
Pennsylvania, Congdon moved to New York immediately after high school. There,
he began a long and successful career in publishing as a mail clerk for the
Lurton Blassingame Literary Agency. Blassingame (1904-1988) is chiefly remembered
as the longtime literary agent for such notable SF authors as Robert A.
Heinlein, Frank Herbert, and William F. Nolan. As Congdon’s role with the
agency increased, his name on a number of excellent story submissions drew the
attention of the editors at <i style="mso-bidi-font-style: normal;">Collier’s, </i>who
hired him away and installed him as an associate fiction editor with the
magazine. Eighteen months later, Congdon was hired away again, this time by
Simon & Schuster, who placed Congdon as an editor on their Venture Press, a
new imprint designed to showcase emerging literary talent. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">As an editor, Congdon gravitated
toward a distinctly modern type of fantasy fiction exemplified by the writings
of John Collier, Jack Finney, and, especially, Ray Bradbury. Congdon left his
position at Venture Press and transitioned to a fulltime literary agent with
the Harold Matson Company in 1947. In 1983, Congdon established Don Congdon
Associates with his son Michael, co-editor of <i style="mso-bidi-font-style: normal;">Alone by Night.</i> Possessing a keen eye for talent, Congdon’s early
triumphs as a literary agent included securing Ray Bradbury as a client, as
well as Bradbury protégés Charles Beaumont and Richard Matheson. </span><span style="font-size: 14pt; text-indent: 0.5in;">Congdon was also the
literary agent of writer Earl Hamner Jr., author of eight episodes of </span><i style="font-size: 14pt; text-indent: 0.5in;">The Twilight Zone, </i><span style="font-size: 14pt; text-indent: 0.5in;">whose contributions
to the series remain underappreciated. Hamner scripted five episodes for the fifth season of the series, more than any writer not named Serling, including the fan-favorite episode, "Stopover in a Quiet Town," and the final broadcast episode, "The Bewitchin' Pool." </span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt; text-indent: 0.5in;"></span><span style="font-size: 14pt; text-indent: 0.5in;"> Congdon was
instrumental in realizing the full potential of Ray Bradbury’s 1951 novella,</span><i style="font-size: 14pt; mso-bidi-font-style: normal; text-indent: 0.5in;"> </i><span style="font-size: 14pt; text-indent: 0.5in;">“The Fireman,” from </span><i style="font-size: 14pt; mso-bidi-font-style: normal; text-indent: 0.5in;">Galaxy Science Fiction Magazine.</i><span style="font-size: 14pt; text-indent: 0.5in;"> When Bradbury
revised and expanded the novella, it was published two years later by
Ballantine Books as </span><i style="font-size: 14pt; mso-bidi-font-style: normal; text-indent: 0.5in;">Fahrenheit 451. </i><span style="font-size: 14pt; text-indent: 0.5in;">Bradbury’s
dedication read: “This one, with gratitude, is for Don Congdon.” Toward the
end of his career, Bradbury again showed his gratitude by co-dedicating his
long-gestating fix-up novel, </span><i style="font-size: 14pt; mso-bidi-font-style: normal; text-indent: 0.5in;">From the
Dust Returned </i><span style="font-size: 14pt; text-indent: 0.5in;">(2001), to Congdon. </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnp_rkslJLG0gC1ovGMV1UgrmCAN-fNCK_rwUR9G6HovNCa2CBrGnKFi2Bp9lu2SMFTgA7LDkn1SlO5l7TBKaBbyMGobO6dR-t0jIEC-PUbwIpLG_9kPfs-1clQDtz-Yc42kvenMtqtO-E/s801/Stories+for+the+Dead+of+Night+cover.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="801" data-original-width="507" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnp_rkslJLG0gC1ovGMV1UgrmCAN-fNCK_rwUR9G6HovNCa2CBrGnKFi2Bp9lu2SMFTgA7LDkn1SlO5l7TBKaBbyMGobO6dR-t0jIEC-PUbwIpLG_9kPfs-1clQDtz-Yc42kvenMtqtO-E/s320/Stories+for+the+Dead+of+Night+cover.jpg" width="203" /></a></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Although
he compiled a number of books over the course of his career, predominantly in
the area of military history, Congdon first showed a discerning eye as a horror
anthologist with <i style="mso-bidi-font-style: normal;">Stories for the Dead of
Night, </i>published by Dell in 1957 with a cover illustration by Jeanette Cissman. This anthology featured the first
appearance of Charles Beaumont’s harrowing autobiographical story, “Miss
Gentilbelle,” adapted in 1968 as “Miss Belle” for the UK television anthology
series <i style="mso-bidi-font-style: normal;">Journey to the Unknown. </i>Written
several years before its eventual publication, Beaumont’s story was a difficult
sale for Beaumont’s then-agent Forrest J. Ackerman, and it was not until
Congdon secured Beaumont as a client that the story appeared, a year before it
was collected in Beaumont’s <i style="mso-bidi-font-style: normal;">The Hunger
and Other Stories. Stories for the Dead of Night </i>also included John
Collier’s “The Chaser,” later adapted for <i style="mso-bidi-font-style: normal;">The
Twilight Zone, </i>and Bradbury’s “The Illustrated Man.” </span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Wz-KdOHqzrSfRM6VBa3XVcO37GoquX-la4hVglB8uiuPQGMAuZc8ZFuVPrxxbPrmI1KJOc2CscKFMDhf2fZ3vz_-AB9mSvvfSScXe-xLV2AXJkFk4ThLUfoDhuAZPWCRF6fhCKH6grmE/s1055/Tales+of+Love+and+Horror+cover.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1055" data-original-width="637" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Wz-KdOHqzrSfRM6VBa3XVcO37GoquX-la4hVglB8uiuPQGMAuZc8ZFuVPrxxbPrmI1KJOc2CscKFMDhf2fZ3vz_-AB9mSvvfSScXe-xLV2AXJkFk4ThLUfoDhuAZPWCRF6fhCKH6grmE/s320/Tales+of+Love+and+Horror+cover.jpg" width="193" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Cover illustration<br />by Richard Powers<br /></td></tr></tbody></table><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Congdon followed this with
a well-reviewed anthology, <i style="mso-bidi-font-style: normal;">Tales of Love
and Horror </i>(1961),<i style="mso-bidi-font-style: normal;"> </i>his first
effort for Ballantine’s <i style="mso-bidi-font-style: normal;">Chamber of
Horrors. </i>This pioneering erotic horror anthology featured Bradbury’s “The
Illustrated Woman” and Richard Matheson’s “No Such Thing as a Vampire.” Matheson
adapted his story for television in 1977 for director Dan Curtis and the
anthology film, <i style="mso-bidi-font-style: normal;">Dead of Night. <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">Alone by Night </i>(1962),<i style="mso-bidi-font-style: normal;"> </i>Congdon’s final horror anthology, is
highlighted by two stories from Robert Bloch, “Sweets to the Sweet” and
“Enoch,” stories Bloch adapted for the Amicus horror anthology films <i style="mso-bidi-font-style: normal;">Torture Garden </i>(1967) and <i style="mso-bidi-font-style: normal;">The House that Dripped Blood</i> (1971), respectively,
and two new stories from Richard Matheson, “Nightmare at 20,000 Feet” and,
under the pseudonym Logan Swanson, “The Likeness of Julie.” Matheson typically
used the Swanson pseudonym when other hands edited, censored, or tampered with
his works, such as on the 1964 film <i style="mso-bidi-font-style: normal;">The
Last Man on Earth, </i>or the first edition of his 1982 novel <i style="mso-bidi-font-style: normal;">Earthbound. </i>Here, however, Matheson simply
avoided having his name attached to two stories in the same anthology. “The
Likeness of Julie” also made the transition to television, if less memorably so
than that of “Nightmare at 20,000 Feet.” William F. Nolan adapted the story for
the Dan Curtis-directed anthology film, <i style="mso-bidi-font-style: normal;">Trilogy
of Terror </i>(1975). The segment, “Julie,” was effective but overshadowed by
Matheson’s own adaptation of his 1969 story, “Prey,” which closed out the film in
a segment entitled “Amelia.” This segment, featuring actress Karen Black being
terrorized by an evil Zuni fetish doll, is widely considered one of the most
memorable and frightening in television history.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> T</span>he preceding is simply an effort to pay tribute to Don Congdon, who served
as a literary agent, friend, and correspondent to four foundational writers
for <i style="mso-bidi-font-style: normal;">The Twilight Zone: </i>Ray Bradbury,
Charles Beaumont, Richard Matheson, and Earl Hamner Jr.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;"><u>II.</u></span></b><span style="font-size: 14pt;"> </span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLy5oxcN8YXVOjp-oLhdoKR8B2UJPANruY7hyQVO0BJvNFCt_xbt0Vi0GCmuLuoPlUy1gqecfdk-9doBE2uKCHAHnrmJe4yhQfXEsq-8YTSHMlOmo270ByWyIDTfBvb7xiNMfvxzVQdKmU/s1144/Gremlins+2.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="839" data-original-width="1144" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLy5oxcN8YXVOjp-oLhdoKR8B2UJPANruY7hyQVO0BJvNFCt_xbt0Vi0GCmuLuoPlUy1gqecfdk-9doBE2uKCHAHnrmJe4yhQfXEsq-8YTSHMlOmo270ByWyIDTfBvb7xiNMfvxzVQdKmU/s320/Gremlins+2.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">WWII-era illustration of gremlins</td></tr></tbody></table><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>The
germinal idea for “Nightmare at 20,000 Feet” arrived when Richard Matheson
looked out the window next to his seat while on an airplane travelling at
cruising altitude. Matheson observed the clouds below the airplane. He imagined
a man suddenly appearing above the clouds, skiing across them as though the
clouds were snowbanks. This somewhat humorous image reminded Matheson of the legend
of the gremlins, impish sprites that damaged and disrupted aircrafts. What
would he do, Matheson wondered, if this imaginary man landed on the wing of the
airplane and began tampering with one of the engines? <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">In Matheson’s mind,
gremlins were connected with tales told by RAF pilots during WWII, the most
famous example being “The Gremlins” (1942) by Roald Dahl, first published under
the pen name “Pegasus” in <i style="mso-bidi-font-style: normal;">Cosmopolitan
Magazine.</i> Matheson inserted this notion into his story: “Wilson thought
about war, about the newspaper stories which recounted the alleged existence of
creatures in the sky who plagued the Allied pilots in their duties. They called
them gremlins, he remembered. Were there, actually, such beings?” Matheson was
certainly not the first writer to tackle a tale of gremlins but he was perhaps
the first to give the story a truly sinister tone, as gremlins were more often
portrayed in writings and illustrations as silly and mischievous. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>The
unfortunate individual who encounters the gremlin in Matheson’s story is Arthur
Jeffrey Wilson, a frightened flier and businessman on the edge of a nervous
breakdown. A family man, Wilson is nevertheless alone on his flight of terror,
buried under poisonous thoughts of suicide and death. Wilson imagines himself
accidently killed in a scene foreshadowing the climax of the story: “And,
naturally, his seat was next to the emergency door. He thought about it opening
accidentally; about himself sucked from the plane, falling, screaming.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Wilson is also plagued
by suicidal thoughts represented in the form of a handgun he has carried on the
plane in his briefcase: “He sat staring at the oil-glossed symmetry of the
pistol. He’d carried it around with him for almost a year now. Originally, when
he’d thought about it, it was in terms of money carried, protection from
holdup, safety from teenage gangs in the cities he had to attend. Yet, far
beneath, he’d always known there was no valid reason except one. A reason he
thought more of every day.” This handgun eventually becomes a symbol not of
Wilson’s destruction but of his liberation, as he finds renewed purpose in his
battle with the fantastic creature. Wilson’s acquisition of the handgun is
changed for the story’s television adaptation, where it is not carried in
Wilson’s briefcase but rather pilfered from a sleeping police officer on the
plane. A similar construction was maintained for the story’s adaptation for <i style="mso-bidi-font-style: normal;">Twilight Zone: The Movie </i>(1983),<i style="mso-bidi-font-style: normal;"> </i>where Valentine (changed from Wilson)
acquires the gun during a physical struggle with an FAA officer. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Matheson
provided only partial glimpses of the gremlin’s appearance in the original
story, describing the creature as troll-like, hairy, with short arms and clawed
hands. The best view of the creature, as in the television episode, is when it
presses its face against the glass of the window: “Its skin was grimy, of a
wide-pored coarseness; its nose a squat, discolored lump; its lips misshapen,
cracked, forced apart by teeth of a grotesque size and crookedness; its eyes
recessed and small – unblinking. All framed by shaggy, tangled hair which sprouted,
too, in furry tufts from the man’s ears and nose, birdlike, down across his
cheeks.” </span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkkEFkqt4O-7y70a6_W9hc1DlTzkmKLWUgdL6CsKx3uq-9l4a_jJOqKX5rSg2gwE6JGJkyEBNSz59vkOQ_1eoMjULeLvBxE2GVK7pIS9jtGmfoydbj6Q19WJQ1KsUdRo_8IkhzxK661eI-/s938/Cravat+as+gremlin.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="717" data-original-width="938" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkkEFkqt4O-7y70a6_W9hc1DlTzkmKLWUgdL6CsKx3uq-9l4a_jJOqKX5rSg2gwE6JGJkyEBNSz59vkOQ_1eoMjULeLvBxE2GVK7pIS9jtGmfoydbj6Q19WJQ1KsUdRo_8IkhzxK661eI-/s320/Cravat+as+gremlin.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Nick Cravat as the Gremlin</td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">In many ways, these
descriptions were faithfully achieved by makeup designer William Tuttle for <i style="mso-bidi-font-style: normal;">The Twilight Zone. </i>Still, Matheson was
ultimately unhappy with the appearance of the gremlin, writing in the June, 1984
issue of <i style="mso-bidi-font-style: normal;">Rod Serling’s</i> <i style="mso-bidi-font-style: normal;">Twilight Zone Magazine</i>: “I thought the
monster on the wing was somewhat ludicrous. It looked rather like a surly teddy
bear.” Matheson’s vision for the episode was to hire director Jacques Tourneur,
whose design for the gremlin was conceived as a man in a black suit covered in
reflective dust, giving only a hint of the creature’s form. Matheson teamed
with Tourneur for the excellent fifth season episode, “Night Call,” produced
immediately before “Nightmare at 20,000 Feet” but not broadcast on the series
for several months after. </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrwx1fIohgdECHcqgEM0NcSlyeocjS058wEMvEhUuNzClpy_7iFShgAf4so2ZT7rMO_9CWz-TYIitZoNgwlqdnZoHwSE1PXALdiIE3mMDgNmT_s4MaixEXEmMJnOVkw3efa22X8jqvMGtG/s1256/Dr.+Lao+Creature+%2528Tuttle%2529.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="678" data-original-width="1256" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrwx1fIohgdECHcqgEM0NcSlyeocjS058wEMvEhUuNzClpy_7iFShgAf4so2ZT7rMO_9CWz-TYIitZoNgwlqdnZoHwSE1PXALdiIE3mMDgNmT_s4MaixEXEmMJnOVkw3efa22X8jqvMGtG/s320/Dr.+Lao+Creature+%2528Tuttle%2529.jpg" width="320" /></a></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Time and budgetary
restraints prevented William Tuttle from developing a complete suit for the
monster, resulting in an off-the-rack selection from the MGM costume department
for the monster’s body. Tuttle created a similar design the following year for
MGM’s <i style="mso-bidi-font-style: normal;">7 Faces of Dr. Lao </i>(1964),<i style="mso-bidi-font-style: normal;"> </i>in which Tony Randall is made to appear
as a domesticated Yeti (pictured). Tuttle won a special achievement Academy Award for his
work on the film, the first such award given to a makeup artist. The film was
scripted by Charles Beaumont from the novel <i style="mso-bidi-font-style: normal;">The
Circus of Dr. Lao </i>(1935)<i style="mso-bidi-font-style: normal;"> </i>by
Charles G. Finney. Tuttle also previously created a similar makeup for George
Pal’s production of H.G. Wells’ <i style="mso-bidi-font-style: normal;">The Time
Machine </i>(1960), in the form of the frightening Morlocks. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Beneath the gremlin
costume was actor and acrobat Nick Cravat (1912-1994). Cravat was born in
Manhattan as Nicholas Cuccia and got his start in show business as one half of
an acrobatic team with Burt Lancaster. The duo toured throughout the 1930s as “Lang
and Cravat.” Cravat secured small roles in films before Lancaster made it big
in the industry, but he is chiefly remembered today for his supporting roles in
Lancaster’s films. His final film role was alongside Landcaster’s Dr. Moreau in
the 1977 film version of H.G. Wells’ <i style="mso-bidi-font-style: normal;">The
Island of Dr. Moreau. </i>The film was directed by Don Taylor, director of the
Rod Serling’s <i style="mso-bidi-font-style: normal;">Night Gallery </i>segments,
“They’re Tearing Down Tim Riley’s Bar” and “The Messiah on Mott Street.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Cravat was selected for
the role of the gremlin due to his athletic and acrobatic prowess, and the
gremlin suit was equipped with special soles on the feet to allow Cravat to
maintain his balance on the slippery wing of the airplane while being buffeted with
wind, rain, and smoke machines. Cravat was connected to wires which not only
achieved the effect of the gremlin flying in and out of frame, but also
protected the actor from tumbling from the suspended set. According to director
Richard Donner, wires were also used to achieve the convincing effect of the
emergency door whipping away after Wilson opens the lock. <span style="mso-spacerun: yes;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: 14pt;"><span style="mso-spacerun: yes;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrbEWNRGQHH0-EbjTtDEAmIgqhEhAj-9dPX3bTtxoI0C8cN7znC1W7diZgM_zdYZeet8lIecbK5a6y50o-pVi33trHl-oYtMDW3ncyXzixbfLHrbGPc_gDn6XMsFppxlYS3zijEn64XxQi/s516/Grant+Keate+applying+makeup.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="516" data-original-width="405" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrbEWNRGQHH0-EbjTtDEAmIgqhEhAj-9dPX3bTtxoI0C8cN7znC1W7diZgM_zdYZeet8lIecbK5a6y50o-pVi33trHl-oYtMDW3ncyXzixbfLHrbGPc_gDn6XMsFppxlYS3zijEn64XxQi/s320/Grant+Keate+applying+makeup.jpg" width="251" /></a></span></span></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">William Tuttle’s makeup
design was applied to Nick Cravat by makeup artist Grant Keate (pictured with Cravat), in his only
work on <i style="mso-bidi-font-style: normal;">The Twilight Zone. </i>Keate
arrived at CBS in the early 1960s with work on <i style="mso-bidi-font-style: normal;">The Jack Benny Show. </i>He began a long stretch as makeup artist on <i style="mso-bidi-font-style: normal;">My Three Sons </i>when that series moved to
CBS in 1965, and he is also credited with work on several episodes of <i style="mso-bidi-font-style: normal;">Family Affair. <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Despite Matheson’s
reservations, the gremlin has become an iconic image from the series, perhaps as
representative as any other in the minds of general viewers. Tuttle’s design
for the gremlin has appeared on virtually every type of merchandising
associated with the series, from book and magazine covers, to trading cards and
T-shirts, to posters and toys. The gremlin even made an appearance, in the form
of a child’s toy, in the 2019 <i style="mso-bidi-font-style: normal;">The
Twilight Zone </i>series for the Matheson inspired episode, “Nightmare at
30,000 Feet.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">The gremlin remains a
memorable monster from the series, although time has somewhat blunted its
effectiveness. Nevertheless, for Halloween, 2016, when I compiled what I felt
were the thirty-one most frightening moments from the series, I rated the
moment that William Shatner (as Bob Wilson) opens the window curtain to find
the gremlin staring closely back at him as the <a href="http://twilightzonevortex.blogspot.com/2016/10/the-twilight-zone-vortex-2016-halloween_31.html" target="_blank"><span style="color: white;">top scary moment</span></a> from the series.
A year later, when I compiled what I felt were the greatest performances on the
series, I rated Shatner’s performance as <a href="https://twilightzonevortex.blogspot.com/2017/09/the-20-greatest-performances-from_2.html" target="_blank"><span style="color: white;">third-best </span></a>on the series, illustrating
that an engaging story, a capable director, a memorable monster, and a great
lead performance can immortalize a segment of television.<span style="mso-spacerun: yes;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: 14pt;"><span style="mso-spacerun: yes;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguwkERJaMT2j6iIa2lh_sh5M06a2Jk_7htJQASAhOxci6-zat9fegkbjVkNSusEUCmxLQGx3eTDYXULZECmgl62Qv7RUyXyRKv8BRwWAt3Ghyzt2gxKtshOBuARvP1kOQSTn_zQvHTrmUy/s1058/1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="798" data-original-width="1058" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguwkERJaMT2j6iIa2lh_sh5M06a2Jk_7htJQASAhOxci6-zat9fegkbjVkNSusEUCmxLQGx3eTDYXULZECmgl62Qv7RUyXyRKv8BRwWAt3Ghyzt2gxKtshOBuARvP1kOQSTn_zQvHTrmUy/s320/1.jpg" width="320" /></a></span></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;"><span style="mso-spacerun: yes;">William Shatner's (b. 1931) career is likely familiar to readers in the Vortex, particularly after Shatner assumed the role of Captain James T. Kirk, commander of the USS starship <i>Enterprise,</i> on <i>Star Trek </i>(1966-1969), a series which reunited Shatner with writer Richard Matheson for the episode, "The Enemy Within." Shatner previously appeared on the second season of <i>The Twilight Zone </i>in Richard Matheson's "Nick of Time," an episode that remains among the finest produced on the series. See our review of "Nick of Time" <a href="https://twilightzonevortex.blogspot.com/2013/04/nick-of-time.html"><span style="color: white;">here.</span></a></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAnvXc3bhhdSQz12tEzvwl_jsC2888cCJ8X6oMmgNm5M8WfRk3hIPtuFBQ8yNVAbAcbDMiXCU6qicY0KP7gAub-n67lBhyphenhyphen0Lz7_eQjx-RFtjw3l2Y7hqCxhV2ob0l9Dfrs-TXVl_p1Mg2Y/s935/2.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="743" data-original-width="935" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAnvXc3bhhdSQz12tEzvwl_jsC2888cCJ8X6oMmgNm5M8WfRk3hIPtuFBQ8yNVAbAcbDMiXCU6qicY0KP7gAub-n67lBhyphenhyphen0Lz7_eQjx-RFtjw3l2Y7hqCxhV2ob0l9Dfrs-TXVl_p1Mg2Y/s320/2.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Shatner in "The Glass Eye,"<br />with Rosemary Harris</td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;"><span style="mso-spacerun: yes;">Shatner's performance in "Nightmare at 20,000 Feet" continues to be one of his most memorable and discussed roles, a controlled, sustained, frenzied performance that cemented Shatner as one of the performers most readily associated with the series, placing him in the company of such actors as Burgess Meredith and Jack Klugman. Shatner enjoyed a busy television career before Captain Kirk catapulted him to international exposure. Shatner fine-tuned his craft on several anthology programs, including an appearance in 1958 on <i>Playhouse 90 </i>in Rod Serling's "A Town Has Turned to Dust," a script Serling later reworked for the second season <i>The Twilight Zone </i>episode, "Dust." Shatner also appeared on several genre programs, often in a signature episode of the series. Shatner appeared in the unforgettable third season episode of <i>Alfred Hitchcock Presents </i>titled "The Glass Eye" (1957), based on the story by John Keir Cross. Shatner appeared again on the series in 1960 for the episode, "Mother, May I Go Out to Swim?" Shatner also appeared in two of the finest episodes of Boris Karloff's <i>Thriller, </i>"The Hungry Glass" (1961) and "The Grim Reaper" (1961), the former scripted and directed by <i>The Twilight Zone </i>director Douglas Heyes, from a story ("The Hungry House") by Robert Bloch, and the latter scripted by Robert Bloch from a story by Harold Lawlor. Shatner also appeared on <i>One Step Beyond </i>in "The Promise" (1960), and on <i>The Outer Limits </i>for "Cold Hands, Warm Heart" (1964). </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: 14pt;"><span style="mso-spacerun: yes;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj544hzRNJdLwRXryJ_bWpRmA_ZN-C2psQue98lUi_gD37CtlUEVvDTSAuOvRuffdggltL7zHzkpSclAEpZBHVKyTVHuDhKrIjkGy3uPHsq43LTHWfyIGEmrKc-CYNAW8ilNfT-nyFZFAWG/s586/1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="586" data-original-width="394" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj544hzRNJdLwRXryJ_bWpRmA_ZN-C2psQue98lUi_gD37CtlUEVvDTSAuOvRuffdggltL7zHzkpSclAEpZBHVKyTVHuDhKrIjkGy3uPHsq43LTHWfyIGEmrKc-CYNAW8ilNfT-nyFZFAWG/s320/1.jpg" width="215" /></a></span></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;"><span style="mso-spacerun: yes;">A year before his appearance in "Nightmare at 20,000 Feet," Shatner portrayed the hate-mongering Adam Cramer, who stirs up racism in a southern town in <i>The Intruder </i>(1962). The film was scripted by Charles Beaumont from his 1959 novel and directed by Roger Corman. Beaumont appeared in the film, as a tolerant school principal, and the film also featured appearances from Beaumont's friends, the writers William F. Nolan, George Clayton Johnson, and OCee Ritch, the latter of whom documented the making of the film for the December, 1961 issue of <i>Rogue.</i> The film is also known by the exploitation titles <i>Shame </i>and <i>I Hate Your Guts!</i></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 18.6667px;">Shatner remained a busy performer after <i>Star Trek </i>left the air. Appearances of interest here include an episode of <i>The Sixth Sense </i>(1972), a television horror film titled <i>The Horror at 37,000 Feet </i>(1973),<i> </i>in which Shatner plays an ex-priest battling evil Druidic spirits alongside the other passengers on an airplane, and a memorable episode of <i>The Ray Bradbury Theater, </i>"The Playground" (1985), based on Bradbury's 1952 tale from <i>The Illustrated Man. </i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: 14pt;"><span style="mso-spacerun: yes;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMVAXk9PXfRK6Fml062wRsIIyykYCU2m0MlwTkZkUgARnoD6f5Qe494sIC8f52XdbLFf0JPguMl4-SOCvob-pfUDzXWX9vFwAgiLXhaPCNJtl4Foa5F5p4VzBvSX6DtKDdkA-KViGRxVHu/s934/Wilson+takes+his+shot.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="712" data-original-width="934" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMVAXk9PXfRK6Fml062wRsIIyykYCU2m0MlwTkZkUgARnoD6f5Qe494sIC8f52XdbLFf0JPguMl4-SOCvob-pfUDzXWX9vFwAgiLXhaPCNJtl4Foa5F5p4VzBvSX6DtKDdkA-KViGRxVHu/s320/Wilson+takes+his+shot.jpg" width="320" /></a></span></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Events in Richard Matheson’s
original story are faithfully echoed in the television adaptation. As Wilson
battles the disbelief of the airplane’s crew, he comes to the conclusion that
the only solution is to take matters into his own hands. Wilson opens the
emergency exit in order to kill the dangerous creature: “Wilson flung his arm
up, fired. The explosion was like a popping in the roaring violence of the air.
The man staggered, lashed out and Wilson felt a streak of pain across his head.
He fired again at immediate range and saw the man go flailing backward – then,
suddenly, disappear with no more solidity than a paper doll swept in a gale.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>The
epilogue of the story is essentially the same as in the television adaptation,
as well. Wilson is forcibly removed from the grounded plane on his way (one
assumes) to an involuntary committal. Wilson is allowed his moment of clarity
and hope, however: “As would be established soon enough when the engine was
examined and they checked his wound more closely. Then they’d realize that he’d
saved them all.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Arthur
Jeffery Wilson, businessman, becomes Robert Wilson, businessman, in the
television episode, and becomes John Valentine, author, in the film version. Wilson
is travelling alone in the original story, and the reader is given intimate
insight into his mental processes. Realizing that this was difficult to achieve
onscreen, except perhaps by including a voiceover narration (a device used
effectively on the series in such episodes as “The Hitch-Hiker” and “To Serve
Man”) or an exaggerated performance like the one given by John Lithgow in <i style="mso-bidi-font-style: normal;">Twilight Zone: The Movie, </i>Matheson chose
to include a spouse travelling alongside Wilson. In this way, Wilson’s thoughts
could be spoken aloud. We learn in the story that Wilson’s spouse is named
Jacqueline. She becomes Julia in the episode. Director George Miller, when
adapting the story for <i style="mso-bidi-font-style: normal;">Twilight Zone: The
Movie, </i>removed the spouse again. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Other
differences between the story and its television adaptation are more
significant, the most important of which is that in the story Wilson is on the verge
of a nervous breakdown. By contrast, Matheson chose to have Wilson <i style="mso-bidi-font-style: normal;">recovering </i>from a nervous breakdown in
the television adaptation, creating a character who must battle not only disbelief
in others, a fundamental trope on <i style="mso-bidi-font-style: normal;">The
Twilight Zone, </i>but also his own questionable mental state. If there is a
standard<i style="mso-bidi-font-style: normal;"> Twilight Zone</i> story, it is
one in which seemingly rational people are confronted with the unfathomable, presenting
the character(s) with the challenge of convincing others of the existence of
the inexplicable. Matheson’s defining effort in this mode is perhaps his first
season episode, “A World of Difference.” By creating a character that others
already view as irrational, Matheson cleverly inverts the expectations of the
viewer. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>“Nightmare
at 20,000 Feet” continued a relatively recent development concerning Matheson’s
contributions to the series. Matheson began as a writer on the series
determined to create original content for the show. He’d previously sold two
early, slight stories to the series that were adapted and greatly expanded and
embellished by Rod Serling: “And When the Sky was Opened,” nominally adapted from
Matheson’s “Disappearing Act,” and “Third from the Sun.” It was not until relatively
late in the third season, with “Little Girl Lost,” that Matheson adapted one of
his previously published short stories. Although Matheson continued to create
new material for the series, he became more reliant on previous material for
his teleplays, resulting in such memorable episodes as “Death Ship,” “Steel,”
and “Night Call.” <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">“Nightmare at 20,000
Feet” was the final Matheson episode filmed for the series but the second of
four Matheson episodes to air during the fifth season. “Nightmare at 20,000
Feet” also marked the final episode produced by Bert Granet for the series.
Another Matheson episode, “The Doll,” was slated by Granet for production but
was shelved by the show’s final producer, William Froug, due to a perceived
similarity of Matheson’s story to Charles Beaumont’s and Jerry Sohl’s “Living
Doll.” Matheson’s “The Doll” was eventually produced in 1986 on Steven
Spielberg’s anthology series <i style="mso-bidi-font-style: normal;">Amazing
Stories. </i>Ironically, “The Doll” starred John Lithgow, who was awarded an Emmy
for his performance. Lithgow, of course, starred in George Miller’s remake of
“Nightmare at 20,000 Feet” for <i style="mso-bidi-font-style: normal;">Twilight
Zone: The Movie. <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">“Nightmare at 20,000
Feet” is also an entry in the small but interesting subset of episodes
concerning uncanny air travel. Matheson’s first effort on the series, and in
this regard, was the first season time travel tale of redemption, “The Last
Flight.” Other episodes on the subject, especially those written by Rod
Serling, featured variations on the Flying Dutchman legend, as in “King Nine
Will Not Return,” “The Odyssey of Flight 33,” and “The Arrival.” Matheson
presented his own variation on the Flying Dutchman legend with the fourth
season episode, “Death Ship.”<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Matheson told author
Matthew R. Bradley that he cut around five thousand words from “Nightmare at
20,000 Feet” before the story’s publication, having initially begun the tale well
before Wilson boarded the plane. Matheson felt this amounted to unnecessary exposition
in order to establish Wilson’s fragile mental state, and he was able to avoid
this altogether by adding a traveling companion for Wilson in the television
adaptation. In this regard, Matheson hoped to rekindle some of the magic from
an earlier episode of <i style="mso-bidi-font-style: normal;">The Twilight Zone,</i> stating in the June, 1984 issue of <i style="mso-bidi-font-style: normal;">Rod
Serling’s The Twilight Zone Magazine: </i>“I still wish, though, that Pat
Breslin had played his wife (as she did in the <i style="mso-bidi-font-style: normal;">Twilight Zone </i>segment ‘The [sic] Nick of Time’).” Although William Shatner
and Patricia Breslin were wonderful in “Nick of Time,” a thematically related
episode, the relationship between Bob and Julia Wilson required a different
approach in “Nightmare at 20,000 Feet,” and Christine White was more than
capable in the role. </span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxZZWypIEziIEdGUE4br19HxVlL_TRtFxPyrh9panuj2GTvKpjcNJqLoE2kKucqQnE6f6NTiq0lJTA6p5kFZNfNPwsD6xJyLVNPCJ_1fXGIgRQQH0ox4MIvgf_g36kUynlqvBED-s5zeKC/s778/Wilson+opens+the+door.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="710" data-original-width="778" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxZZWypIEziIEdGUE4br19HxVlL_TRtFxPyrh9panuj2GTvKpjcNJqLoE2kKucqQnE6f6NTiq0lJTA6p5kFZNfNPwsD6xJyLVNPCJ_1fXGIgRQQH0ox4MIvgf_g36kUynlqvBED-s5zeKC/s320/Wilson+opens+the+door.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Christine White (L) with Asa Maynor</td></tr></tbody></table><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Christine
White (1926-2013) previously appeared on <i style="mso-bidi-font-style: normal;">The
Twilight Zone </i>in the second season episode, “The Prime Mover,” and knew Rod
Serling from Serling’s guest appearance in 1962 on the CBS comedy series <i style="mso-bidi-font-style: normal;">Ichabod and Me, </i>on which White had a
recurring role. White was also known to director Richard Donner, who received a
recommendation from Loretta Young to cast White in one of Donner’s many television
assignments. Both Donner and Young worked several times on <i style="mso-bidi-font-style: normal;">The Loretta Young Show, </i>though never on the same episode. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Richard
Donner (1930-2021) is arguably the most notable director to helm an episode of <i style="mso-bidi-font-style: normal;">The Twilight Zone, </i>having gone on to a lucrative
career filled with hugely successful films beginning with <i style="mso-bidi-font-style: normal;">The Omen </i>(1976) and including <i style="mso-bidi-font-style: normal;">Superman
</i>(1978), <i style="mso-bidi-font-style: normal;">The Goonies </i>(1985), <i style="mso-bidi-font-style: normal;">Lethal Weapon </i>(1987), <i style="mso-bidi-font-style: normal;">Scrooged </i>(1988), and many more. Donner
retired from directing after the 2006 action film <i style="mso-bidi-font-style: normal;">16 Blocks. </i>Sadly, Donner passed away on July 5, 2021, as I was
beginning work on this review of his first episode of <i>The</i> <i style="mso-bidi-font-style: normal;">Twilight
Zone.</i> He was 91. His death provoked an outpouring of grief from
members of the entertainment industry, including William Shatner, who retweeted
an image from “Nightmare at 20,000 Feet” and replied: “I am sorry to learn of
his passing. He was a wonderful director. I don’t really have many memories of
the shoot. It was chaotic; it was supposed to be a 4 day shoot & they cut
it in half. They kept us there all night on the 2nd d</span><span><span style="font-size: 14pt;">ay to finish
it. We were all sleep deprived.” </span><o:p style="font-size: 14pt;"></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>“Nightmare
at 20,000 Feet” was scheduled for production between July 12 and July 16, 1963,
with two days of rehearsal and three days of filming. Filming at MGM could be a
double-edged sword, however. It was arguably the finest film studio in the
world but this also meant that the feature film department took precedent over
any television production using the facilities. Shatner, Donner, and company
experienced this firsthand while filming “Nightmare at 20,000 Feet.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Besides a brief
epilogue and even briefer footage of model work for the exterior of the flying airplane,
the episode predominately takes place in a single setting. This set consisted
of a complete passenger airplane cabin with a fixed external wing suspended
above a large water tank to contain the rain effects used in the episode. The airplane
wing, incidentally, was brought to the set from an out-of-service aircraft at
the Douglas Aircraft Company in Santa Monica, a facility where both Richard
Matheson and fellow <i style="mso-bidi-font-style: normal;">The Twilight Zone </i>writer
George Clayton Johnson previously worked. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>This
setup proved extremely challenging for Donner and company, especially
considering the compressed time allowed for completing an episode. In addition
to the rain effects and the suspended set, the latter of which made movement on
the set problematic, the effects included wind machines, smoke machines (to
simulate the rapid passage of clouds), and the bright flashes of lightning
effects. As a result, much of the dialogue in the episode needed to be looped,
despite the efforts of the crew to use an electric rotor, as well as electric
wind and rain machines, when louder, gas-powered machines were the industry
standard at the time. The effects on the episode were so challenging, in fact,
that MGM technicians were hired to assist with the logistics of the special
effects. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>As
Donner and the cast and crew were filming in this difficult environment, Donner
was approached by MGM during the second day of shooting and informed that the
feature film department required the use of the rain machine and the rain tank on
the following day. This meant that Donner would not have use of the set for the
following day of scheduled shooting. The only solution was to delay the cast
and crew and continue shooting throughout the night. Filming on the episode eventually
wrapped at dawn of the following day. Despite the challenging conditions under
which the episode was filmed, Richard Matheson repeatedly praised Richard Donner’s
direction, as well as the performance of William Shatner. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Richard Donner told
interviewer Robert Martin in the July, 1981 issue of <i style="mso-bidi-font-style: normal;">Rod Serling’s The Twilight Zone Magazine: </i>“I was doing a lot of MGM
shows at the time. The script they approached me with was called ‘Nightmare at
20,000 Feet.’ It was the most adventurous <i style="mso-bidi-font-style: normal;">Twilight
Zone </i>they’d ever done, and probably the most adventurous show they’d done
at Metro. It had unbelievable special effects – a gremlin on a wing, airplane
engines going, with lightning, wind, and rain. It was a major thing, and it
went half a day over. We couldn’t go straight to the half day, because the set
wasn’t available; we had to shoot straight through the following night. Because
of that delay, I almost lost my job at MGM forever. But when it came out, it
was a very well-received program, much talked about, and that turned the
situation around for me. I was able to stay on at MGM, and a very talented
writer-producer named Bill Froug came in and hired me for four more <i style="mso-bidi-font-style: normal;">Twilight Zones.” </i><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">In fact, Froug hired
Donner for five<i style="mso-bidi-font-style: normal;"> </i>additional episodes
of the series, although none approached the quality of “Nightmare at 20,000
Feet” except perhaps for Rod Serling’s claustrophobic spy thriller, “The Jeopardy Room.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Although he worked
almost exclusively in film after the success of <i style="mso-bidi-font-style: normal;">The Omen, </i>Donner got his start directing television. A native New
Yorker, Donner briefly chased the dream of becoming an actor, finding roles on
the New York stage, notably in productions directed by Martin Ritt. It was Ritt
who suggested that Donner try his hand at directing. When the opportunity to
move to Los Angeles presented itself, Donner moved across the country and found
inroads in the burgeoning television industry, first through advertising and
then on series productions. It was through the machinations of Ritt that Donner
was installed as assistant director on <i style="mso-bidi-font-style: normal;">Somerset
Maugham TV Theatre </i>and <i style="mso-bidi-font-style: normal;">Robert
Montgomery Presents. </i>Donner’s breakthrough as a television director came
when he directed a television ad for Westinghouse Electric with the cast of <i style="mso-bidi-font-style: normal;">I Love Lucy. </i>Television producer Ed Adamson
was impressed with Donner’s direction of the show’s cast and recruited Donner to
direct Steve McQueen, an old friend of Donner’s from their time in New York, in
<i style="mso-bidi-font-style: normal;">Wanted: Dead or Alive. <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Lots of television work
followed, including prior work with “Nightmare at 20,000 Feet” actress Asa
Maynor on <i style="mso-bidi-font-style: normal;">Wagon Train </i>in 1961.<i style="mso-bidi-font-style: normal;"> </i>Donner directed an episode of the ABC series <i style="mso-bidi-font-style: normal;">The Sixth Sense </i>(1972), a series that was merged in syndication with Rod Serling’s <i style="mso-bidi-font-style: normal;">Night
Gallery, </i>and which included newly filmed introductions by Serling, and an episode of <i style="mso-bidi-font-style: normal;">Circle of Fear </i>(1972),<i style="mso-bidi-font-style: normal;"> </i>a rebranded and reformatted
continuation of the NBC anthology series <i style="mso-bidi-font-style: normal;">Ghost
Story, </i><span style="mso-bidi-font-style: normal;">a series developed from a pilot </span>by Richard Matheson. Donner’s return to television
arrived in 1989 for the HBO series <i style="mso-bidi-font-style: normal;">Tales
from the Crypt,</i> based on the E.C. Comics from the 1950s, a series on which
Donner served as an executive producer. Donner directed three episodes of the
series, including the fan-favorites, “Dig that Cat – He’s Real Gone” and “The
Ventriloquist’s Dummy.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Despite difficult conditions
when filming “Nightmare at 20,000 Feet,” the cast and crew kept the mood light
and playful during and after the production, and pranks were a regular
occurrence. Richard Donner related to <i style="mso-bidi-font-style: normal;">Rod
Serling’s The Twilight Zone Magazine </i>in 1981:<i style="mso-bidi-font-style: normal;"> </i>“On that last night of shooting, he [William Shatner] was visited
on the set by Edd Byrnes, ‘Kookie’ from <i style="mso-bidi-font-style: normal;">77
Sunset Strip. </i>We were all exhausted – it was quite late – and when my back
was turned, Shatner and Byrnes decided to stage a fight. I happened to look up
at the wing of the airplane and saw this fight going on. I started running
over, of course, and just when I got there I saw Byrnes hit Shatner, who went
over the wing of the airplane, down forty feet to the tank below! What I didn’t
know was that they had dressed a dummy in Shatner’s clothes. All I could think
at the time was, screw Shatner, now I have to reshoot this whole thing! But
Shatner is a wonderful guy. I enjoyed working with him tremendously.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Rod Serling also attempted
a prank, the target this time being writer Richard Matheson. Serling related the
tale during a 1975 lecture at Sherman Oaks College and is quoted by author Marc
Scott Zicree in <i style="mso-bidi-font-style: normal;">The Twilight Zone
Companion: </i>“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, blownup 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 say, ‘Dick –’<span style="mso-spacerun: yes;"> </span>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.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;"><u>III.</u></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">“What you’re looking at could be the end of
a particularly terrifying nightmare. It isn’t – it’s the beginning. Introducing
Mr. John Valentine, air traveler. His destination: The Twilight Zone.” <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span></span></i><span style="font-size: 14pt;">-Narration by Burgess Meredith for <i style="mso-bidi-font-style: normal;">Twilight
Zone: The Movie </i>(1983) </span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLhjSSTDte30yjyrBswwvX5KcMYpQHIaXQUZyJlRCcbscUBiNztx8XgUhUPFmELr0t0SP9koziFmys5qivkesYF5nVio3of67EhZYoUnzKg3PS_9e8662gj_4DK9bEX_ah5_f6FKW_t4gR/s884/Gremlin+at+the+Window+1983.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="728" data-original-width="884" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLhjSSTDte30yjyrBswwvX5KcMYpQHIaXQUZyJlRCcbscUBiNztx8XgUhUPFmELr0t0SP9koziFmys5qivkesYF5nVio3of67EhZYoUnzKg3PS_9e8662gj_4DK9bEX_ah5_f6FKW_t4gR/s320/Gremlin+at+the+Window+1983.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Larry Cedar as the Gremlin <br />in <i>Twilight Zone: The Movie</i></td></tr></tbody></table><span style="font-size: 14pt;"><br /><o:p></o:p></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">“Nightmare
at 20,000 Feet” was memorably resurrected in 1983 for </span><i style="font-size: 14pt;">Twilight Zone: The Movie, </i><span style="font-size: 14pt;">a feature film anthology with four
different directors tackling remakes of original series episodes, with the
exceptions of the film’s prologue, epilogue, and opening segment, which were written
specifically for the film.</span><i style="font-size: 14pt;"> </i><span style="font-size: 14pt;">The
opening segment was filmed from an original script by director John Landis, and
this segment has made </span><i style="font-size: 14pt;">Twilight Zone: The
Movie </i><span style="font-size: 14pt;">an infamous film due to the negligent and horrific deaths of actor
Vic Morrow and two young children during filming. For those unfamiliar with
this tragedy, the <a href="http://twilightzonevortex.blogspot.com/2012/09/recommended-reading_16.html" target="_blank"><span style="color: white;">Vortex Library</span></a> lists several books covering the deaths and
the subsequent trial of director John Landis.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Richard Matheson was
tasked with adapting “Nightmare at 20,000 Feet” for the film’s final segment, and
he was also involved in adapting and updating two additional segments from the original
series: “Kick the Can,” directed by Steven Spielberg from the episode written
by George Clayton Johnson, and “It’s a Good Life,” directed by Joe Dante from
the episode written by Rod Serling and adapted from the story by Jerome Bixby. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Matheson was initially
told that “Nightmare at 20,000 Feet” (titled simply “Segment Four” or
“Valentine,” as in Robert Bloch’s <a href="https://twilightzonevortex.blogspot.com/2017/02/elsewhere-in-fifth-dimension-part-1.html" target="_blank"><span style="color: white;">novelization</span></a>) would be a “filler,” a short
segment of only ten to twelve minutes in length. Matheson was also told that
Gregory Peck was being considered for the role originally performed by William
Shatner. Matheson fashioned his script according to these specifications,
writing in the June, 1984 issue of <i style="mso-bidi-font-style: normal;">Rod
Serling’s The Twilight Zone Magazine: </i>“I was told, at the start, that
Gregory Peck was being considered for the movie version. Accordingly, my script
portrayed Wilson, the hero, as a character like the one Peck played in <i style="mso-bidi-font-style: normal;">Twelve O’Clock High, </i>a former bomber
pilot who had already been exposed to the idea of ‘gremlins.’ He had no mental
problems; he was merely reacting to the gremlin’s destructive behavior and –
with mounting frustration and fury – to the crew’s disbelief in what he said,
resulting in his ultimate decision to take things into his own hands.” </span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggl5Fy7KfGhz8xuo9Z7Wf8vJOUVw4sRjL4HFSMae8zm0iAMZhlHphvPgbrqb7T0Lyqsl9v5iPifM6M_TeqFDV9j-xWQXA3EQnSKTc8Cm1NND7CFScgnMMA2-B4uKZXok83s16peuTJ0YQ2/s764/George+Miller+directing+Lithgow.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="479" data-original-width="764" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggl5Fy7KfGhz8xuo9Z7Wf8vJOUVw4sRjL4HFSMae8zm0iAMZhlHphvPgbrqb7T0Lyqsl9v5iPifM6M_TeqFDV9j-xWQXA3EQnSKTc8Cm1NND7CFScgnMMA2-B4uKZXok83s16peuTJ0YQ2/s320/George+Miller+directing+Lithgow.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">George Miller (L) with John Lithgow</td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Matheson’s
condensed, Gregory Peck version of the script was essentially scrapped with the
arrival of director George Miller on the project. Not only was Peck not cast in
the central role, but it eventually ballooned from a “filler” into a twenty-one-minute
long segment. Miller, the Australian director best-known for the <i style="mso-bidi-font-style: normal;">Mad Max </i>series of films, arrived on the
project with definite ideas about the story. Chief among these ideas was to
take the original episode and exaggerate everything about it. Miller told <i style="mso-bidi-font-style: normal;">Starburst Magazine </i>in 1983: “Everything
is heightened – every sound is louder and more significant.” The exaggerated
elements went beyond sound, however. Miller’s roving, energetic camerawork was
matched by John Lithgow’s manic, though enormously entertaining, performance as
terrified air passenger John Valentine. Lithgow, a Tony Award-winner and an
Academy Award nominee, portrayed Valentine in a way which made William Shatner
appear highly restrained. One sequence, in which Valentine views the gremlin
close against the window glass, is exaggerated to the point that Valentine’s
eyes grotesquely bulge from their sockets in a blink-and-miss-it special
effects shot. </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXwRuexf2uiqJKTxEULtA37UAi-lDZhxuIr_l2_U3OFRpOSTaJjB7NnWpaN3xAeALk9ZezKtCMP0GFOwiETdTcQeXr6rVFStEoRBMRzLvUG054P7VdldP2ByIQ_2lEFYziN_IaoqnWtkKs/s1048/Valentine%2527s+Flight+is+Over.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="723" data-original-width="1048" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXwRuexf2uiqJKTxEULtA37UAi-lDZhxuIr_l2_U3OFRpOSTaJjB7NnWpaN3xAeALk9ZezKtCMP0GFOwiETdTcQeXr6rVFStEoRBMRzLvUG054P7VdldP2ByIQ_2lEFYziN_IaoqnWtkKs/s320/Valentine%2527s+Flight+is+Over.jpg" width="320" /></a></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Lithgow may have
exaggerated the role of the frightened air passenger, but he was not directly reacting
to Shatner’s performance in the original episode. Lithgow told <i style="mso-bidi-font-style: normal;">Rod Serling’s The Twilight Zone Magazine </i>(October,
1983) that, although he was aware of <i style="mso-bidi-font-style: normal;">The
Twilight Zone, </i>he was not a regular viewer of the series and had not seen
the original “Nightmare at 20,000 Feet” prior to filming <i style="mso-bidi-font-style: normal;">Twilight Zone: The Movie. <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">The storm outside the airplane
was intensified, as well, with the set rumbling and rolling in a way that Richard
Donner and company could not achieve in 1963. The film segment also contains a
broader strain of comedy, highlighted by a precocious and persistent little
girl (Christina Nigra), equipped with a sarcastic ventriloquist’s dummy
(perhaps a nod to the original series episode, "The Dummy"), a stone-faced FAA officer (Charles
Knapp), and a snooping elderly couple (Eduard Franz and Margaret Wheeler). <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">The film segment
contains a number of interesting changes from or additions to the original
episode, exemplified by the final sequence of events. Valentine attempts to
take a photograph of the gremlin using a Polaroid instant camera forcibly taken
from the little girl. He succeeds only in capturing his own reflection in the
window glass. Valentine decides instead to knock out the window glass using a
medical canister. When an FAA officer attempts to restrain Valentine, the
panicked air passenger manages to get his hands on the officer’s gun, taking it
from the officer’s ankle holster and shooting out the window. Valentine is
nearly pulled completely out of the plane if not for the effort of the FAA
officer to hang on to him. Unlike Wilson in the original episode, who is given
the satisfaction of shooting and (presumably) killing the gremlin, Valentine
manages only to attract its unwanted attention. The gremlin charges at
Valentine and bites the barrel of the gun clean off the handle. Then the
gremlin grips Valentine’s face as though it intends to harm him. The gremlin
releases Valentine, however, and humorously gives Valentine a wag of its
finger. As the gremlin spots the lights of the approaching city below, it
simply flies away, spiraling up into the stormy sky and vanishing above the
dark clouds.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">The epilogue of the
segment, which eventually ties in to the epilogue of the film, plays out much
the same way as the original episode, with the notable difference that evidence
of the gremlin’s destruction is immediately found by a mechanical crew. </span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiVWl4RlpuM65AGClb9praDJ_LYWpJqfngsBofWmF69Xo2xpt_u1XlK4x7Z_9jsTiyJLZIwk5wsJG6688mFbCuo2OkEt8sda-eK1CrvCMXfIEi7f264tzvonANRiPo8Iw-5M75IQ9SqYUA/s559/Gremlin+1983.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="559" data-original-width="445" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiVWl4RlpuM65AGClb9praDJ_LYWpJqfngsBofWmF69Xo2xpt_u1XlK4x7Z_9jsTiyJLZIwk5wsJG6688mFbCuo2OkEt8sda-eK1CrvCMXfIEi7f264tzvonANRiPo8Iw-5M75IQ9SqYUA/s320/Gremlin+1983.jpg" width="255" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Makeup artist Craig
Reardon, who created the memorable ghoul makeup for the film’s prologue, was
tasked with creating a new version of the gremlin, both in appearance and
behavior. Assisted by makeup artist Michael McCracken, with additional
assistance from animators David Allen and Jim Danforth, and visual effects
artist Peter Kuran, they decided to start from scratch and did not take into
account any elements from William Tuttle’s original design. The result was a
more frightening, if less visually memorable, monster. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Reardon designed and
sculpted a full suit for the creature, complete with a head and face whose
expression could be changed with the use of cables. If the original monster was
a “surly teddy bear,” then the gremlin for <i style="mso-bidi-font-style: normal;">Twilight
Zone: The Movie </i>resembled a gargoyle come to life, with a shock
of long hair streaming from its otherwise bald head. Allen and Danforth assisted with the
gremlin’s movements and with the effect of the gremlin spiraling upwards into
the night sky. Kuran created the impressive lightning effects for the sequence,
where there were not merely flashes of lightning, but the impression that the
gremlin could actually direct lightning to strike the airplane’s engine. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Inside the gremlin suit
was prolific character actor Larry Cedar. Cedar, who described himself as “a
song-and-dance man,” had no prior experience playing a creature in a suit or
under heavy makeup. Cedar’s agent suggested he audition for the role because
the role was described as needing an actor who could move well. Cedar got the
job when, during his audition, he “ran across the table and threw things.” Cedar
described shooting the sequence in the October, 1983 issue of <i style="mso-bidi-font-style: normal;">Rod Serling’s The Twilight Zone Magazine: </i>“We
had a lot of special effects: water, smoke, wind . . . I can remember being out
there on the wing to shoot. We were practically under atmospheric conditions.”
Cedar went on to describe the set as being blacked out with the airplane wing
on hydraulics in order to give it the appearance of being lifted. Like Nick
Cravat in the original episode, Cedar was also connected to wires, so that he
would not fall off the wing. Cedar apparently worked well with makeup artist
Craig Reardon, as the two immediately went on to work together on the 1984 horror/fantasy
film <i style="mso-bidi-font-style: normal;">Dreamscape. </i><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">The impressive set upon
which the drama plays out was constructed on a closed set on Stage 15 of the
Warner Bros. lot, where the entire sequence was filmed. Here, art director
James Spencer and his crew created the fuselage of a passenger jet complete
with an 82-foot long fixed external wing. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Jerry
Goldsmith, a veteran of <i>The</i> <i style="mso-bidi-font-style: normal;">Twilight Zone </i>who composed several memorable scores for the original series, provided the
intense, strings-heavy music for the segment which recalled his score for Richard Matheson’s
original series episode, “The Invaders.” <span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">George Miller wrote a
first draft script which Matheson greatly disliked. “He then wrote a second
draft which I liked better,” Matheson wrote in the June, 1984 issue of <i style="mso-bidi-font-style: normal;">Rod Serling’s The Twilight Zone Magazine</i>.
“So although I have a solo credit as screenwriter for the segment, most of the
dialogue is Miller’s.” Matheson ultimately enjoyed the segment, stating:
“Fortunately, he’s [Miller’s] a consummate director, and John Lithgow is a
consummate actor. I thought Jerry Goldsmith’s score was marvelous, and I liked
the monster infinitely more – even its sense of humor.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;"><u>IV.</u></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">“Settling in for a 13-hour transatlantic flight to a
land rife with ancient mysteries is Justin Sanderson. Mr. Sanderson’s
occupation is to uncover unbiased truth. But with an hour before certain doom,
he must ask the right questions of the right people. Landing at the truth this
time will require an unscheduled stopover in </span></i><span style="font-size: 14pt;">The Twilight Zone.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>-Narration
by host Jordan Peele for “Nightmare at 30,000 Feet” (2019) </span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxm7HzrJW_gJll2Fm880Ww7g79_kyAmk5QnzPzPLJejssv0CujFrEkclNq7WmGg2i_aXgFuyBe0LvJntnIhbclNrHgM101ZC9hvJtqGZQSRmbgAA5x9prqwoGdEk8ove5ZWvhH5zacLFtT/s1200/Nightmare+at+30000+Feet.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="1200" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxm7HzrJW_gJll2Fm880Ww7g79_kyAmk5QnzPzPLJejssv0CujFrEkclNq7WmGg2i_aXgFuyBe0LvJntnIhbclNrHgM101ZC9hvJtqGZQSRmbgAA5x9prqwoGdEk8ove5ZWvhH5zacLFtT/s320/Nightmare+at+30000+Feet.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Adam Scott in "Nightmare at 30,000 Feet"</td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p> </o:p></span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">The
second half of the first episode of the 2019 reboot of </span><i style="font-size: 14pt;">The Twilight Zone </i><span style="font-size: 14pt;">for CBS All-Access (now Paramount+) was a segment
titled “Nightmare at 30,000 Feet.” The segment was an homage to and a
reimagining of Richard Matheson’s original series episode. The teleplay was by
Marco Ramirez, from a story by Jordan Peele, Simon Kinberg, and Ramirez. The
segment was directed by Craig Yaitanes. Below is an excerpt from a flash review
of the episode I wrote shortly after its initial broadcast on April 1, 2019.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">“Nightmare at 30,000
Feet” is a reimagining of Richard Matheson’s “Nightmare at 20,000 Feet,” a
story about a nervous airplane passenger who sees a gremlin tampering with the engine
of a passenger jet. Another attempt at adapting this tale poses a particular
challenge. How can a new version be staged which captures the atmosphere of the
original while moving the story in a fresh new direction? This is the challenge
set up by the new series. The answer lies in taking the skeleton of Matheson’s
story and changing the focus of the nightmare.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>All
that is essential to the drama is the psychological makeup of the protagonist, a man who
previously suffered a mental breakdown placed in a situation which again forces
him to call into question his own sanity at the risk of the lives of the
passengers on the airplane. The suspense arrives from the fact that an airplane
cannot simply pull over and assess the trouble. Jordan Peele and company
understood that, in this sense, the gremlin was not necessary and removed that
aspect of the story entirely (well, almost). In place of the gremlin? An MP3
player loaded with a very ominous podcast which becomes the focus of the
nightmare. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Justin Sanderson (Adam
Scott) is an investigative reporter on a flight from Washington D.C. to Tel
Aviv. He previously suffered a mental breakdown while on assignment. After
going through the grueling boarding process and giving up his first class seat
to a family, he takes a window seat and plans for a smooth flight. This is
quickly challenged by Justin’s discovery of an MP3 player in the compartment of
the seat in front of him. The player is paused on a podcast, <i style="mso-bidi-font-style: normal;">Enigmatique,</i> which tells the story of
the doomed Flight 1015, the very flight Justin is taking. As he listens to more
of the podcast he realizes that Flight 1015 will soon mysteriously disappear,
never to be found. Justin attempts to unravel the mystery but only succeeds in
drawing the ire of the flight crew and the other passengers. He has apparently
made one friend, however, in a pilot named Joe Beaumont (Chris Diamantopoulos)
who hitches free rides but never flies anymore due to trouble in the past. He
claims to believe Justin. With Justin’s help, Beaumont gains access to the
cockpit and subdues the pilots. He lowers the cabin pressure, putting all of
the passengers to sleep, then signs off, “Goodnight, New York,” and sends the
plane into a nosedive. Only Justin, with a portable oxygen tank, is left
conscious as the plane begins its deadly descent. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Justin wakes up on the
shore of an isolated lake. He finds the MP3 player and gives it a listen only
to discover that the flight is his personal hell and the other passengers are
now his tormentors. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="mso-tab-count: 1;"> </span><span style="font-size: 14pt;">Not every viewer is going to enjoy this reimagining of
a classic episode but I really enjoyed this fresh take. I thought it was staged
extraordinarily well and perfectly captured the claustrophobic panic of the
original story. The gremlin could likely not have been bettered than that of the
1983 film version, and the twist ending with the damning realization and the
idea of a personal hell echoes several original series episodes. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>There
are several “Easter eggs” in “Nightmare at 30,000 Feet,” beginning with names.
Joe Beaumont is, of course, an homage to original series writer Charles
Beaumont. The podcast host is Rodman Edwards, a nod to <i style="mso-bidi-font-style: normal;">The Twilight Zone</i> creator Rodman Edward Serling. Donner is also the
name of a character in the episode. </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP9q5J_SJQNUHpigZfei6iquh03X84gtPi1REgbcHxmbWBPQM5-qMAP95ktw78LlTQCjvHOF941MkCRLdv4DL9NHaP2ZS3oDtiBp23h3obEe1sP9rJ-ADBT7YpLV4tPTgGRBCpCLV45b9p/s857/The+Gremlin+CBS+All+Access.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="631" data-original-width="857" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP9q5J_SJQNUHpigZfei6iquh03X84gtPi1REgbcHxmbWBPQM5-qMAP95ktw78LlTQCjvHOF941MkCRLdv4DL9NHaP2ZS3oDtiBp23h3obEe1sP9rJ-ADBT7YpLV4tPTgGRBCpCLV45b9p/s320/The+Gremlin+CBS+All+Access.jpg" width="320" /></a></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">William Tuttle’s
original design for the gremlin returns in the form of a doll found floating in
the water near the wreckage of the plane. Jordan Peele’s introduction for the
episode is also interesting as he delivers it on a screen inside the airplane.
The astute viewer will notice that behind Peele one can see that he is
delivering the opening narration in the place where the episode will end.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>A
recent appearance of “Nightmare at 20,000 Feet” arrived via the 2018 book
anthology, <i style="mso-bidi-font-style: normal;">Flight or Fright, </i>edited
by Stephen King and Bev Vincent. In his afterword to the anthology, co-editor
Vincent reveals the story of the anthology’s creation. Stephen King approached
Vincent and Cemetery Dance publisher Richard Chizmar in a restaurant prior to
the premiere of the film adaptation of King’s <i style="mso-bidi-font-style: normal;">The Dark Tower </i>(2017). King had fastened on the idea of an
anthology of airplane-themed horror stories, and he tasked Vincent to co-edit
the book with him and Chizmar to publish it. “Nightmare at 20,000 Feet” was the
story which immediately came to Vincent’s mind, and served as the launching
point for the anthology. An earlier anthology, <i style="mso-bidi-font-style: normal;">Mysterious Air Stories, </i>did much the same thing. Published in 1986
by W.H. Allen, the volume was edited by the prolific anthologist Peter Haining
under the pseudonym William Pattrick. The cover for the book, by an unknown
artist, was an illustration of Matheson’s “Nightmare at 20,000 Feet,” included
within. <i style="mso-bidi-font-style: normal;">Mysterious Air Stories </i>was one
in a series of travel-themed horror anthologies compiled by Haining under the
Pattrick name, also including <i style="mso-bidi-font-style: normal;">Mysterious
Railway Stories </i>(1984), <i style="mso-bidi-font-style: normal;">Mysterious
Sea Stories </i>(1985), and <i style="mso-bidi-font-style: normal;">Mysterious
Motoring Stories </i>(1987). Haining was an admirer of “The Group” and included
stories by Richard Matheson, Charles Beaumont, William F. Nolan, Ray Bradbury,
and Robert Bloch across the series. </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhswj_pjC3Ml_xpTcM8XRu55oUAuKnDKdQ-SaAc01Or7lzve7v1eMQ6XvxCOqNcYC912wHc9JJARkCd6oEUpH9iYmWhln90v3SpHtjGl7aKxIqX8n1m5zx8kclcVTBkJJTE754erCSzaEzQ/s593/Mysterious+Air+Stories+cover.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="593" data-original-width="366" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhswj_pjC3Ml_xpTcM8XRu55oUAuKnDKdQ-SaAc01Or7lzve7v1eMQ6XvxCOqNcYC912wHc9JJARkCd6oEUpH9iYmWhln90v3SpHtjGl7aKxIqX8n1m5zx8kclcVTBkJJTE754erCSzaEzQ/s320/Mysterious+Air+Stories+cover.jpg" width="198" /></a></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>“Nightmare
at 20,000 Feet” has rightly become an iconic episode from <i style="mso-bidi-font-style: normal;">The Twilight Zone.</i> It has spawned remakes, adaptations, and numerous
parodies. Still, nearly sixty years later it is the original series episode which
continues to resonate across the landscape of popular culture. Anchored by a
mesmerizing lead performance from William Shatner, a strong supporting cast,
excellent direction by Richard Donner, and effective makeup and special
effects, it remains an undisputed classic of American television. <span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">Grade:
A+</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">Grateful
acknowledgments:</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-The
Twilight Zone Companion </span></i><span style="font-size: 14pt;">by Marc Scott
Zicree (3<sup>rd</sup> ed., Silman-James, 2018)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-The
Twilight Zone: Unlocking the Door to a Television Classic </span></i><span style="font-size: 14pt;">by Martin Grams, Jr. (OTR, 2008)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">-“The Incredible Scripting Man: Richard
Matheson Reflects on His Screen Career” by Matthew R. Bradley <i style="mso-bidi-font-style: normal;">(The Twilight and Other Zones: The Dark
Worlds of Richard Matheson, </i>ed. Stanley Wiater, Matthew R. Bradley, and
Paul Stuve (Citadel Press, 2009)) <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-Dimensions
Behind the Twilight Zone </span></i><span style="font-size: 14pt;">by Stewart
T. Stanyard (ECW Press, 2007)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">-“Richard Donner: TZ Alumnus Makes Good”
by Robert Martin <i style="mso-bidi-font-style: normal;">(Rod Serling’s The
Twilight Zone Magazine, </i>July, 1981)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">-“Matheson Looks at His ‘Nightmare’” by
Richard Matheson <i style="mso-bidi-font-style: normal;">(Rod Serling’s The
Twilight Zone Magazine, </i>June, 1984) <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">-“Don Congdon, Longtime Literary Agent
for Ray Bradbury, Dies at 91” by William Grimes <i style="mso-bidi-font-style: normal;">(The New York Times,</i> Dec 4, 2009)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-Rod
Serling’s The Twilight Zone Magazine, </span></i><span style="font-size: 14pt;">October,
1983 <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-Starburst
Magazine, </span></i><span style="font-size: 14pt;">October, 1983<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-Richard
Matheson Onscreen: A History of the Filmed Works </span></i><span style="font-size: 14pt;">by Matthew R. Bradley (McFarland, 2010)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">-Audio commentary by Marc Scott Zicree
and Richard Donner for “Nightmare at 20,000 Feet” <i style="mso-bidi-font-style: normal;">(The Twilight Zone: The 5<sup>th</sup> Dimension </i>(DVD Box Set),
Image Entertainment, 2014)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">-The Internet Speculative Fiction
Database (isfdb.org)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">-The Internet Movie Database (imdb.com)</span><span style="font-size: 14pt;"> </span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd1AQM1sba-8_bZBLymLEMjiwpa5bGsSIpSYqQRzMsImtiCvsMOo-RJOHjbQy0-IXotPzy79a1JJSFMkXyg5nDG3cnRienwkBGK_6983DlhhZS0hK26DdmfOMWe_33Pwp1qLy1dfUMrXtW/s934/Tampering+with+Engine.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="725" data-original-width="934" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd1AQM1sba-8_bZBLymLEMjiwpa5bGsSIpSYqQRzMsImtiCvsMOo-RJOHjbQy0-IXotPzy79a1JJSFMkXyg5nDG3cnRienwkBGK_6983DlhhZS0hK26DdmfOMWe_33Pwp1qLy1dfUMrXtW/s320/Tampering+with+Engine.jpg" width="320" /></a></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><i><u><span style="font-size: 14pt;">Notes:</span></u></i></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">--Richard Matheson’s</span></i><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;"> original
short story first appeared in </span></i><span style="font-size: 14pt;">Alone
by Night, <i style="mso-bidi-font-style: normal;">edited by Michael and Don
Congdon (Ballantine Books, 1962). The story was collected in Matheson’s 1966
collection </i>Shock III, <i style="mso-bidi-font-style: normal;">published by
Dell. The story has been reprinted several times since, including in </i>The
Twilight Zone: The Original Stories <i style="mso-bidi-font-style: normal;">(1985),
Matheson’s </i>Collected Stories <i style="mso-bidi-font-style: normal;">(1989),
and as the title story of Matheson’s 2002 retrospective collection from Tor
Books. The story inspired two anthologies, </i>Mysterious Air Stories, <i style="mso-bidi-font-style: normal;">edited by Peter Haining (as by William Pattrick),
published by W.H. Allen in 1986, and </i>Flight or Fright, <i style="mso-bidi-font-style: normal;">edited by Stephen King and Bev Vincent (Cemetery Dance, 2018). <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">--Richard Matheson’s</span></i><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;"> teleplay for
“Nightmare at 20,000 Feet” was first published in the May-June, 1984 issue of </span></i><span style="font-size: 14pt;">Rod Serling’s The Twilight Zone Magazine. <i style="mso-bidi-font-style: normal;">It was published as a standalone volume by
Harvest Moon Publishing in 2001, and was collected in the second volume of </i>Richard
Matheson’s Twilight Zone Scripts, <i style="mso-bidi-font-style: normal;">edited
by Stanley Wiater (Edge Books/Gauntlet Press, 2002). In 2011, Gauntlet Press
published a deluxe edition of the story, including the original story,
Matheson’s teleplay, and Matheson’s and George Miller’s screenplay for </i>Twilight
Zone: The Movie. <i style="mso-bidi-font-style: normal;">The book was edited by
Tony Albarella. <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">--Richard Donner</span></i><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;"> directed
five additional episodes for the fifth season of the series, including “From
Agnes – with Love,” “Sounds and Silences,” “The Jeopardy Room,” “The Brain
Center at Whipple’s,” and “Come Wander with Me.” <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">--William Shatner</span></i><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;"><b> </b>also
appeared in the second season episode, “Nick of Time,” also scripted by Richard
Matheson. Shatner worked again with Matheson for the first season </span></i><span style="font-size: 14pt;">Star Trek <i style="mso-bidi-font-style: normal;">episode,
“The Enemy Within.” In 1958, Shatner appeared in Rod Serling's </i><span style="mso-bidi-font-style: normal;">Playhouse 90 <i>episode, "A Town Has Turned to Dust," a script Serling reworked for the second season </i>The Twilight Zone <i>episode, "Dust." Shatner played the villainous lead role in the 1962 film, </i>The Intruder, <i>scripted by Charles Beaumont from his 1959 novel and directed by Roger Corman. </i></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">--Christine White</span></i><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;"> also
appeared in the second season episode, “The Prime Mover.” <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">--David Armstrong</span></i><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;"> also
appeared, often uncredited, in “The Mind and the Matter,” “To Serve Man,” “The
Trade-Ins,” and “I Sing the Body Electric.” <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">--Slim Bergman</span></i><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;"> also
appeared, uncredited, in Richard Matheson’s “Steel.” <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">--Ed Haskett</span></i><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;"> also
appeared, uncredited, in “The Silence” and “He’s Alive.” <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">--This episode</span></i><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;"> marks
another appearance by prolific series extra Robert McCord.<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">--Edward Kemmer,</span></i><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;"> here playing
the Flight Engineer, portrayed the role of Commander Buzz Corry on </span></i><span style="font-size: 14pt;">Space Patrol <i style="mso-bidi-font-style: normal;">(1950-1955).
As author Marc Scott Zicree has pointed out, Kemmer was the quintessential
spaceship captain of the 1950s. In “Nightmare at 20,000 Feet,” he encounters
William Shatner, who, on </i>Star Trek, <i style="mso-bidi-font-style: normal;">became
the quintessential spaceship captain of the 1960s.<o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">--Twilight
Zone: The Movie </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">contains several cameos from the cast and crew of the
original series, including Burgess Meredith, Bill Mumy, Buck Houghton, Kevin
McCarthy, Patricia Barry, and William Schallert. The most memorable cameo,
however, likely belongs to Carol Serling, who appears in the “Nightmare at
20,000 Feet” segment as a concerned air passenger. In the segment, Serling is seen
holding an issue of </span></i><span style="font-size: 14pt;">Rod Serling’s The
Twilight Zone Magazine. <i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">--“Nightmare at 20,000 Feet”</span></i><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;"> was adapted
as a </span></i><span style="font-size: 14pt;">Twilight Zone Radio Drama <i style="mso-bidi-font-style: normal;">starring John Schneider. <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">--Viewers longing</span></i><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;"> to own their
own gremlin can choose from a limited edition figure created by Sideshow
Collectibles (TV Land Special Edition) or one of several options from toy
company Bif Bang Pow!<o:p></o:p></span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><u><span style="font-size: medium;">Additional Images:</span></u></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;">Cover image sourced from <i>Twilight Zone: The Movie </i>for a 1983 Dutch-language reprint of selections from Rod Serling's <i>Stories from the Twilight Zone </i>(1960) and <i>More Stories from the Twilight Zone </i>(1961).</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPNiZHtPZ6dMjU8olwvwsYPEOvj0lLw9Fu6tD1Hb-ISMndKBAG4tZZr_mk49rcimF7tAPl-ndrR_J0Y4zhDPTX2LGbjzfFRc-6Ob7dEOiCmD9Ks1wRegu0lnpZrDU-xwn1EqXTcSaDwV4j/s600/TZ+Movie+%2528Dutch%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPNiZHtPZ6dMjU8olwvwsYPEOvj0lLw9Fu6tD1Hb-ISMndKBAG4tZZr_mk49rcimF7tAPl-ndrR_J0Y4zhDPTX2LGbjzfFRc-6Ob7dEOiCmD9Ks1wRegu0lnpZrDU-xwn1EqXTcSaDwV4j/w426-h640/TZ+Movie+%2528Dutch%2529.jpg" width="426" /></a></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;">Cover for the October, 1983 issue of <i>Rod Serling's The Twilight Zone Magazine: </i></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"></p><div class="separator" style="clear: both; font-weight: bold; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ_BrymH7XHdvD-OuT4sdjYpIOtTDDSz97r5rA86lH_cON504e7oDhZsfM0FMgYvEupAcWJkgtAisOvRrhDST_CpX8KX4yLLCsszN4V93j2oE3tz8iCC6Ybs4T207h3tfvGQbi5tBf49eY/s1622/TZ+Mag+Cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1622" data-original-width="1178" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ_BrymH7XHdvD-OuT4sdjYpIOtTDDSz97r5rA86lH_cON504e7oDhZsfM0FMgYvEupAcWJkgtAisOvRrhDST_CpX8KX4yLLCsszN4V93j2oE3tz8iCC6Ybs4T207h3tfvGQbi5tBf49eY/w464-h640/TZ+Mag+Cover.jpg" width="464" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Cover for the June, 1984 issue of <i>Rod Serling's The Twilight Zone Magazine:</i></p><u style="font-weight: bold;"><br /></u><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXOdXwGF8z-Khl6hoKuZwX9Wv3Qi3MLdCLywC597izRu0bJ1H1vflQwMfUhG1MB9ul9-QPqDTXZEW1lEuU8hyXHZfrcXsReHVe4X507X7dxbpDmCRl-1GYujtwdpB700FBce0U3VlZopwX/s1080/TZ+Mag+Cover+2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="785" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXOdXwGF8z-Khl6hoKuZwX9Wv3Qi3MLdCLywC597izRu0bJ1H1vflQwMfUhG1MB9ul9-QPqDTXZEW1lEuU8hyXHZfrcXsReHVe4X507X7dxbpDmCRl-1GYujtwdpB700FBce0U3VlZopwX/w466-h640/TZ+Mag+Cover+2.jpg" width="466" /></a></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Cover for the October, 1983 issue of <i>Fangoria: </i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbBfhqnzCK8EHVyXbV44R4FhzLqYyA4zd_-2rD2XC8o-YoGj2kBRHs3BJvwz_FBvtgeWDMTtL37Us0SBmUvETniT4NymW9dx4Ew9u70Wm1uSOUfYRJVF_ESZSQZlO0xtqvBAhD5eHlJ7VO/s1760/Fangoria+cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1760" data-original-width="1284" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbBfhqnzCK8EHVyXbV44R4FhzLqYyA4zd_-2rD2XC8o-YoGj2kBRHs3BJvwz_FBvtgeWDMTtL37Us0SBmUvETniT4NymW9dx4Ew9u70Wm1uSOUfYRJVF_ESZSQZlO0xtqvBAhD5eHlJ7VO/w466-h640/Fangoria+cover.jpg" width="466" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p>Cover, with interior illustration by Chris Roberts, for <i>Rue Morgue </i>#35 (Halloween, 2003):<p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ4pYE9d3gXu3Pg5ocRbde52Gcz1w_OyNM6VSzkLfzvZ0yDcbTwO-nvi0Xfl_1IUnr_9OzZtkIHcviiJJWqkW_Z55y-fi23S5CPBOhRIsf28bsD5g66BPcfHFmzDgY_TLUJMwAINcsre_c/s1584/Rue+Morgue+1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1070" data-original-width="1584" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ4pYE9d3gXu3Pg5ocRbde52Gcz1w_OyNM6VSzkLfzvZ0yDcbTwO-nvi0Xfl_1IUnr_9OzZtkIHcviiJJWqkW_Z55y-fi23S5CPBOhRIsf28bsD5g66BPcfHFmzDgY_TLUJMwAINcsre_c/w640-h432/Rue+Morgue+1.jpg" width="640" /></a></div><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Cover illustration by Rick Melton for <i>The Dark Side </i>#181 (2017):</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX57-Oumr3uvyQgOqT3dT6kmAcA49qa9Nsk5Yj3_1jtacmRlc-rt2LyegYscmt9UeMc6kX7W1lOW66X1SbX9xQjrByBVrGS9J1-vbK3y9lw7QIigkjMABzWCHzt2tb-j-P4wCMtMuS06in/s843/Dark+Side+Magazine+cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="843" data-original-width="597" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX57-Oumr3uvyQgOqT3dT6kmAcA49qa9Nsk5Yj3_1jtacmRlc-rt2LyegYscmt9UeMc6kX7W1lOW66X1SbX9xQjrByBVrGS9J1-vbK3y9lw7QIigkjMABzWCHzt2tb-j-P4wCMtMuS06in/w454-h640/Dark+Side+Magazine+cover.jpg" width="454" /></a></div><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Detail of cover illustration by "Ravenwood" for <i>Nightmare at 20,000 Feet: Horror Stories </i>by Richard Matheson (Tor, 2002): </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc47DymTYOLtNEhnEK9JVeuJbNsJQTRoB65ciua2MLRqA8Z6T5E05yz5Q0uHhKzC2UY9VP6mtpEtpgHqynuXhEqLaF2sSiHRLIb-a8Zx6Xe2QwRyFWubsNNX51Kcj0B2Z5V5xL4wvKoEzt/s1377/Nightmare+collection+cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="1377" height="446" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc47DymTYOLtNEhnEK9JVeuJbNsJQTRoB65ciua2MLRqA8Z6T5E05yz5Q0uHhKzC2UY9VP6mtpEtpgHqynuXhEqLaF2sSiHRLIb-a8Zx6Xe2QwRyFWubsNNX51Kcj0B2Z5V5xL4wvKoEzt/w640-h446/Nightmare+collection+cover.jpg" width="640" /></a></div><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Painting by Cortlandt Hull for the restoration of the carousel in the pavilion at the George F. Johnson Recreational Park in Rod Serling's hometown of Binghamton, NY: </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9JyOlSwgTxZPHgT5EpcrTEpLCPv4ivUwkuUnroZnSN8wEQcIM8E917NnfSsze38rR_gznXuzNP67q-k2tfZf-5HeXw2J26Of5kwJOetfS6pefeWn9KNewH7w-Igk9Jdm8e34wGHzPL3hG/s724/Nightmare+painting+%2528Cortlundt+Hull%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="209" data-original-width="724" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9JyOlSwgTxZPHgT5EpcrTEpLCPv4ivUwkuUnroZnSN8wEQcIM8E917NnfSsze38rR_gznXuzNP67q-k2tfZf-5HeXw2J26Of5kwJOetfS6pefeWn9KNewH7w-Igk9Jdm8e34wGHzPL3hG/w640-h184/Nightmare+painting+%2528Cortlundt+Hull%2529.jpg" width="640" /></a></div><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">Cover illustration by Harry O. Morris for the definitive edition of "Nightmare at 20,000 Feet," published by Gauntlet Press in 2011:</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKiB9F7LWw4vF8sLoJsYiC8LMINMkY_yyb3NbnWbictp2HohTcEGbDZFTTzACJ3fYkHTJ7HoXkAgxiR8n8vM4mQBuXhnnJOvtkGBnOJdKFKrjvezkFIMgFgyMWpT0voX7cz5NTgXWRiER6/s634/Gauntlet+Press+cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="634" data-original-width="390" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKiB9F7LWw4vF8sLoJsYiC8LMINMkY_yyb3NbnWbictp2HohTcEGbDZFTTzACJ3fYkHTJ7HoXkAgxiR8n8vM4mQBuXhnnJOvtkGBnOJdKFKrjvezkFIMgFgyMWpT0voX7cz5NTgXWRiER6/w394-h640/Gauntlet+Press+cover.jpg" width="394" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt;">In Memory of Richard Donner (1930-2021)</span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b></b></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh_-TRdkjnBGeZzBXx6oESiKYSauGetEUg01NqD7VhCjV124Wgeu31_hzdlzqX9jAEt3BHzPUvGd2ZJ8tPo7QdOfyQZp4O0h2PO-lcJaeze2w3sGDpDeiAABl2uS6LfBGbT1hiP1EMmdjP/s785/Donner.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="785" data-original-width="575" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh_-TRdkjnBGeZzBXx6oESiKYSauGetEUg01NqD7VhCjV124Wgeu31_hzdlzqX9jAEt3BHzPUvGd2ZJ8tPo7QdOfyQZp4O0h2PO-lcJaeze2w3sGDpDeiAABl2uS6LfBGbT1hiP1EMmdjP/w468-h640/Donner.jpg" width="468" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Donner as pictured in the July, 1981 issue of <i>Rod Serling's The Twilight Zone Magazine</i></td></tr></tbody></table><b><br /><span style="font-size: 14pt;">-JP</span></b><p></p>JPhttp://www.blogger.com/profile/14808904189056290207noreply@blogger.com0tag:blogger.com,1999:blog-1318310043864039191.post-7561308728250553912021-08-09T06:00:00.005-05:002021-11-24T10:20:19.409-06:00The Twilight Zone Writers in Playboy Magazine<p><span style="font-size: 14pt;"><b>A Gallery of Illustrations</b></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">I’ve <a href="https://twilightzonevortex.blogspot.com/2015/10/playboy-fiction-anthologies-of-1960s.html" target="_blank"><span style="color: white;">previously written</span></a> about the
excellent fiction published during the early years of </span><i style="font-size: 14pt;">Playboy,</i><span style="font-size: 14pt;"> at which time Ray Russell served as fiction editor for
the magazine. Under Russell, </span><i style="font-size: 14pt;">Playboy</i><span style="font-size: 14pt;"> was a showcase for writers of fantasy, science fiction,
and horror, several of whom also wrote for </span><i style="font-size: 14pt;">The
Twilight Zone. </i><span style="font-size: 14pt;">Below is a selection of illustrations which accompanied the
fiction of </span><i style="font-size: 14pt;">The Twilight Zone </i><span style="font-size: 14pt;">writers in the
pages of </span><i style="font-size: 14pt;">Playboy. </i><span style="font-size: 14pt;">This is not intended
as a definitive list as there are appearances </span><span style="font-size: 14pt;">for which I do not have the
issues. I’ve also included some
bonus illustrations for writers who did not write for </span><i style="font-size: 14pt;">The Twilight Zone </i><span style="font-size: 14pt;">but who will likely be familiar to readers here
in the Vortex. </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Note: </i>Some artists are listed by last name only, the method by which their work was signed or credited. </span><span style="font-size: 14pt;">Some artists are not credited and their signatures are illegible. If anyone can identify the uncredited artists, please let me know
in the comments.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">-JP</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 18.6667px;"><b><i>Fahrenheit 451</i> by Ray Bradbury </b></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: Ben Denison<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issues: March, April, May, 1954<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTsWjHvKAnCApshONzzB4FKFYcMPwYc6gRYgwJTwlm8ZQvLdmtjHFTgBjPK_GVzZgB98QKSas2yocPEG6GZ21JZQU2mV56jSZU2S_Ufc9Pd6uiKFRvUoclsrA7yQU0uWgoKB8FmJo6oYaF/s1726/Fahrenheit+451+%2528Playboy%2529+1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1014" data-original-width="1726" height="376" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTsWjHvKAnCApshONzzB4FKFYcMPwYc6gRYgwJTwlm8ZQvLdmtjHFTgBjPK_GVzZgB98QKSas2yocPEG6GZ21JZQU2mV56jSZU2S_Ufc9Pd6uiKFRvUoclsrA7yQU0uWgoKB8FmJo6oYaF/w640-h376/Fahrenheit+451+%2528Playboy%2529+1.jpg" width="640" /></a></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU4GDmNKMgovcQ8GwEkuYQ98WsTFeMz7FPJCj-MQlmqRwTc5HsRX94Bq-ziFgloKQK8JpthpqSKG2r3wA79SjlVnNmdf8ubgWL0VXiYH8vudyYnxCspOoMKEPgsFCHcXNDhcQh-cXx-_XX/s2048/Fahrenheit+451+%2528Playboy%2529+7.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1333" data-original-width="2048" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU4GDmNKMgovcQ8GwEkuYQ98WsTFeMz7FPJCj-MQlmqRwTc5HsRX94Bq-ziFgloKQK8JpthpqSKG2r3wA79SjlVnNmdf8ubgWL0VXiYH8vudyYnxCspOoMKEPgsFCHcXNDhcQh-cXx-_XX/w640-h416/Fahrenheit+451+%2528Playboy%2529+7.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfBD0sWxzmhL24xaq2WZT5Cmdjhz13j2PQBxEI7G8uicomTtkm6lInWrZD6simcZ6-8x4efMYoY0Ho-z8mVDwR2HtXhWBX1dQtaJLmw18cgQdJZLHpHLwntJafBW8xBsn6XRn3J7JzfGcb/s1432/Fahrenheit+451+%2528Playboy%2529+9.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1432" data-original-width="1154" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfBD0sWxzmhL24xaq2WZT5Cmdjhz13j2PQBxEI7G8uicomTtkm6lInWrZD6simcZ6-8x4efMYoY0Ho-z8mVDwR2HtXhWBX1dQtaJLmw18cgQdJZLHpHLwntJafBW8xBsn6XRn3J7JzfGcb/w516-h640/Fahrenheit+451+%2528Playboy%2529+9.jpg" width="516" /></a></div><span style="font-size: 14pt;"><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><br /></span></p><b>"The Flying Machine" by Ray Bradbury </b><br /></span><div><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: Franz Altschuler <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: August, 1954<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2hakQ81SEtcEUU6k7B0AYrXpryGcFZqWY5w-qEvFtZLxMqk2iVlg1HwmqcDxmimz9XL9LAZM7-4IFqR8PcU5ba7DnLagZsBVmAqteSvW22UIx6RxqixIKaYrEtJ-BsG2pDTQjrhQt11Bz/s1500/The+Flying+Machine+%2528Playboy%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1171" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2hakQ81SEtcEUU6k7B0AYrXpryGcFZqWY5w-qEvFtZLxMqk2iVlg1HwmqcDxmimz9XL9LAZM7-4IFqR8PcU5ba7DnLagZsBVmAqteSvW22UIx6RxqixIKaYrEtJ-BsG2pDTQjrhQt11Bz/w500-h640/The+Flying+Machine+%2528Playboy%2529.jpg" width="500" /></a></div><br /> <p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>“The Concrete Mixer” by Ray Bradbury </b></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: Franz Altschuler<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: January, 1955<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir1_rwZybXUMlPbZduQusm9IxLGAmZ9MjyHHuehGfieZRzHjRkaMgz9cxFPQiSNC2UU4FzlrP8MHu5l6KbnhZrHMF1o5tl9SKvO_fT9ZtG9Qv-M43qjjneh1xJue59zkb940G4S8-uxVOQ/s2048/The+Concrete+Mixer.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir1_rwZybXUMlPbZduQusm9IxLGAmZ9MjyHHuehGfieZRzHjRkaMgz9cxFPQiSNC2UU4FzlrP8MHu5l6KbnhZrHMF1o5tl9SKvO_fT9ZtG9Qv-M43qjjneh1xJue59zkb940G4S8-uxVOQ/w640-h426/The+Concrete+Mixer.jpg" width="640" /></a></div><br /> <p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>"The Next in Line" by Ray Bradbury </b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: Richard Tyler<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: December, 1955<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Note: </i>A detail of this illustration was used as the cover for the paperback edition (1968) of <i>The Playboy Book of Horror and the Supernatural </i>(1967). </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkP-In2Vh2nySGlYOgVmmkLykzXMfklzprjZSPTDIFDC074iH2fjfL88ioqA9vMXqWDfVUY4iVVuy619NXehD8upldodr8CLOpQzwgPxBI2cE40oXv_n2wsmBxr2lnqQkXuL1eIID45aA6/s1109/The+Next+in+Line.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="983" data-original-width="1109" height="568" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkP-In2Vh2nySGlYOgVmmkLykzXMfklzprjZSPTDIFDC074iH2fjfL88ioqA9vMXqWDfVUY4iVVuy619NXehD8upldodr8CLOpQzwgPxBI2cE40oXv_n2wsmBxr2lnqQkXuL1eIID45aA6/w640-h568/The+Next+in+Line.jpg" width="640" /></a></div><br /> <p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>"A Sound of Thunder" by Ray Bradbury </b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: Franz Altschuler<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: June, 1956<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD8way6MRbWzGOmBjp411KMgXX0Q-xG16O-aZOPl7JL8J9r6HpemBRcR0iD829uPf8rlWTFv_9NtIFISMSHuAko8pK58w2UGKCbt6x-08zEDtT_EHIcdGjbBeRx6VXPnFscP-qKMcnjrZv/s2048/A+Sound+of+Thunder+%2528Playboy%2529+1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1032" data-original-width="2048" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD8way6MRbWzGOmBjp411KMgXX0Q-xG16O-aZOPl7JL8J9r6HpemBRcR0iD829uPf8rlWTFv_9NtIFISMSHuAko8pK58w2UGKCbt6x-08zEDtT_EHIcdGjbBeRx6VXPnFscP-qKMcnjrZv/w640-h322/A+Sound+of+Thunder+%2528Playboy%2529+1.jpg" width="640" /></a></div><br /> <p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>"The Illustrated Woman" by Ray Bradbury</b></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: Sullivan</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: March, 1961</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcnQrkn_Y12OH8L6kbAo8dsYqAL5Xe44aEhDxANUTJq007ne_WScKXDHPgsTAM9LqfEqLkoc5teeDFi35OLjsp_-pw6m7rmy1P28D-AfbWU5mD97ZKyQO1s5vctuIpN47ftxMjVb_50OIr/s1996/Bradbury+The+Illustrated+Woman+March+61.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1650" data-original-width="1996" height="530" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcnQrkn_Y12OH8L6kbAo8dsYqAL5Xe44aEhDxANUTJq007ne_WScKXDHPgsTAM9LqfEqLkoc5teeDFi35OLjsp_-pw6m7rmy1P28D-AfbWU5mD97ZKyQO1s5vctuIpN47ftxMjVb_50OIr/w640-h530/Bradbury+The+Illustrated+Woman+March+61.jpg" width="640" /></a></div><br /><span style="font-size: 14pt;"><br /></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="font-size: 14pt;">"Heavy-Set" by Ray Bradbury </b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: uncredited<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: October, 1964<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir8_ZARtf7paXxbxrM61v8qrrLyq7igOzoDryAVisfSalpMt1gtiNnEdZhqCO8q6zOjCBKaZbpbsqlcU6-UZaJ3IgfZbFkLOW_f2rEn0-XqqtfD7_WxN3VY3relF8TMck01Ad_5XcnH8Vz/s1500/Heavy+Set.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1092" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir8_ZARtf7paXxbxrM61v8qrrLyq7igOzoDryAVisfSalpMt1gtiNnEdZhqCO8q6zOjCBKaZbpbsqlcU6-UZaJ3IgfZbFkLOW_f2rEn0-XqqtfD7_WxN3VY3relF8TMck01Ad_5XcnH8Vz/w466-h640/Heavy+Set.jpg" width="466" /></a></div><br /> <p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 18.6667px;"><b>"Black Country" by Charles Beaumont</b></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: LeRoy Neiman<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: September, 1954<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMzTO6JfjMadG5gynt_oKO1fqzCBSchAM7FStjNIEkyavhHdsA-7nniMmCf1BSf65T4rGBA7RHTnsDPU2wnzr_P7nAUC1z3GFtaZUOzc4wvrKKcrWMGzEPjfkBTSNs4YXsBcxIyHfawNqb/s1382/Black+Country.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1382" data-original-width="1154" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMzTO6JfjMadG5gynt_oKO1fqzCBSchAM7FStjNIEkyavhHdsA-7nniMmCf1BSf65T4rGBA7RHTnsDPU2wnzr_P7nAUC1z3GFtaZUOzc4wvrKKcrWMGzEPjfkBTSNs4YXsBcxIyHfawNqb/w534-h640/Black+Country.jpg" width="534" /></a></div><br /> <p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>"The Hunger" by Charles Beaumont </b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: uncredited<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: April, 1955<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhge_M4QAzDGC7YYGNCzoqtVerhi6pBzjyNlkVctRpPU1Y7hN5jONbFtNX48AGHUjhMJrVxuuLmQOEwfhxMz5B5k2Neh8yjiFJIvn4K2m7wq5TXnQo9bNUKphFRKpn8HTJqBlc29LnoT9jm/s972/The+Hunger+1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="972" data-original-width="466" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhge_M4QAzDGC7YYGNCzoqtVerhi6pBzjyNlkVctRpPU1Y7hN5jONbFtNX48AGHUjhMJrVxuuLmQOEwfhxMz5B5k2Neh8yjiFJIvn4K2m7wq5TXnQo9bNUKphFRKpn8HTJqBlc29LnoT9jm/w306-h640/The+Hunger+1.jpg" width="306" /></a></div><br /> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdBbOOkswxCkd6aIAf-yC8xyLEEwx4jEygUG6lBrO7P41HNBIq-BAhrxhFuvoowoBcC7xBlWzwo8dujsjXx5bDi8GS-pvAf7JNO1QAtowPg5pwejUFWV7AlH6f_3vTKCgzowFdoasBV4Aj/s1500/The+Hunger+2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1137" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdBbOOkswxCkd6aIAf-yC8xyLEEwx4jEygUG6lBrO7P41HNBIq-BAhrxhFuvoowoBcC7xBlWzwo8dujsjXx5bDi8GS-pvAf7JNO1QAtowPg5pwejUFWV7AlH6f_3vTKCgzowFdoasBV4Aj/w486-h640/The+Hunger+2.jpg" width="486" /></a></div><br /><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>"The Crooked Man" by Charles Beaumont</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: LeRoy Neiman<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: August, 1955<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD2KcVhSAD24HpmSnK11QEouA4JXeFXUK57jiXXctRI8bXv-kYzet_dk90dlmUwEuZ5mtOEd7r6JExv9l7xcQjMxF00o_w_y9dmRODknStZbXm0egEsQ_6lUv6f96RTiQ-Gbl_15wiXnvt/s1109/The+Crooked+Man+1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="661" data-original-width="1109" height="382" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD2KcVhSAD24HpmSnK11QEouA4JXeFXUK57jiXXctRI8bXv-kYzet_dk90dlmUwEuZ5mtOEd7r6JExv9l7xcQjMxF00o_w_y9dmRODknStZbXm0egEsQ_6lUv6f96RTiQ-Gbl_15wiXnvt/w640-h382/The+Crooked+Man+1.jpg" width="640" /></a></div><br /> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEbeZqlpOFaUoI1qROiZJzIYBSHakC33LU8eLRfcdS7NBa0t4LEJfvXWRmEBMtlzyF9KvASTEn6nQbtdnICxg0fDAZ-MyzvmT5k7dP2C62OzjnWyS5ZfvLSCt47aGDU4OKGCywRrxT0NnB/s1459/The+Crooked+Man+2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1459" data-original-width="1127" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEbeZqlpOFaUoI1qROiZJzIYBSHakC33LU8eLRfcdS7NBa0t4LEJfvXWRmEBMtlzyF9KvASTEn6nQbtdnICxg0fDAZ-MyzvmT5k7dP2C62OzjnWyS5ZfvLSCt47aGDU4OKGCywRrxT0NnB/w494-h640/The+Crooked+Man+2.jpg" width="494" /></a></div><br /><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>"A Classic Affair" by Charles Beaumont </b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: Howard Mueller<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: December, 1955<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy72fVIAcTIXqQmuTy1ThgHaLChlHHQ5iAlWYf6_bAmrrYthf4t3TxjzHmvIIkFyFRmw2gMb23O4tcmGY5PVFErvfBSSu7kaqSkIok8xpAcBHL2Z6xn5s9TL8IeMtVJr_m2REgaRY4Ziqc/s1304/A+Classic+Affair.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1304" data-original-width="988" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy72fVIAcTIXqQmuTy1ThgHaLChlHHQ5iAlWYf6_bAmrrYthf4t3TxjzHmvIIkFyFRmw2gMb23O4tcmGY5PVFErvfBSSu7kaqSkIok8xpAcBHL2Z6xn5s9TL8IeMtVJr_m2REgaRY4Ziqc/w484-h640/A+Classic+Affair.jpg" width="484" /></a></div><br /> <p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>"The Monster Show" by Charles Beaumont </b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: Ron Bradford<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: May, 1956<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCbyfmTE3EBtkksGyVrt3q4zuIBSDbfZTGm0T-dWcMk3Jg63FKVR7baUPv_BTNO99YehvKEiIvHexjv82QTqNXKJtGqy2NwJllYtkcHvwuBN8FfGsXjHaIH4bb1NW_a4r0XpgIzx_wMQD5/s815/The+Monster+Show.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="815" data-original-width="743" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCbyfmTE3EBtkksGyVrt3q4zuIBSDbfZTGm0T-dWcMk3Jg63FKVR7baUPv_BTNO99YehvKEiIvHexjv82QTqNXKJtGqy2NwJllYtkcHvwuBN8FfGsXjHaIH4bb1NW_a4r0XpgIzx_wMQD5/w584-h640/The+Monster+Show.jpg" width="584" /></a></div><br /> <p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>"You Can't Have Them All" by Charles Beaumont </b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: uncredited<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: August, 1956<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZa1U0FA1poqy5fumRKrwvFEm2wPEpDhoZiaPgLiTUwtub1pD4ooI1-e3BOZy-pSivE9gi7wTAtWj1hckBciPC4tPc6OgHd_HuSaYFAQgctBhBxsLBUSk_otmipoRwXbBtu4tgVUBLxrAx/s1500/You+Can%2527t+Have+Them+All.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1123" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZa1U0FA1poqy5fumRKrwvFEm2wPEpDhoZiaPgLiTUwtub1pD4ooI1-e3BOZy-pSivE9gi7wTAtWj1hckBciPC4tPc6OgHd_HuSaYFAQgctBhBxsLBUSk_otmipoRwXbBtu4tgVUBLxrAx/w480-h640/You+Can%2527t+Have+Them+All.jpg" width="480" /></a></div><br /> <p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>"The Dark Music" by Charles Beaumont </b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: Robert Hodgell<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: December, 1956<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_ct7pG9tK85PAN1_NWLfxZ3BAVb2X-fXdw11HVkcGsjI1p7pTilyS_ySiilwtWLAq1PiIRTzT2Iw8ZU_98wVSsn7uOXlv4bSa9DQ5W944Rl_rhYxPUS52fZm-i-Ds1AmOVUc6wI4PiIEX/s1512/The+Dark+Music+1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1512" height="634" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_ct7pG9tK85PAN1_NWLfxZ3BAVb2X-fXdw11HVkcGsjI1p7pTilyS_ySiilwtWLAq1PiIRTzT2Iw8ZU_98wVSsn7uOXlv4bSa9DQ5W944Rl_rhYxPUS52fZm-i-Ds1AmOVUc6wI4PiIEX/w640-h634/The+Dark+Music+1.jpg" width="640" /></a></div><br /> <p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>"Night Ride" by Charles Beaumont </b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: Zeke Ziner<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: March, 1957<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHoge75_rkbtlXo_f5yBy1H55-uoo35Cm562UIH1x8E8gQD-newLvfMP2eg9L_nq1N1nWQWC4Kzn7x9cVLhtSwHm_XG1o7lC2aHxAWRB-Tgg1HyGshODFzF3wI3Pn-koHofriy4uejh9QW/s1528/Night+Ride+1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1278" data-original-width="1528" height="536" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHoge75_rkbtlXo_f5yBy1H55-uoo35Cm562UIH1x8E8gQD-newLvfMP2eg9L_nq1N1nWQWC4Kzn7x9cVLhtSwHm_XG1o7lC2aHxAWRB-Tgg1HyGshODFzF3wI3Pn-koHofriy4uejh9QW/w640-h536/Night+Ride+1.jpg" width="640" /></a></div><br /> <p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>"The Deadly Will to Win" by Charles Beaumont </b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: Robert Christiansen<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: November, 1957<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Note:
</span></i><span style="font-size: 14pt;">Reprinted as “A Death in the Country”
<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLTwO83AtV35g_vaXv74DuJfsd1i9bouL3vt0dVQYx6p4cEJsQ9vTt1OUhBdgvrNvsI-AgiQtuuUvyaxY9J9MFxOHsDk3xuznwF7OeXw-2iHClHkszFGf11XR7OJl_i0MWwbx_iDKXM6l_/s2250/A+Death+in+the+Country+1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1124" data-original-width="2250" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLTwO83AtV35g_vaXv74DuJfsd1i9bouL3vt0dVQYx6p4cEJsQ9vTt1OUhBdgvrNvsI-AgiQtuuUvyaxY9J9MFxOHsDk3xuznwF7OeXw-2iHClHkszFGf11XR7OJl_i0MWwbx_iDKXM6l_/w640-h320/A+Death+in+the+Country+1.jpg" width="640" /></a></div><br /> <p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>"Perchance to Dream" by Charles Beaumont </b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: Carl Koch<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: October, 1958<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Note:
</span></i><span style="font-size: 14pt;">Adapted for the first season of <i style="mso-bidi-font-style: normal;">The Twilight Zone</i><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB25GZ0TxoyEzVs-Oi3K1-X95bTEvKuk9jnIAZarVYe5z7IOiVjeWcd5ozEgeEcAYkLEBtRDJhrOeWIjEEUHr2sxTb-xMiFRwH8Rb17S-CVUqcE84bI9JGxPY5wqQYKGxym-m51Sp6Z-UV/s1499/Perchance+to+Dream.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1499" data-original-width="693" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB25GZ0TxoyEzVs-Oi3K1-X95bTEvKuk9jnIAZarVYe5z7IOiVjeWcd5ozEgeEcAYkLEBtRDJhrOeWIjEEUHr2sxTb-xMiFRwH8Rb17S-CVUqcE84bI9JGxPY5wqQYKGxym-m51Sp6Z-UV/w296-h640/Perchance+to+Dream.jpg" width="296" /></a></div><br /> <p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>"The Music of the Yellow Brass" by Charles Beaumont</b></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: Robert Christiansen </span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 18.6667px;">Issue: Jan, 1959</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghrYcn4x7xz1neTK61ts6dwkkFSTg0BogGTqX4BwPOEtvxtxLX1I6JCgodiEuKzbz76Y3hfH7Kt3duAvMZUqn8nhNDZwHnCMoNOHMlA2J5s2CY0bDtLgHqgPwOQLYNZkvggWvT01zBXyw_/s2358/Beaumont+Yellow+Brass+1+Jan+59.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1005" data-original-width="2358" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghrYcn4x7xz1neTK61ts6dwkkFSTg0BogGTqX4BwPOEtvxtxLX1I6JCgodiEuKzbz76Y3hfH7Kt3duAvMZUqn8nhNDZwHnCMoNOHMlA2J5s2CY0bDtLgHqgPwOQLYNZkvggWvT01zBXyw_/w640-h272/Beaumont+Yellow+Brass+1+Jan+59.jpg" width="640" /></a></div><br /><span style="font-size: 18.6667px;"><br /></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="font-size: 14pt;">"Sorcerer's Moon" by Charles Beaumont</b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 18.6667px;">Artist: Barr</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 18.6667px;">Issue: July, 1959</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinbco2qPwKU5g-2EauBApJqXQFsXhABrDAhc2i4VJVuaSD_CL4uHe1LCiA4AJH3nkKrg4i4kYww0XXQPxVCzFjnqa5Aqt5k4ElK-2TsL2MiAeAac2seYjkr_m2x9QMLo4TRUJCUsAWeaDo/s1558/Beaumont+Sorcerer%2527s+Moon+July+59.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1558" data-original-width="685" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinbco2qPwKU5g-2EauBApJqXQFsXhABrDAhc2i4VJVuaSD_CL4uHe1LCiA4AJH3nkKrg4i4kYww0XXQPxVCzFjnqa5Aqt5k4ElK-2TsL2MiAeAac2seYjkr_m2x9QMLo4TRUJCUsAWeaDo/w282-h640/Beaumont+Sorcerer%2527s+Moon+July+59.jpg" width="282" /></a></div><br /><span style="font-size: 18.6667px;"><br /></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="font-size: 14pt;">"The Splendid Source" by Richard Matheson</b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: Franz Altschuler <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: May, 1956<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNxdgLHoiIk7O5iXGU7Nf3dAvc8R-WYThyIC80zhemHGKqMdA7Zcrnp_DNECWwqRj9SZOm5IEE-HjBpUwXtFi8N0idTzfkrY9y-PEl8d5dh4S1lv1GaBEqQe4T9aRp9qr58BnlrsL8k7Sy/s750/The+Splendid+Source.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="558" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNxdgLHoiIk7O5iXGU7Nf3dAvc8R-WYThyIC80zhemHGKqMdA7Zcrnp_DNECWwqRj9SZOm5IEE-HjBpUwXtFi8N0idTzfkrY9y-PEl8d5dh4S1lv1GaBEqQe4T9aRp9qr58BnlrsL8k7Sy/w476-h640/The+Splendid+Source.jpg" width="476" /></a></div><br /> <p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>"The Distributor" by Richard Matheson </b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: Robert Christiansen<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: March, 1958<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbpQiSFiWrPLg8TMXHnpUbMSehylEARu84t-lre4fnQjoVgJHQ9L_Ns6gf9UDwS-8PYJWLrWzECNBhcaASr4xSA0Y7sRmqw0wxh29wH-eQd-6eKH0gnDaWvh48An1eGIzi2-kNwLzN1W0u/s1500/The+Distributor+1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1131" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbpQiSFiWrPLg8TMXHnpUbMSehylEARu84t-lre4fnQjoVgJHQ9L_Ns6gf9UDwS-8PYJWLrWzECNBhcaASr4xSA0Y7sRmqw0wxh29wH-eQd-6eKH0gnDaWvh48An1eGIzi2-kNwLzN1W0u/w482-h640/The+Distributor+1.jpg" width="482" /></a></div><br /> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigDFS6I4Icq_vLSzabD_X90Qen6OmLU5Lpcz3pqavTHlyi-URwss6NAlhw6S_8Dw8cTVexDfU42SBptMjw7w8-WO_b-E3_T4O09WussFWqYDnpF6AUqzCMcss0NFdn79-NEEQtQKslGCuE/s1496/The+Distributor+2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1496" data-original-width="478" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigDFS6I4Icq_vLSzabD_X90Qen6OmLU5Lpcz3pqavTHlyi-URwss6NAlhw6S_8Dw8cTVexDfU42SBptMjw7w8-WO_b-E3_T4O09WussFWqYDnpF6AUqzCMcss0NFdn79-NEEQtQKslGCuE/w204-h640/The+Distributor+2.jpg" width="204" /></a></div><br /><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 18.6667px;"><b>"No Such Thing as a Vampire" by Richard Matheson</b></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 18.6667px;">Artist: Jurgens</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 18.6667px;">Issue: Oct, 1959</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLhzSns8Kfu3CYVlTh35bELyp5nOVCjcBpn9YiLLUNomDAgbsNV7LRaqHb4rCjPlwDjXENa23TqP6kT-96unl7nh58PURp4UusfuxegY8IrriouBfh49RCKrhyphenhyphenlXYRTdKYs2HC9ih2ajsK/s2128/Matheson+No+Such+Thing+Oct+59.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="777" data-original-width="2128" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLhzSns8Kfu3CYVlTh35bELyp5nOVCjcBpn9YiLLUNomDAgbsNV7LRaqHb4rCjPlwDjXENa23TqP6kT-96unl7nh58PURp4UusfuxegY8IrriouBfh49RCKrhyphenhyphenlXYRTdKYs2HC9ih2ajsK/w640-h234/Matheson+No+Such+Thing+Oct+59.jpg" width="640" /></a></div><br /><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 18.6667px;"><b>"First Anniversary" by Richard Matheson</b></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 18.6667px;">Artist: Rothlein</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 18.6667px;">Issue: July, 1960</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo8h16Mkr7Q32e0NB_ZiGMm_m_Oyf0qV14vxJwBAv7ALanjbK5_pmZCdw7LM_sruUja4BeHZQ0WMG1W5__GaeSoGHTi2CJvgLrqd2PMfJMHzfAL6eHCwjIvj9GdCnTb9r39VLcquTnanH0/s1215/Matheson+First+Anniversary+July+1960.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="949" data-original-width="1215" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo8h16Mkr7Q32e0NB_ZiGMm_m_Oyf0qV14vxJwBAv7ALanjbK5_pmZCdw7LM_sruUja4BeHZQ0WMG1W5__GaeSoGHTi2CJvgLrqd2PMfJMHzfAL6eHCwjIvj9GdCnTb9r39VLcquTnanH0/w640-h500/Matheson+First+Anniversary+July+1960.jpg" width="640" /></a></div><br /><span style="font-size: 18.6667px;"><br /></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 18.6667px;"><b>"Prey" by Richard Matheson</b></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 18.6667px;">Artist: Martin Hoffmann</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 18.6667px;">Issue: April, 1969</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGwji1pHAKL1JQoWEIUaTU6K_y-9J3y4mezf_uJvxNHiPqQojohbatiu8BV-LtBdn-Ok_uiBxQBViLjQMVJuyt53OqebbEyDdOgQO71XipoDH8fTrh7aKmH9NJ4Qsmx8SoiYAGxBFhGKoJ/s1186/Matheson+Prey+April+69.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1134" data-original-width="1186" height="612" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGwji1pHAKL1JQoWEIUaTU6K_y-9J3y4mezf_uJvxNHiPqQojohbatiu8BV-LtBdn-Ok_uiBxQBViLjQMVJuyt53OqebbEyDdOgQO71XipoDH8fTrh7aKmH9NJ4Qsmx8SoiYAGxBFhGKoJ/w640-h612/Matheson+Prey+April+69.jpg" width="640" /></a></div><br /><span style="font-size: 18.6667px;"><br /></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 18.6667px;"><b>"Side by Side" by John Tomerlin</b></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: uncredited<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: September, 1964<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Note: </i>Tomerlin scripted the fifth season episode, "Number 12 Looks Just Like You," based on "The Beautiful People" by Charles Beaumont. </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjd2QAJ9ZVokCpeRbaWOL3J4Ilbnu_6uV6yDwPf1FFlvbR3CsL3-tIU0P8a5la1mru-TIwr_SzXd-x_vfVvHQDKTKl4Ofe9M1KF5yIgpgb1vPmXIFe_fvQXZNCPF56bHDuUV-CS4F5jSc6/s849/Side+by+Side.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="849" data-original-width="767" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjd2QAJ9ZVokCpeRbaWOL3J4Ilbnu_6uV6yDwPf1FFlvbR3CsL3-tIU0P8a5la1mru-TIwr_SzXd-x_vfVvHQDKTKl4Ofe9M1KF5yIgpgb1vPmXIFe_fvQXZNCPF56bHDuUV-CS4F5jSc6/w578-h640/Side+by+Side.JPG" width="578" /></a></div><br /> <p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>"Examination Day" by Henry Slesar</b></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: Leon Bishop<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: February, 1958<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Note:
</span></i><span style="font-size: 14pt;">Adapted for the first revival <i style="mso-bidi-font-style: normal;">Twilight Zone </i>series (1985) <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO7n8lalGvr5Aq9YNV27Hk9fW_cpMHCJGMozSC83jNyd1Q3lEpJwyxpiPulo6FZEwgYyqJDaXaeS3dSJwgLI38u2usZojbDAheMm5qaxqPSy_f1sMuJS87UomHoLoP2F-0E1au4g643okB/s1500/Examination+Day+%2528Playboy%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1131" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO7n8lalGvr5Aq9YNV27Hk9fW_cpMHCJGMozSC83jNyd1Q3lEpJwyxpiPulo6FZEwgYyqJDaXaeS3dSJwgLI38u2usZojbDAheMm5qaxqPSy_f1sMuJS87UomHoLoP2F-0E1au4g643okB/w482-h640/Examination+Day+%2528Playboy%2529.jpg" width="482" /></a></div><br /> <p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><u><span style="font-size: 14pt;"><b>Bonus:</b></span></u><span style="font-size: 14pt;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Title: “The Voice in the Night”</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Author: William Hope Hodgson<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: Franz Altschuler <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: July, 1954<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkDnCFe9WLvRK4_5VmMXFSTN6XUPKrBj2FuwQNE51aSqLcYFzy713rx06WmIwCJW3fiE6lHMSRge61yHunlsfToa7Q-RJyefLwappWZGhKQh8bV4V_YaSwlWQ7_2UbBMsWycmZtNbjLDpH/s1500/The+Voice+in+the+Night+%2528Playboy%2529+1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1172" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkDnCFe9WLvRK4_5VmMXFSTN6XUPKrBj2FuwQNE51aSqLcYFzy713rx06WmIwCJW3fiE6lHMSRge61yHunlsfToa7Q-RJyefLwappWZGhKQh8bV4V_YaSwlWQ7_2UbBMsWycmZtNbjLDpH/w500-h640/The+Voice+in+the+Night+%2528Playboy%2529+1.jpg" width="500" /></a></div><br /> <p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Title: “I Like Blondes”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Author: Robert Bloch<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: uncredited<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: January, 1956<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWcpuJJFq9hbjsV9qHueqmYyeChjTqwdQDIXM-OOjTqhGyQM26T7RjOMFaqGOEBGANoRChlIfVVVkydnTMhCK_7hxeqPVRjobKqcT9llS_10dKfQdqdLX2vnhkch1ggZ8XrFvvoAESkO0y/s1500/I+Like+Blondes.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="505" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWcpuJJFq9hbjsV9qHueqmYyeChjTqwdQDIXM-OOjTqhGyQM26T7RjOMFaqGOEBGANoRChlIfVVVkydnTMhCK_7hxeqPVRjobKqcT9llS_10dKfQdqdLX2vnhkch1ggZ8XrFvvoAESkO0y/w216-h640/I+Like+Blondes.jpg" width="216" /></a></div><br /> <p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Title: “Taste”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Author: Roald Dahl<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: Richard Tyler<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: April, 1956<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyWyqwiDjyNG8IOKkVmXVio1r7gXyApSNOr8FMMpcFo_Gq_YDDHFSFammoOx3Kf1sdLxJBw-lEO2qDEynN4RydasurSRe9i4J2FzMc5w0MB-zf_d75f0ls50s1gv254_xRHGBdt7O3vuT4/s994/Taste.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="994" data-original-width="736" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyWyqwiDjyNG8IOKkVmXVio1r7gXyApSNOr8FMMpcFo_Gq_YDDHFSFammoOx3Kf1sdLxJBw-lEO2qDEynN4RydasurSRe9i4J2FzMc5w0MB-zf_d75f0ls50s1gv254_xRHGBdt7O3vuT4/w474-h640/Taste.jpg" width="474" /></a></div><br /> <p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Title: "Sagittarius"</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Author: Ray Russell</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: Franz Altschuler</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: March, 1962</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj00cdlIN-ZayIDNRF21Tgi4t16WuLd3opt-JqUJcWkWm02pYdvWu4IS3WhjfnXNuFs06r61PD4N8INjO1efstKEx9ra-F4_uTvdxoOh_A7A0AEjN3DYobTWhleDw-fCv2BoOlXr8fLN6y_/s1750/Russell+Sagitarius+1+March+62.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1560" data-original-width="1750" height="570" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj00cdlIN-ZayIDNRF21Tgi4t16WuLd3opt-JqUJcWkWm02pYdvWu4IS3WhjfnXNuFs06r61PD4N8INjO1efstKEx9ra-F4_uTvdxoOh_A7A0AEjN3DYobTWhleDw-fCv2BoOlXr8fLN6y_/w640-h570/Russell+Sagitarius+1+March+62.jpg" width="640" /></a></div><br /><span style="font-size: 14pt;"><br /></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Title: </span><i style="font-size: 14pt; mso-bidi-font-style: normal;">The Tale of the Body Thief</i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Author: Anne Rice <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Artist: Mel Odom<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Issue: October, 1992<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM2fORRIRChKPtJXErbMDDSPZSAKLzzji4fl28RV5mzSYTm0TUVsz_YPyzQht0cFgg8Gf6TsCtTfwLLfGXeL1yGVFewyx6WmsTt8v3TCCVmbq2N9ehrsn1ms-hBIgJGS-EGBOhgMpQACT9/s1500/The+Tale+of+the+Body+Thief.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1098" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM2fORRIRChKPtJXErbMDDSPZSAKLzzji4fl28RV5mzSYTm0TUVsz_YPyzQht0cFgg8Gf6TsCtTfwLLfGXeL1yGVFewyx6WmsTt8v3TCCVmbq2N9ehrsn1ms-hBIgJGS-EGBOhgMpQACT9/w468-h640/The+Tale+of+the+Body+Thief.jpg" width="468" /></a></div><br /><span style="font-size: 14pt;"><br /></span><p></p></div>JPhttp://www.blogger.com/profile/14808904189056290207noreply@blogger.com0tag:blogger.com,1999:blog-1318310043864039191.post-46763163367603636792021-07-21T21:25:00.025-05:002021-08-14T09:34:56.032-05:00William F. Nolan (1928-2021)<p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja6uiptUU5tRAEoCzf8hUdFpUmG3R-AqzqdQ8pcRDKRco8RNX_ORwbz-IwSnvD9M5MbPsKsmwIt90cm90Gt5A5zxvx-q7OMfN1gvujJx14jy5RhCnAoc5w_worV40EO8vqW3xQXiB82uU/s320/william_f_nolan+%25281%2529.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="320" data-original-width="319" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja6uiptUU5tRAEoCzf8hUdFpUmG3R-AqzqdQ8pcRDKRco8RNX_ORwbz-IwSnvD9M5MbPsKsmwIt90cm90Gt5A5zxvx-q7OMfN1gvujJx14jy5RhCnAoc5w_worV40EO8vqW3xQXiB82uU/w399-h400/william_f_nolan+%25281%2529.jpg" width="399" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;"><b>William F. Nolan<br /></b></span></td></tr></tbody></table><div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span><span style="font-size: large;">We are deeply saddened to learn of the passing of writer, editor, collector, and cultural historian William F. Nolan. He leaves behind an enormous body of work in a career that spanned seven decades. He died Thursday, July 15, 2021. He
was 93.</span><br /></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz_nHDP9qXn-vpetNKxjJqYQa45caZMqSb0zW4Pohc2TS5AApVAaQrdr-pd29-gxZaD_VvwN0g06mPD0NtSgTukDzm5Ry_Pxasd5H8GliaMujTn7IIajyFb4KMUUK7cgkcnus89Nc86eNQ/s695/Gamma_01_1963-07_0000.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="475" data-original-width="695" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz_nHDP9qXn-vpetNKxjJqYQa45caZMqSb0zW4Pohc2TS5AApVAaQrdr-pd29-gxZaD_VvwN0g06mPD0NtSgTukDzm5Ry_Pxasd5H8GliaMujTn7IIajyFb4KMUUK7cgkcnus89Nc86eNQ/s320/Gamma_01_1963-07_0000.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div style="text-align: right;">Nolan (far right) goofing around with (R to L) fellow</div><div style="text-align: right;">Group members Richard Matheson, </div><div style="text-align: right;">Charles Beaumont, and Chad Oliver</div><div style="text-align: right;">(shared from the June, 1989 issue of </div><div style="text-align: right;"><i>Rod Serling's The Twilight Zone Magazine)</i></div></td></tr></tbody></table><span style="font-size: large;">Nolan was the last living member of what <i>Los Angeles Times </i>literary critic Robert Kirsch labeled The Southern California School of Writers. Known simply as The Group, Nolan was a key member of a close-knit
circle of writers living in the Los Angeles area during the 1950’s and 1960’s, a collective that included Ray Bradbury, Richard Matheson, Charles Beaumont, George Clayton Johnson, Chad Oliver, Jerry Sohl, and John Tomerlin, among others. These writers produced or contributed to many of the most celebrated works of fantasy, science fiction, mystery, and horror of the twentieth century, including <i>The Twilight Zone</i>. An enthusiastic and pioneering chronicler of popular culture, Nolan is largely responsible for preserving the legacy of
many of the writers in his circle of friends, notably the works of <i>Twilight Zone </i>writer Charles Beaumont, who</span><span style="font-size: 14pt;"> </span><span><span style="font-size: large;">died in 1967 at the age of 38.</span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; font-size: 14pt;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH3lIyLaAHqWqQ7jRTgaoto908twXJKc3M2FeHvoQH0iDS17fHGRx9xBkszNgV-XiO_DyPztsz6SMOfyuY60EXv60HKaM2IHqWmORKqiXzrQC-clyvtvrEoSOGKCswKADX8ImpJIKPINiD/s419/2.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="396" data-original-width="419" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH3lIyLaAHqWqQ7jRTgaoto908twXJKc3M2FeHvoQH0iDS17fHGRx9xBkszNgV-XiO_DyPztsz6SMOfyuY60EXv60HKaM2IHqWmORKqiXzrQC-clyvtvrEoSOGKCswKADX8ImpJIKPINiD/s320/2.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Nolan (right) on a trip to Paris with Charles Beaumont<br />(shared from the June, 1989 issue of<br /><i>Rod Serling's The Twilight Zone Magazine)</i></span></td></tr></tbody></table><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: large;">Although Nolan never saw his work appear on <i>The
Twilight Zone</i>, he is a part of the show’s legacy all the same. His friendship
with Charles Beaumont and the rest of the show’s writers had a substantial creative
impact on both their work and his own. Nolan was the inspiration for Beaumont’s
season four episode “Miniature” and the episode's protagonist, Charley Parkes, is a direct
characterization of Nolan. There are also several characters on <i>The Twilight Zone </i>that are deliberately named after Nolan, including a character in our most recently reviewed episode, Richard Matheson's "Steel." Around the same time that his friends were writing
for <i>The Twilight Zone,</i> Nolan was collaborating on articles, short stories, and television scripts with Beaumont, Jerry Sohl, and John Tomerlin. He raced cars with Beaumont, Tomerlin, and OCee Ritch, and edited anthologies and magazines
featuring stories and essays from The Group, as well as the works of other contemporary writers. Early in their careers, Nolan and Beaumont worked together at Whitman Publishing Company, writing children’s
comics under pseudonyms. Later, as The Group coalesced, Nolan and his friends often stayed out all night, driving around Los Angeles, occupying booths at coffee houses, and talking about their craft. They took spontaneous trips across the country to hang out with Hugh Hefner or Ian
Fleming. Nolan traveled with Beaumont and company to Missouri to appear in
Roger Corman’s screen adaptation of Beaumont’s novel <i>The Intruder</i> (1962). Nolan was the first archivist of the works of his friend Ray Bradbury, producing an important body of work on the great American writer, including a pioneering journal <i>(Ray Bradbury Review),</i> book-length studies, and an <a href="https://twilightzonevortex.blogspot.com/2018/07/bookshelf-essentials-bradbury.html" target="_blank"><span style="color: white;">anthology</span></a> dedicated to Bradbury. In
1967, he and George Clayton Johnson published the landmark science fiction novel
<i>Logan’s Run,</i> which firmly established him as an important voice in the fantasy
community. Years earlier, the two collaborated on a teleplay for <i>The Twilight Zone</i> titled “Dreamflight” which they sold to producer Buck Houghton near the
end of the show’s third season. Due to a lack of sponsorship, however, the show
was briefly cancelled--the first of three near cancellations--and “Dreamflight” was never made. It was later published in the 2005
anthology <i>Forgotten Gems from the Twilight Zone</i>, volume 2, edited by Andrew
Ramage. <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu-kypWwCOBPLtoJkn2OSo-P1-WHq5TlnaMLLNrT3vBkvoUzF1yAsrLqA5LP5ogY4kqSIRHDM8_y952F0l7YRx_zf_MXjYCz9wgLyUWDKKA_rnBGZKJLYuHiM6JCtAO_W3ykHWGvglhZis/s2012/Nolan+back+cover.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2012" data-original-width="1327" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu-kypWwCOBPLtoJkn2OSo-P1-WHq5TlnaMLLNrT3vBkvoUzF1yAsrLqA5LP5ogY4kqSIRHDM8_y952F0l7YRx_zf_MXjYCz9wgLyUWDKKA_rnBGZKJLYuHiM6JCtAO_W3ykHWGvglhZis/w264-h400/Nolan+back+cover.jpg" width="264" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Back cover of Nolan's 1968 novel<br /><i>Death is for Losers </i>(Sherbourne Press)</td></tr></tbody></table></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: large;">Nolan's most well-known works include his Sam Space detective series, his Bart and Nick Challis series, and his Black Mask Murders series. His 1991 horror novel <i>Helltracks</i> is also highly regarded. Nolan established himself as a screenwriter specializing in the horror
genre with frequent collaborator Dan Curtis. Nolan wrote screenplays for
several of producer/director Curtis’s films including <i>Trilogy of
Terror</i> (1975), an anthology film comprised of adaptations of stories by Richard
Matheson (a sequel followed in 1996), and Curtis's adaptations of <i>The Turn of the Screw </i>(1974) and <i>Burnt Offerings </i>(1976).</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: large;">Nolan was named a Grand Master by the World Horror
Society, an Author Emeritus by the Science Fiction and Fantasy Writers of
America, and a Living Legend in Dark Fantasy by the International Horror Guild. He also received a
Lifetime Achievement Award from the Horror Writers Association, a World Fantasy Convention Award, and the Edgar Allan Poe Award from the Mystery Writers of America. </span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl3Uq7vffWwjoWBTJBELYqiA3XO01o2P3MCRYeeEHTPDckoEBKJKE3DcU3FKc4czeH0YM1SsufKN-wlGwDLQLkWimwSaEwUi0_hGpf8RKc-d38wspKsDK_2ZH9tMSz9E5jJzQGIzfpxtub/s1688/3.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1253" data-original-width="1688" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl3Uq7vffWwjoWBTJBELYqiA3XO01o2P3MCRYeeEHTPDckoEBKJKE3DcU3FKc4czeH0YM1SsufKN-wlGwDLQLkWimwSaEwUi0_hGpf8RKc-d38wspKsDK_2ZH9tMSz9E5jJzQGIzfpxtub/s320/3.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div style="text-align: right;"><span style="font-size: x-small;">Illustration by Rick Shelton for Nolan's story,</span></div><div style="text-align: right;"><span style="font-size: x-small;">"The Strange Case of Mr. Pruyn,"</span></div><div style="text-align: right;"><span style="font-size: x-small;">from <i>Alfred Hitchcock's Mystery Magazine</i></span></div><div style="text-align: right;"><span style="font-size: x-small;">(December, 1956).</span></div></td></tr></tbody></table></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: large;"><span>One of the greatest pleasures afforded us since we began this blog was the opportunity to interview Mr. Nolan, where he spoke about The Group, his memories of that heady time when <i>The Twilight Zone </i>was being produced, and his approach to the craft of writing. To read that interview </span><a href="http://twilightzonevortex.blogspot.com/2017/09/an-conversation-with-author-william-f.html" target="_blank"><span style="color: white;">click here.</span></a></span></p></div><div><br /></div><div><br /></div><div>William F. Nolan at <a href="https://www.imdb.com/name/nm0634368/?ref_=nmawd_awd_nm" target="_blank"><span style="color: #666666;">imdb</span></a></div><div>William F. Nolan at <a href="http://www.isfdb.org/cgi-bin/ea.cgi?838" target="_blank"><span style="color: #666666;">isfdb</span></a></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><img border="0" data-original-height="600" data-original-width="363" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6aez6qYEPyHaJUg42WaboVw_GK-18O339t4wx0btrwo3fOqnTZcWxscgiSsT70K0j4os8_Rn5OM3_TIn06dsAqBNmvzYf_GHNq5L-Bi5Upz9yp5Am0Au_kRPAa9_mT0qG_Yxr11k4Vrg/w121-h200/Logan%2527s+Run+1969.jpg" width="121" /> <img border="0" data-original-height="400" data-original-width="255" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjuqzWKIrbOay9_NbR_rhH0MS_HPcysILfO20_tYak0l-dPirvDJtDyksSYx4iZwQ1CAauFQpnOpxw6Q30m27PS0TIZwUEdupRbBW6T6N1dDw7dHl0jhyphenhyphenkZe59EF0UGI9XVbtC9W15kQc/w127-h200/Down+the+Long+Night.jpg" width="127" /> <img border="0" data-original-height="475" data-original-width="313" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0x3WWxNhKwHEg69KXa20kD6oPCL6Eyg6SP6B4_iBeaaiv3RH0ryLaJVXYdd7J3mW2EXbefUeXRqIWsNrTg2QhOOGP4CcksDtOA70O7N4R2pWe8dKBE3Sy5XFF5z3GUXG3zpi4QO2zYfk/w132-h200/California+Sorcery.jpg" width="132" /> <img border="0" data-original-height="661" data-original-width="401" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6qKxJzRLsDT8ofj40qBpv8N6z1PiEubieRiKosZj9EUUq5-kbapffG4j2gowXwHE9ylzQsJJpPVH2UpCSpi5qZhcNjTzj4NfvvinYI7MIHYK5TSZvVPQzM1FDApSvx1V6l73fzE47LuM/w121-h200/A+Sea+of+Space.jpg" width="121" /> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6aez6qYEPyHaJUg42WaboVw_GK-18O339t4wx0btrwo3fOqnTZcWxscgiSsT70K0j4os8_Rn5OM3_TIn06dsAqBNmvzYf_GHNq5L-Bi5Upz9yp5Am0Au_kRPAa9_mT0qG_Yxr11k4Vrg/s600/Logan%2527s+Run+1969.jpg" style="clear: left; 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text-align: center;"><br /></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0x3WWxNhKwHEg69KXa20kD6oPCL6Eyg6SP6B4_iBeaaiv3RH0ryLaJVXYdd7J3mW2EXbefUeXRqIWsNrTg2QhOOGP4CcksDtOA70O7N4R2pWe8dKBE3Sy5XFF5z3GUXG3zpi4QO2zYfk/s475/California+Sorcery.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /><br /></a></div>Brian Duranthttp://www.blogger.com/profile/02724290376009803159noreply@blogger.com0tag:blogger.com,1999:blog-1318310043864039191.post-78006446989515510092021-06-15T18:59:00.016-05:002022-01-02T16:18:32.230-06:00"Steel"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifU8UH6V-cg-Zl9_A_OxVhv3eBb5YPMo1kVH973o8Ug47MFNppRKJT2O2iJyPu0thviBIy8_Q8Du5ONKulgazIf0ovjwTKeZybYkSlPilao14I6INQ3XjnFAa1U-lBLm0Pm2jMDkXSP0w/s640/tzvortex-steel01.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="640" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifU8UH6V-cg-Zl9_A_OxVhv3eBb5YPMo1kVH973o8Ug47MFNppRKJT2O2iJyPu0thviBIy8_Q8Du5ONKulgazIf0ovjwTKeZybYkSlPilao14I6INQ3XjnFAa1U-lBLm0Pm2jMDkXSP0w/w400-h300/tzvortex-steel01.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"Steel" Kelly (Lee Marvin) and his masked android fighter<br />Battling Maxo, hours before the big match</td></tr></tbody></table><br /><div><span style="font-size: large;">"Steel"</span></div><div><span style="font-size: medium;">Season Five, Episode 122</span></div><div><span style="font-size: medium;"><i>Original Air Date: </i>October 4, 1963</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><b><i>Cast:</i></b></span></div><div><span style="font-size: medium;"><i>Steel Kelly: </i>Lee Marvin</span></div><div><span style="font-size: medium;"><i>Pole: </i>Joe Mantell</span></div><div><span style="font-size: medium;"><i>Nolan: </i>Merritt Bohn</span></div><div><span style="font-size: medium;"><i>Maxwell: </i>Frank London</span></div><div><span style="font-size: medium;"><i>Maynard Flash: </i>Chuck Hicks</span></div><div><span style="font-size: medium;"><i>Battling Maxo:</i> Tipp McClure</span></div><div><span style="font-size: medium;"><i>Announcer: </i>Jimmy Ames</span></div><div><span style="font-size: medium;"><i>Maynard Flash's Handler: </i>Robert McCord</span></div><div><span style="font-size: medium;"><i>Man in Crowd:</i> Larry Barton</span></div><div><span style="font-size: medium;"><i>Man in Crowd:</i> Slim Bergman</span></div><div><span style="font-size: medium;"><i>Man in Crowd:</i> Lou Cavalier</span></div><div><span style="font-size: medium;"><i>Man in Crowd:</i> Bob Peterson</span></div><div><span style="font-size: medium;"><i>Man in Crowd:</i> Edwin Rochelle</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><b><i>Crew:</i></b></span></div><div><span style="font-size: medium;"><i>Writer:</i> Richard Matheson (based on his story)</span></div><div><span style="font-size: medium;"><i>Director:</i> Don Weis</span></div><div><span style="font-size: medium;"><i>Producer: </i>Bert Granet</span></div><div><span style="font-size: medium;"><i>Director of Photography:</i> George T. Clemens</span></div><div><span style="font-size: medium;"><i>Production Manager:</i> Ralph W. Nelson</span></div><div><span style="font-size: medium;"><i>Art Direction: </i>George Davis & Walter Holscher</span></div><div><span style="font-size: medium;"><i>Film Editor:</i> Thomas W. Scott</span></div><div><span style="font-size: medium;"><i>Set Decoration: </i>Henry Grace & Robert R. Benton</span></div><div><span style="font-size: medium;"><i>Assistant Director: </i>Charles Bonniwell, Jr.</span></div><div><span style="font-size: medium;"><i>Makeup:</i> William Tuttle</span></div><div><span style="font-size: medium;"><i>Casting:</i> Patricia Rose</span></div><div><span style="font-size: medium;"><i>Music:</i> Nathan Van Cleave</span></div><div><span style="font-size: medium;"><i>Sound: </i>Franklin Milton & Philip N. Mitchell</span></div><div><span style="font-size: medium;"><i>Mr. Serling's Wardrobe: </i>Eagle Clothes</span></div><div><span style="font-size: medium;"><i>Filmed at MGM Studios</i></span></div><div><br /></div><div><span style="font-size: medium;"><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b><i>And Now, Mr. Serling:</i></b></span></p></span></div><div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>“Next on </i>Twilight Zone<i>, we dabble into
the manly arts with a show called ‘Steel’ written especially for us by Richard
Matheson. This one isn’t just for prize fighting buffs because the story is
above and beyond anything remotely involving the Marquis of Queensbury. Rather,
it’s a tender, touching, and tough analysis of some very bizarre people. Lee
Marvin and Joe Mantell take a walk in the Twilight Zone next in ‘Steel.’”</i></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 18.6667px;"><i><br /></i></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 18.6667px;"><b><i>Rod Serling's Opening Narration:</i></b></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuhkSpwmeK9cKQunGWxrgXMxPdHbA1lvOsH6kspv439Tl83vLSGEgMD2Dg_K0Xf4FgQpse0m1eggfSzGxkDRSkp6a_xeK7Ugrzzbm6v5KXII37FcmQJEfeyNEX6MzThyphenhyphenFNIJ8Tkyx42to/s640/tzvortex-steelintro.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuhkSpwmeK9cKQunGWxrgXMxPdHbA1lvOsH6kspv439Tl83vLSGEgMD2Dg_K0Xf4FgQpse0m1eggfSzGxkDRSkp6a_xeK7Ugrzzbm6v5KXII37FcmQJEfeyNEX6MzThyphenhyphenFNIJ8Tkyx42to/w200-h150/tzvortex-steelintro.JPG" width="200" /></a></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>“Sports item, circa 1974. Battling Maxo,
B2 heavyweight, accompanied by his manager and handler arrives in Maynard,
Kansas for a scheduled six-round bout. Battling Maxo is a robot or, to be
exact, an android. Definition: an automaton resembling a human being. Only
these automatons have been permitted in the ring since prize-fighting was
legally abolished in 1968. This is story of that scheduled six-round bout, more
specifically the story of two men shortly to face that remorseless truth: that
no law can be passed which will abolish cruelty or desperate need nor, for that
matter, blind animal courage. Location for the facing of said truth: a small
smoke-filled arena just this side of the Twilight Zone.”</i><o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>Summary:</b></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span> </span><span> </span><span> </span>August, 1974. The Future.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"> Two
men stumble out of a bus onto a scorching city sidewalk. They wheel between
them a masked figure roughly the size of the average man. The figure does not
speak, nor does it appear to move on its own. The men find a nearby diner and
decide to grab something to eat.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"> Once
inside the men begin to argue. No one in the diner seems to find the masked
figure unusual. Their conversation seems to derive from their lack of money. We
learn that the masked figure is not a human being but a robot, specifically an
android, built to fight other robots in a new spectator sport that has taken
the place of boxing. The android, Battling Maxo, is an older model, a B2, and
his opponent that night is a B7 and is seemingly more advanced in every way. One
of the men, Pole, Maxo’s mechanic, thinks that they should forfeit and return
home to avoid the certain destruction of their fighter. Steel, Maxo’s manager,
says that they don’t have enough money to return home and that they need the
money from the fight to pay for new parts. He believes that Maxo isn’t obsolete
yet and that he can win the fight against the newer model.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"> Later,
at the venue, they enter the promotor’s office to see about getting paid.
Insecure about Maxo’s age, Steel begins to boast to the uninterested occupants
of the office that Maxo was once a celebrated fighter. He also lets it slip
that he once won championships himself, under the name “Steel” Kelly, before
the sport was outlawed. Nolan, the promotor of the fight, informs them that
they will get their money after the fight. He also informs them that they were a
last-minute booking because the original fighter couldn’t make it. He normally
doesn’t accept fighters as old as Maxo. Already feeling somewhat defeated,
Steel thanks him and leaves the room.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaZsmpxy6y_x8mNGLz5lER_f3ItOg3hSIfrgRcvFraWUe8cZGpL46LQpM767z96vpCchgQSXgFbPBGcWM_jJiG36PMD6Dd1nryce4fmqEp9SAzu-hquQKzCo1mphH_IUibWpNgzmd2JoU/s640/tzvortex-steel05.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaZsmpxy6y_x8mNGLz5lER_f3ItOg3hSIfrgRcvFraWUe8cZGpL46LQpM767z96vpCchgQSXgFbPBGcWM_jJiG36PMD6Dd1nryce4fmqEp9SAzu-hquQKzCo1mphH_IUibWpNgzmd2JoU/w200-h150/tzvortex-steel05.JPG" width="200" /></a></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"> Back
in the ready room, we see Battling Maxo’s face for the first time. It is
primitive in its design but resembles the face of a man convincingly enough.
Steel begins to spar with Maxo to test his reflexes when something in the android
malfunctions. Pole says that he won’t be able to fix it in time for the fight.
Steel thinks for a moment and informs Pole that he will disguise himself as
Maxo and fight in his place. No one has actually seen Maxo yet so they will not
know the difference. Pole pleads with him to change his mind, claiming that it
is far too dangerous, but Steel has made up his mind. He threatens Pole with
violence if he does not help him.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8w7kuxn4n9sI3jSsjyLovn9EuQTVCXnGWf3Ekc3QHlGKPjTfFJgovB6uv74Cm9BWeEOdwWqZhAsrBYllJgYXtbkC1Prh8ot75fntfMFD-KJ0D5-KtVQmlzslVkDiWvL8NvWtX-DvBtSg/s640/tzvortex-steel10-maynardflash.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8w7kuxn4n9sI3jSsjyLovn9EuQTVCXnGWf3Ekc3QHlGKPjTfFJgovB6uv74Cm9BWeEOdwWqZhAsrBYllJgYXtbkC1Prh8ot75fntfMFD-KJ0D5-KtVQmlzslVkDiWvL8NvWtX-DvBtSg/w200-h150/tzvortex-steel10-maynardflash.JPG" width="200" /></a></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"> 9:00pm.
Pole wheels Steel to the ring and removes his mask. Loud boos and taunting fill
the arena. His opponent, Maynard Flash, is noticeably larger and stares back at
him with a calm indifference. Steel does his best to look mechanical. At the
sound of the bell, the two begin to fight. Steel is beaten severely and fakes a
knockout before the end of the first round.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"> After
Pole wheels him back to the ready room, Steel collapses on the floor. Pole goes
to Nolan’s office to get the money but returns with only half of it. He says
that Nolan refuses to pay them in full because the fight was too short.
Physically and mentally exhausted, Steel looks at Maxo and tells the android
not to worry. They will get him new parts and everything will be okay. Maxo
stares back at him, calm and motionless, never saying a word.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b><i>Rod Serling’s Closing Narration:</i></b><o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>“Portrait of a losing side, proof
positive that you can’t outpunch machinery. Proof also of something else: that
no matter what the future brings, man’s capacity to rise to the occasion will
remain unaltered. His potential for tenacity and optimism continues, as always,
to outfight, outpoint, and outlive any and all changes made by his society, for
which three cheers and a unanimous decision rendered from the Twilight Zone.” </i></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>Commentary:</b></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span> </span><span> </span><span> </span>Writer Richard Matheson begins what is
probably his most creatively successful season on <i>The Twilight Zone</i>, delivering
this noir-soaked futuristic boxing tale where machines battle one another
inside the ring instead of people. Matheson saw four of his scripts made into
episodes during the show’s final season with a fifth script, “The Doll,” slated
for production. This script was ultimately canned by the show’s final producer,
William Froug, when he took over production duties from Bert Granet mid-season.
“The Doll” was eventually made into a segment of Steven Spielberg’s anthology
series <i>Amazing Stories</i> in 1986 for the show’s first season. It was directed by
Phil Joanou and features John Lithgow as a lonely man who becomes lovingly
infatuated with a doll that he purchases for his niece, a performance that won
Lithgow an Emmy. Matheson’s script was nominated for a Writers Guild of
America Award for Outstanding Teleplay in an Anthology series. Ironically, all
of his fellow nominees were scripts from the 1980’s <i>Twilight Zone</i> reboot
series—Harlan Ellison’s script for "Paladin of the Lost Hour" took home the
prize. By this point in Matheson’s career he had made a name for himself as a
writer who could produce quality material in a variety of genres relatively
quickly. After leaving the show he would enjoy a highly successful career as a
novelist and screenwriter and would leave behind a body of work that spans over
half a century. But his work on <i>The Twilight Zone</i> remains the most recognizable
part of his legacy.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"> “Steel”
is a seamlessly blended hybrid of the film noir boxing tale and of dystopian allegories
that warn of the threat of artificial intelligence, two genres that were used multiple times on the show. Boxing had long been a staple
of American cinema dating all the way back to the silent era but found its
niche in the film noirs of the forties and fifties. Film noir was an ideal
vehicle for boxing stories due to its gritty aesthetic and its pervasive
elements of fear and desperation that inhabit so many of its characters. Films
like Robert Rossen’s <i>Body and Soul</i> (1947), Robert Wise’s <i>The Set-Up</i> (1949), and
Mark Robson’s <i>Champion</i> (1949) and <i>The Harder They Fall</i> (1956) are all often
cited as some of the best boxing-related movies of the film noir era. Serling’s
own masterful dissertation on boxing, <i>Requiem for a Heavyweight</i>, which he
penned for Playhouse 90 in 1956 and again in 1962 as a feature-length film—both
directed by Ralph Nelson—is also considered one of the best boxing stories of
the twentieth century. Serling, a former amateur boxer in the United States
Army 11<sup>th</sup> Airborne Division, was fascinated with the sport and wrote
multiple boxing-related scripts throughout his career. Matheson was not a boxer
and “Steel” is his only venture into the boxing world but it is flawlessly
executed and is one of his best episodes of the show.</span><span style="font-size: 14pt;"> </span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">By the time this
episode aired in 1963, boxing was entering what would become its golden age,
with the advent of television providing more coverage of the sport than ever
before. Due to several highly televised fights that resulted in the deaths of
boxers like Benny Paret and Davey Moore and the Pope’s declaration of the sport
as “barbaric” public debate concerning the violent nature of the sport and the
safety of its fighters was at the forefront of the public conscience. Whether
it was intentional or not, “Steel” acts almost as a commentary to this debate.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"> “Steel”
also offers somewhat of a nuanced approach to a genre that had, by this point
in the show, been all but exhausted. The fear of artificial intelligence, specifically
robots and androids, was one of the most frequently used tropes in science
fiction at the time, and <i>The Twilight Zone</i> was no exception—there are six
episodes featuring sentient machinery in the fifth season alone. The vast
majority of mid-twentieth century science fiction concerning artificial
intelligence is overwhelmingly cautionary and tends to comment on things like
xenophobia, greed, neglect, violence, and the loss of human identity. Matheson touches
on several of these themes but doesn’t attempt to force any
kind of authoritative commentary on the story and simply allows it to be a
story about a man and his fear of becoming irrelevant.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">For the most part,
there is a clear visual distinction between how the show would portray either
robots or androids. Robots were usually clunky bulks of metal that fit together
awkwardly in episodes such as “Uncle Simon,” “The Brain Center at Whipple’s”
and “The Old Man in the Cave.” Androids, which appeared on the show far more
often, were usually just actors who were revealed to be machines at some point
during the episode. “The Mighty Casey,” “The Lonely,” “In His Image” and “The
Lateness of the Hour” are all examples of this trend which Serling and the
producers likely figured would prevent the show from feeling dated to future
audiences.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;"><br /></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0C4mayB7YgtbvdXeOfe6ZE1UAr9btDbW_e45DDuMFKy_0Qv4lqlHlOsQL94zs9ZHDtaCI7xtE77y0fEWXi7TUlwDsGz6HoJyxktj3gdZBR8wLkVXsOsZiilCRo1wZSk8xIRh7zzNpgbw/s640/tzvortex-steel13-battlingmaxo.JPG" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="640" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0C4mayB7YgtbvdXeOfe6ZE1UAr9btDbW_e45DDuMFKy_0Qv4lqlHlOsQL94zs9ZHDtaCI7xtE77y0fEWXi7TUlwDsGz6HoJyxktj3gdZBR8wLkVXsOsZiilCRo1wZSk8xIRh7zzNpgbw/w200-h150/tzvortex-steel13-battlingmaxo.JPG" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Battling Maxo</td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlDaVIlQj3Y7BSuPLruKB3nr8juErSGoDOcetT_9GLnKoMtPtJ1rdrKAfQ4Ir_sKTZM4MS0IP7ypi1uutmR0cMzbMETEjqIYLupGTyV2FQyzGRRZ2c_QN4tTeymehFLfZe5rxSTkhR8O8/s640/tzvortex-steel11-maynardflash.JPG" style="font-size: 14pt; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="640" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlDaVIlQj3Y7BSuPLruKB3nr8juErSGoDOcetT_9GLnKoMtPtJ1rdrKAfQ4Ir_sKTZM4MS0IP7ypi1uutmR0cMzbMETEjqIYLupGTyV2FQyzGRRZ2c_QN4tTeymehFLfZe5rxSTkhR8O8/w200-h150/tzvortex-steel11-maynardflash.JPG" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Maynard Flash</td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><br /></span></p><span style="font-size: 14pt;"> The
androids in “Steel” are unique in that their physical appearance seems to aim
somewhere between these two approaches. While they are played by actors Chuck
Hicks and Tipp McClure, there is an effort by makeup artist William Tuttle to
make them appear less than human, the result of which is quite haunting. The
masks the actors wear are made of stretched latex and the eyes are ping pong
balls which were painted black with a small hole drilled in the center so they
could see. A mention should be made of the terrific performances by both actors
in portraying the restricted movements of what are essentially early generation
androids.</span></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGVDUY2HWeQbPNNtG0zHeoLTQfS2x-ROze-7jXI52T4MBenDJsO7MuSXphAVOvp1Fc5luHsqkgRnFMGmcOzfzZBqUp-_uiBXtXlnZZRSjdEiTXrpgZ0eUcuzeOdO2l0IU75bS9ks4zq70/s600/The+Shores+of+Space.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="360" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGVDUY2HWeQbPNNtG0zHeoLTQfS2x-ROze-7jXI52T4MBenDJsO7MuSXphAVOvp1Fc5luHsqkgRnFMGmcOzfzZBqUp-_uiBXtXlnZZRSjdEiTXrpgZ0eUcuzeOdO2l0IU75bS9ks4zq70/w103-h171/The+Shores+of+Space.jpg" width="103" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>The Shores of Space</i><br />(Bantam, 1957)</td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"> Matheson
claimed in numerous interviews and essays over the years that this episode was
his favorite of the sixteen that he wrote for the show. He first published the
short story in the May, 1956 issue of <i>The Magazine of Fantasy and Science
Fiction</i> and it later appeared in his collection <i>The Shores of Space</i> (Bantam,
1957). His teleplay is incredibly faithful to his short story and the episode
is filmed almost shot for shot from his script. The only significant differences are that the year is changed from 1997 to 1974 and the fight is changed from a
ten-round bout to six rounds. Also, in the story, Steel is given a first name, Tim, and there is a very brief mention of a woman he was once in love with. Other than these few exceptions, the two versions are very similar. </span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"> A
much less faithful adaptation is the 2011 Dreamworks film <i>Real Steel</i> starring
Hugh Jackman and Dakota Goyo. Directed by Shawn Levy and written by John
Gatins, Dan Gilroy, and Jeremy Leven, the film contains only the basic idea of
fighting robots as a substitution for real, live people while sacrificing the emotional
struggle of its main character, the element which made Matheson’s original
story so powerful. In the film Jackman plays Charlie Kenton, a former boxer who
owns a string of obsolete fighting robots, keeping each until it can no longer
fight and then discarding it for a newer one. After learning that his
ex-girlfriend has died, he is now the sole guardian to his son, Max, whom he
has had no contact with since he was born. An avid boxing fan, Max helps
Charlie find an early generation robot which is enhanced with a shadow function
allowing the robot to mimic Charlie’s exact moves. So Charlie is once again
able to fight but, unlike Steel Kelly, does not have to risk physical
annihilation to do so. Max and Charlie pit their underdog robot, named Atom,
against increasingly harder opponents until they are unofficially declared the
best fighting team in the league. The film ends on a predictably happy note
with Charlie realizing that he has the ability to love others as well as
himself. While it is fairly clear that the basic premise of fighting robots
comes from Matheson’s story, the similarities between the two stories ends
there. There is so significant a difference in the film’s plot that Matheson’s opening
screen credit reads: “based in part upon the short story ‘Steel’ by Richard
Matheson.” The film received mixed reviews with much of the criticism directed
at its uneven plot and clichéd, unrealistic ending. The film’s special effects
team did receive a lot of positive mentions and was even nominated for an
Academy Award for Best Visual Effects. It lost to Martin Scorsese’s <i>Hugo.</i></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"> Director
Don Weis makes his only venture into <i>The Twilight Zone</i> with this episode. Weis
began his career at MGM making popular light comedies and musicals such as <i>I
Like Melvin</i> (1953), <i>A Slight Case of Larceny</i> (1953), and <i>The Affairs of Dobbie
Gills</i> (1953) and was known for being able to produce quality films quickly and
under budget. He would continue to make feature-length films throughout his
career, which spanned nearly half a century, including a biopic of jazz drummer
Gene Krupa, <i>The Story of Gene Krupa</i> (1959), an adaptation of Ira Levin’s play
<i>Critic’s Choice</i> (1963), and the World War II film <i>The Longest Hundred Miles</i>
(1967). It was in television, however, where Weis made his mark, owing his
success to the speed with which he could deliver quality productions. Over
several decades he directed episodes of some of the best television series of
all time including <i>Wagon Train, The Thin Man, The Jack Benny
Program, The Andy Griffith Show, Alfred Hitchcock Presents, Batman, Ironside,
Kolchak: The Night Stalker, M.A.S.H., Hawaii Five-O,</i> and <i>Hill Street Blues</i> to
list just a fraction of his catalog. His direction in “Steel” is quite impressive.
He allows the camera to move naturally through each scene and his still shots
are framed well. He also creates the illusion of a crowded arena effectively as
there are only a handful of extras present in that particular scene.
Considering that at this point in his career he had directed mostly light
situational comedies, he captures the seediness of the film noirs of the
forties and fifties incredibly well.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSInziLSElTE85uwOgxC_CWQwB-NrDktmqhs7_eI2FxmqY59_LkBGSOMIuY6SObH3XhQGStPtDkQSszv_BfjhwLNBqUBcMoV5WBwILO6Xrv0iHYwVcleC9gSxXHhTaW8Uhbxtmr7XrGso/s640/tzvortex-steel09.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSInziLSElTE85uwOgxC_CWQwB-NrDktmqhs7_eI2FxmqY59_LkBGSOMIuY6SObH3XhQGStPtDkQSszv_BfjhwLNBqUBcMoV5WBwILO6Xrv0iHYwVcleC9gSxXHhTaW8Uhbxtmr7XrGso/w200-h150/tzvortex-steel09.JPG" width="200" /></a></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"> This
is the second appearance on the show for actor Joe Mantell who gave a great
performance as panic-stricken loser Jackie Rhodes in the season two episode
“Nervous Man in a Four Dollar Room.” Mantell was a terrific actor who
unfortunately did not have as famous a career as his co-star, despite a handful
of roles in very famous films. In 1955 he was nominated for an Academy Award
for Best Supporting Actor for his role as Ernest Borgnine’s best friend, Angie,
in Delbert Mann and Paddy Chayefsky’s smash hit <i>Marty</i> (1955). He played the
part of the traveling salesman in the café in Alfred Hitchcock’s <i>The Birds</i>
(1963) and was Jack Nicholson’s assistant, Lawrence Walsh, in Roman Polanski’s
<i>Chinatown</i> (1974), where he utters to Nicholson the film’s famous final line,
“Forget it, Jake. It’s Chinatown.” The film’s sequel, <i>The Two Jakes</i> (1990), was
Mantell’s last screen appearance. He also appeared in numerous other early
anthology series including <i>Alfred Hitchcock Presents, Climax!, Out There, Inner
Sanctum, Suspense,</i> and <i>Lights Out</i>. His performance here is brilliant. As well
written and directed as this episode is, it is the chemistry between its two
leading stars which steals the show. Mantell gives Pole a seamless mix of angry
frustration and genuine concern for Marvin’s troubled, washed up fighter.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"> Lee
Marvin carved out an enormously successful career for himself becoming one of
the most recognizable actors of the sixties and seventies. He was known for
playing tough, often violent characters similar to the one he plays here. This
is Marvin’s second and final appearance on the show, having appeared in the
star-studded season three episode “The Grave.” Less than a year after that
episode, a western, aired in October of 1961 Marvin and two of his co-stars
from the episode, Lee Van Cleef and Strother Martin, appeared as a gang of
sadistic criminals in John Ford’s <i>The Man Who Shot Liberty Valance</i> (1962). Considered
by many to be one of the best western films ever made, Marvin’s performance as
the title character is probably the role most responsible for launching him
into the Hollywood A-list for the next few decades. So by the time this episode
aired exactly two years after his first appearance on the show he was like more familiar to the audience.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"> Marvin’s
stardom took longer to come to fruition than for many of his
contemporaries. After being wounded in action during World War II, Marvin
returned to the states and decided to pursue acting, appearing dozens of stage
productions throughout the late forties. After being famously thrown out of the
Actor’s Studio for screaming profanities at Lee Strasberg he moved to Hollywood
and began a career in film and television. During the first fifteen years of
his career, Marvin appeared in numerous television series including <i>Suspense,
Dragnet, Wagon Train, Route 66, Bonanza, The Virginian,</i> and <i>The Untouchables</i> as
well as many live drama anthology series including an Emmy nominated performance on <i>Alcoa
Premiere.</i> From 1957 to 1960 Marvin starred as gritty Detective Lieutenant Frank
Ballinger on the NBC series <i>M Squad.</i> The creators of <i>Police Squad,</i> the
short-lived series that launched the <i>Naked Gun</i> franchise, admitted years later
that M Squad was one of the main influences for their show and that Leslie
Nielsen’s Detective Frank Drebin was a direct satire of Marvin’s character.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">During this time, he
also racked up a number of credits playing memorable minor characters in now
famous films like <i>The Wild One</i> (1953), <i>The Caine Mutiny</i> (1954), <i>Bad Day at
Black Rock </i>(1955), <i>The Killers</i> (1964), and the feature-length adaptation of
Serling’s <i>The Rack</i> (1956). Two years after he appeared in “Steel” Marvin won an
Academy Award for his dual performance in Elliott Silverstein’s <i>Cat Ballou</i>
(1965). After that he left television behind and concentrated solely on film,
strengthening his image as an actor who liked playing dark and often
controversial characters. Roles in films like <i>The Professionals</i> (1966), <i>The
Dirty Dozen</i> (1967), and <i>Point Blank</i> (1967) helped to solidify this image.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF7F5MwvqUZsHAe2cPLAwp2-pe6ZkhlckKrf8YXkxk15ZHuMTI3jT4EXOXp5szx8dCZeGktqqa3JuBvQvIHuyfkY4f03CN6rxHzsfsCp2ufD25UuviclGixG0JD23z_zXaDYa88DLVJ94/s640/tzvortex-steel03.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF7F5MwvqUZsHAe2cPLAwp2-pe6ZkhlckKrf8YXkxk15ZHuMTI3jT4EXOXp5szx8dCZeGktqqa3JuBvQvIHuyfkY4f03CN6rxHzsfsCp2ufD25UuviclGixG0JD23z_zXaDYa88DLVJ94/w200-h150/tzvortex-steel03.JPG" width="200" /></a></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"> His
performance here as Steel Kelly is remarkable. A more restrained performance,
perhaps, than some of his more well-known characters but this only adds to the
level of desperation and insecurity that Steel inhabits. The scene in which he
has to speak to the fight promoter inside his small, cramped office is
brilliant because Marvin’s speech pattern and facial expressions perfectly
convey how clearly uncomfortable and humiliated Steel is. Matheson recalled in
several interviews that he was on the set during the rehearsal and filming of
this episode and claimed that to help build his character and to prepare for the
fight scene, Marvin would walk around the set of the boxing ring, throwing random
jabs into the air, and would imitate the sound of the crowd taunting him. Marvin had actually worked with
Don Weis several times before on episodes of <i>M Squad</i> and episodes of <i>Schlitz
Playhouse</i> and <i>Jane Wyman Presents the Fireside Theatre.</i></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"> While
not as well known as some of the other teleplays Matheson wrote for the show,
“Steel” is an incredibly powerful and moving episode about the strength of
friendship and the importance of feeling relevant. It is fair to mention that
there have been many who see Steel’s decision to step into the ring with an
opponent that he most certainly will not defeat and who might very possibly
kill him as nothing more than a death wish. This is a valid point and one that
only complicates Steel Kelly’s already complex character. Steel is afraid of
accepting change because it would mean that he loses who he is as a person.
Boxing is all that he knows and Battling Maxo is his last connection to it. He
has no money to buy another android and without boxing he is forced to live in
a world he no longer recognizes with neither ambition nor purpose. So there is
a part of him that probably would rather cease to exist than be obsolete. Pole
realizes that fear and self-doubt have crept into every facet of his friend’s world
and knows that removing him from their current environment is the only way to
make him whole again. Their relationship lies at the heart of the episode. However,
being a fighter is all Steel knows and as long as either he or Battling Maxo
are able to step into the ring he will continue to fight for his place in the
world. <o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><br /></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlyGCZNRvjuuycxsW1lguZNLSp6Rk_LKXvE1e-BfA-Jrlc2OPnJ7_e0nKJjD5Tim_YflPhMyZ-wSZYRphuDUl0zAiBX_cvimm3Ps9oFDJ-thDJpbjq7I7jkRzcl5V2DdI76xXYwuV4Q8A/s640/tzvortex-steel16.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlyGCZNRvjuuycxsW1lguZNLSp6Rk_LKXvE1e-BfA-Jrlc2OPnJ7_e0nKJjD5Tim_YflPhMyZ-wSZYRphuDUl0zAiBX_cvimm3Ps9oFDJ-thDJpbjq7I7jkRzcl5V2DdI76xXYwuV4Q8A/w320-h240/tzvortex-steel16.JPG" width="320" /></a></div><span style="font-size: 14pt;"> </span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>Grade: A</b><o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"> </span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>Grateful acknowledgment is made to the
following:</b></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>The Twilight Zone Scripts of Richard
Matheson,</i> Vol. 2 edited by Stanley Wiater (Edge Books, 2002)</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Richard Matheson on Screen: A History of
the Filmed Works</i> by Mathew R. Bradley (MacFarland & Company, 2010)</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>The Twilight Zone: Unlocking the Door to
a Television Classic</i> by Martin Grams, Jr. (OTR, 2008)</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>The Twilight Zone Companion</i> by Marc
Scott Zicree (3<sup>rd</sup> ed., Silman-James Press, 2018)</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Episode commentary by Marc Scott Zicree
and Bill Warren, <i>The Twilight Zone: The Complete Series</i> Blu-ray (Image
Entertainment, 2016)</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Lee Marvin: Point Blank</i> by Dwayne
Epstein (Schaffner Press, 2013)</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">The Internet Movie Database (www.imdb.com)</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">The Internet Speculative Fiction
Database (www.isfdb.org)<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"> </span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i><b>Notes:</b></i></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">—Lee Marvin also appeared in the season
three episode “The Grave.”</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">—Joe Mantell appeared in the season two
episode “Nervous Man in a Four Dollar Room.” He also appeared in an episode of
Serling’s western series, <i>The Loner,</i> in 1966 called “The Trial in Paradise.”</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">—Chuck Hicks appeared in the season five
episode “Ninety Years Without Slumbering.”</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">—Merritt Bohn appeared in the season one
episode “One for the Angels.”</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">—Frank London appears in the season two
episode “A Penny for Your Thoughts.”</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">—Loyal extra Bob McCord can be spotted
here as one of Maynard Flash’s handlers. McCord made dozens of appearances on
the show, usually uncredited.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj77MJtUo7zycD0cbusZJ9bdDDfF0fpfuVxDoi0QVOL7GZy0lmZzb4J2Om3qGg0lh29hpj5xB-fmCzMmeBK0s7IT1j71-uomYT7tKSWyVsPKj-RLMsEO3pqikJfPrvUPHU5a7gHVH6Rvls/s600/MFSFMay1956_isfdb_artEdEmshwiller-Emsh.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="419" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj77MJtUo7zycD0cbusZJ9bdDDfF0fpfuVxDoi0QVOL7GZy0lmZzb4J2Om3qGg0lh29hpj5xB-fmCzMmeBK0s7IT1j71-uomYT7tKSWyVsPKj-RLMsEO3pqikJfPrvUPHU5a7gHVH6Rvls/w114-h165/MFSFMay1956_isfdb_artEdEmshwiller-Emsh.jpg" width="114" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>The Magazine of Fantasy<br />and Science Fiction</i><br />May, 1956<br />Cover art by Ed Emshwiller</td></tr></tbody></table><span style="font-size: 14pt;">—Richard Matheson adapted “Steel” from
his short story of the same name which was originally published in the May,
1956 issue of </span><i style="font-size: 14pt;">The Magazine of Fantasy and Science Fiction.</i><span style="font-size: 14pt;"> It later appeared in
his collection </span><i style="font-size: 14pt;">The Shores of Space</i><span style="font-size: 14pt;"> (Bantam, 1957) and in </span><i style="font-size: 14pt;">The Twilight Zone: The
Original Stories</i><span style="font-size: 14pt;"> (MJF, 1985) edited by Martin H. Greenberg, Matheson, and
Charles G. Waugh. It can currently be found in the second volume of his </span><i style="font-size: 14pt;">Collected
Stories</i><span style="font-size: 14pt;"> (Edge Books, 2005) and in his collection </span><i style="font-size: 14pt;">Duel: Terror Stories</i><span style="font-size: 14pt;"> (Tor,
2003). In 2011 Tor released the collection </span><i style="font-size: 14pt;">Steel and Other Stories,</i><span style="font-size: 14pt;"> a paperback
movie tie-in for the film </span><i style="font-size: 14pt;">Real Steel</i><span style="font-size: 14pt;"> (2011) which was inspired by Matheson’s
story.</span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">—Matheson’s adapted teleplay for “Steel”
is collected in <i>Richard Matheson’s The Twilight Zone Scripts,</i> Vol. 2 edited by
Stanley Wiater (Edge Books, 2002)</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">—This episode was adapted into a
<i>Twilight Zone Radio Drama</i> by Dennis Etchison starring Louis Gossett, Jr.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO2cJnBqW88KONK4gzktpmVmQkcTZT0rUOFCwzwc_NGB3jZEa7PCVVpDOrMNrb52ObDjL-PnvxBkfBj9otbO4Xq42_wQB2cdBJjqg73FdaM0fVQJAyxq_5Yz0M14_IwrArsj7CusiVPGE/s1280/realsteel3.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="720" data-original-width="1280" height="113" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO2cJnBqW88KONK4gzktpmVmQkcTZT0rUOFCwzwc_NGB3jZEa7PCVVpDOrMNrb52ObDjL-PnvxBkfBj9otbO4Xq42_wQB2cdBJjqg73FdaM0fVQJAyxq_5Yz0M14_IwrArsj7CusiVPGE/w200-h113/realsteel3.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Real Steel</i> <br />(Dreamworks, 2011)</td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">—As previously noted, “Steel” was the
inspiration for the 2011 film <i>Real Steel</i> starring Hugh Jackman. The film was
written by John Gatins, Dan Gilroy, and Jeremy Leven, and was directed by Shawn
Levy. It was executive produced by Stephen Spielberg for DreamWorks Pictures.
Matheson’s screen credit reads: “based <i>in part</i> upon the short story ‘Steel’ by
Richard Matheson.”</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">—Former professional welterweight boxer
turned stunt performer and Hollywood boxing coach Johnny Indrisano (1906 –
1968) was hired as a fight consultant to make the bout between Lee Marvin and
Chuck Hicks seem as realistic as possible. Indrisano’s career as a fighter
lasted from 1923 to 1934 and he retired with thirty-seven out of forty-six
wins.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">—Matheson’s decision to name the boxing
promoter Nolan is likely a nod to his close friend, writer William F. Nolan.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"> </span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">—BD<o:p></o:p></span></p><span style="font-size: medium;"><i><b></b></i></span></div>Brian Duranthttp://www.blogger.com/profile/02724290376009803159noreply@blogger.com0tag:blogger.com,1999:blog-1318310043864039191.post-51573299121525258542021-05-19T06:00:00.160-05:002021-05-19T06:00:00.222-05:00Reading Rod Serling’s The Twilight Zone Magazine, Part 24<p> <i><span style="font-size: 14.0pt;">In
which we take a closer look at each issue. For our capsule history of the
magazine, go <a href="http://twilightzonevortex.blogspot.com/2012/01/rod-serlings-twilight-zone-magazine.html"><span style="color: white;">here.</span></a></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-size: 14.0pt;">Volume
3, Number 2</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">(May/June,
1983)<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">Cover Art: Artifact <o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuZQBe0c6HESfWrU6N4we_c_wtC0n8pDvyFKYbSPYnAusxkitkrEE9JI-fyL6eGKPAHuwONE4nPyCqExi2Ka_kLUI337s_jpHdtdTSeZWIqSm30lST6Pj6Egd9Gpc9o_qqGEcjBUthSRmY/s545/Cover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="545" data-original-width="400" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuZQBe0c6HESfWrU6N4we_c_wtC0n8pDvyFKYbSPYnAusxkitkrEE9JI-fyL6eGKPAHuwONE4nPyCqExi2Ka_kLUI337s_jpHdtdTSeZWIqSm30lST6Pj6Egd9Gpc9o_qqGEcjBUthSRmY/w294-h400/Cover.jpg" width="294" /></a></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-size: 14.0pt;">TZ
Publications, Inc.</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">President
& Chairman: </span></i><span style="font-size: 14.0pt;">S. Edward Orenstein<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Secretary/Treasurer:
</span></i><span style="font-size: 14.0pt;">Sidney Z. Gellman<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Executive
Vice-Presidents: </span></i><span style="font-size: 14.0pt;">Leon Garry, Eric
Protter<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Executive
Publisher: </span></i><span style="font-size: 14.0pt;">S. Edward Orenstein<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Publisher:
</span></i><span style="font-size: 14.0pt;">Eric Protter<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Associate
Publisher and Consulting Editor: </span></i><span style="font-size: 14.0pt;">Carol
Serling<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Editor:
</span></i><span style="font-size: 14.0pt;">T.E.D. Klein<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Managing
Editor: </span></i><span style="font-size: 14.0pt;">Jane Bayer<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Associate
Editor: </span></i><span style="font-size: 14.0pt;">Robert Sabat<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Contributing
Editors: </span></i><span style="font-size: 14.0pt;">Thomas M. Disch, Gahan
Wilson, Marc Scott Zicree<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Design
Director: </span></i><span style="font-size: 14.0pt;">Michael Monte<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Art
Director: </span></i><span style="font-size: 14.0pt;">Pat E. McQueen<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Art
Production: </span></i><span style="font-size: 14.0pt;">Susan Lindeman, Carol Sun<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Typesetting:
</span></i><span style="font-size: 14.0pt;">Irma Landazuri<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Production
Director: </span></i><span style="font-size: 14.0pt;">Stephen J. Fallon<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Controller:
</span></i><span style="font-size: 14.0pt;">Thomas Schiff<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Ass’t
to the Publisher: </span></i><span style="font-size: 14.0pt;">Judy Linden<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Public
Relations Manager: </span></i><span style="font-size: 14.0pt;">Jeffrey Nickora<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Accounting
Mgr.: </span></i><span style="font-size: 14.0pt;">Chris Grossman<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Accounting
Ass’t: </span></i><span style="font-size: 14.0pt;">Annmarie Pistilli<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Office
Ass’t: </span></i><span style="font-size: 14.0pt;">Miriam Wolf<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Vice
President, Circulation Director: </span></i><span style="font-size: 14.0pt;">Milton
J. Cuevas<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Circulation
Mgr.: </span></i><span style="font-size: 14.0pt;">Carole A. Harley<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Circulation
Ass’t: </span></i><span style="font-size: 14.0pt;">Karen Martorano<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Eastern
Circ. Mgr.: </span></i><span style="font-size: 14.0pt;">Hank Rosen<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">West
Coast Circ. Mgr.: </span></i><span style="font-size: 14.0pt;">Gary Judy<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Advertiser
Manager: </span></i><span style="font-size: 14.0pt;">Rachel Britapaja<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Adv.
Production Manager: </span></i><span style="font-size: 14.0pt;">Marina Despotakis<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Adv.
Ass’t: </span></i><span style="font-size: 14.0pt;">Katherine Lys<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Advertising
Representative: </span></i><span style="font-size: 14.0pt;">Bob LaBuddie<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3z0YHRs0KexHWr7a9nEueQ6dxOk9WEqMcipgb-jOc1qtemRTnDrHKtWv__f9n1z_vtqn9GXZG2wy1kIPSNs9H1PZNdNm0J4x1aNbb6tvLVTDoI4yXdv7IDWdQJP_kMb6RIoqGFX-KQAyG/s2100/Contents.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="760" data-original-width="2100" height="145" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3z0YHRs0KexHWr7a9nEueQ6dxOk9WEqMcipgb-jOc1qtemRTnDrHKtWv__f9n1z_vtqn9GXZG2wy1kIPSNs9H1PZNdNm0J4x1aNbb6tvLVTDoI4yXdv7IDWdQJP_kMb6RIoqGFX-KQAyG/w400-h145/Contents.jpg" width="400" /></a></div><br /><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 14.0pt;">Contents:</span></u></b><span style="font-size: 14.0pt;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">--“In the Twilight Zone: Cone fever . .
.” by T.E.D. Klein<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">--Other Dimensions: Books by Thomas M.
Disch<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">--Other Dimensions: Screen by Gahan
Wilson<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">--Other Dimensions: Music by Jack
Sullivan<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">--Other Dimensions: Nostalgia by Ron
Goulart<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">--Other Dimensions: Fantasy Acrostic #1
by Peter Cannon<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">--Other Dimensions: Etc.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">--TZ Interview: V.C. Andrews by Lorenzo
Carcaterra<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">--Cartoon by Thomas Swick <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">--“The Raft” by Stephen King<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">--TZ Preview Section: TZ’s Triple Bill<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>-TZ
Screen Preview: <i style="mso-bidi-font-style: normal;">Something Wicked This Way
Comes<o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span></span></i><span style="font-size: 14.0pt;">-TZ Screen Preview: <i style="mso-bidi-font-style: normal;">Psycho II<o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span></span></i><span style="font-size: 14.0pt;">-TZ Screen Preview: <i style="mso-bidi-font-style: normal;">The Keep<o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">--“In the Field of the Dying Cherry
Tree” by Curtis K. Stadtfeld<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">--“Confessions of a Freelance Fantasist”
by Isidore Haiblum <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">--“Harry’s Story” by Robert H. Curtis<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">--“The Tuck at the Foot of the Bed” by
Ardath Mayhar<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">--Required Reading: “A Fragment of Fact”
by Chris Massie<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">--“Takeover Bid” by Andrew Weiner <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">--“Listen” by Joe R. Lansdale<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">--The Fantasy Five-Foot Bookshelf by
Thomas M. Disch, Karl Edward Wagner, and </span><span style="font-size: 14pt;">R.S.
Hadji</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">--Show-By-Show Guide: TV’s Twilight
Zone, Part Twenty-Four<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">--TZ’s Classic Teleplay: “The Lonely” by
Rod Serling<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">--Looking Ahead: In the August TZ . . .”
<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5I9p0RMtsh9BoMSBskigzxwjNLoTZa1KeglsiCg_owriNoh8c8tOK4EOvp1t7FvNuyFY2vjHsVFeRq_NS2kNCkxFvfIAga-Qpf3yInRptXUWapw92tDq1zMCn9fYmxg3o5Ir9jrsZFMsI/s1379/In+the+TZ.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="496" data-original-width="1379" height="144" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5I9p0RMtsh9BoMSBskigzxwjNLoTZa1KeglsiCg_owriNoh8c8tOK4EOvp1t7FvNuyFY2vjHsVFeRq_NS2kNCkxFvfIAga-Qpf3yInRptXUWapw92tDq1zMCn9fYmxg3o5Ir9jrsZFMsI/w400-h144/In+the+TZ.jpg" width="400" /></a></div><br /><b><span style="font-size: 14.0pt;">--“In
the Twilight Zone: Cone fever . . .” by T.E.D. Klein</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Klein
begins his editorial by describing his experiences viewing Alfred Hitchcock’s </span></i><span style="font-size: 14.0pt;">Psycho <i style="mso-bidi-font-style: normal;">during its
first-run theatrical release. Klein attended the film with his family and a
family friend, a psychiatrist named Joan, the latter of whom, Klein relates,
guessed the twist in the tale after the first murder. This recollection is
prompted by the impending release of </i>Pyscho II, <i style="mso-bidi-font-style: normal;">previewed in this issue. Klein next discusses the highlight of the
issue, Stephen King’s “The Raft,” calling attention to the fact that the story
was first published in the November, 1982 issue of </i>Gallery, <i style="mso-bidi-font-style: normal;">a men’s magazine published by the same
company (Montcalm Publishing) which published TZ. Klein felt comfortable
reprinting the story so soon after its first appearance since he didn’t imagine
readers of </i>Gallery <i style="mso-bidi-font-style: normal;">also read TZ, and
vice versa. The “cone” in the title of the editorial refers to the unusual
history of King’s story. More on that later. <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-Commenting
on the grisly nature of King’s story, Klein promises more subdued offerings
from the remaining stories and provides capsule biographies of the writers
along with thumbnail portraits. Klein concludes the editorial by highlighting
the “Fantasy Five-Foot Bookshelf” feature in the issue, which asked three
expert readers to provide the best and worst in supernatural fiction. This
feature has become something of a legendary guide for horror readers down the
years, prompting various online discussions, Wikipedia articles, and
republications. More on that later, as well.</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoRY66O1c_NsEnzUo2feizbyd2A3_g5nCWh8Tfq8OYk8zhzyUBsU8EpUJJ5mNaOGCvHZjv86Gm0wFYAdyrz8_1MYJusmVZiQBN6vePDc0s6S0D4iifh_Vws70l50KBqcO44BtOuJIi6a4w/s458/Disch.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="458" data-original-width="299" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoRY66O1c_NsEnzUo2feizbyd2A3_g5nCWh8Tfq8OYk8zhzyUBsU8EpUJJ5mNaOGCvHZjv86Gm0wFYAdyrz8_1MYJusmVZiQBN6vePDc0s6S0D4iifh_Vws70l50KBqcO44BtOuJIi6a4w/s320/Disch.jpg" /></a></i></div><b><span style="font-size: 14.0pt;"><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-size: 14.0pt;">--Other
Dimensions: Books by Thomas M. Disch</span></b></p></span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-A
nifty new illustrative portrait highlights Disch’s column this issue. He begins
by lamenting the publishing industry’s tendency to rely on bland, boring, or
safe books (i.e. books likely to become bestsellers), or books simply
indicative of a genre (western, science fiction, horror, mystery, etc.). Disch refers
to comments made by Robert Wyatt, chief editor at Avon Books, at a recent PEN
symposium. Disch then turns his critical eye on SF and discovers that the same situation
exists in his chosen field. Disch expresses his displeasure with the latest
works by Asimov and Clarke before proceeding to examine three books he feels are
excellent examples of “mid-list” fiction (books not likely to become
bestsellers). <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-First
up is </span></i><span style="font-size: 14pt;">The Citadel of the Autarch <i>by Gene Wolfe. This novel is the fourth
volume in Wolfe’s tetralogy, </i>The Book of the New Sun. <i>Disch speaks at length on his enjoyment of these books, and relates a time
when he called up his friend, noted SF critic John Clute, and suggested the two
of them create a critical study of the series. Disch quotes Clute on several
aspects of Wolfe’s series, displaying the possibilities for discussion and
dissection. Disch concludes with this: “I realize this is not the stuff that
blurb-writers’ dreams are made of, but most sf readers by now will already have
begun to read </i>The Book of the New Sun <i>and
will know their own taste in the matter. Nor can I imagine that any reader of
the first three volumes could be </i>prevented <i>from continuing to the end. At this moment the whole tetralogy seems
simply too large for ordinary critical epithets to apply; one might as well
scrawl ‘pretty damned big!’ on the Great Pyramid.”</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-Next,
Disch takes a look at the latest offering from Norman Spinrad, </span></i><span style="font-size: 14pt;">The Void Captain’s Tale. <i>Disch notes the differences between Wolfe and Spinrad, likening
Spinrad’s worldview to that of Norman Mailer’s and completing the comparison by
briefly looking at works from both Spinrad and Mailer. </i>The Void Captain’s Tale
<i>concerns the idea of interstellar flight
achieved by electronically amplified female orgasm. Disch describes the novel,
and its innovative use of language, this way: “the effect of the Spinradical </i>sprach
<i>is not so much to make commonplace speech
richer, stranger, and more poetic, but to signify the artifice of all social
conventions, to be symptomatic of the central thesis of the book – that the
sexual grail is something that words, in their nature, cannot express.”</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-Lastly,
Disch looks at the novel </span></i><span style="font-size: 14pt;">The Birth of
the People’s Republic of Antarctica <i>by
John Calvin Batchelor. This “novel of the imminent future” depicts a Swedish prison
break and a southward voyage into a war on the Falkland Islands to ultimately
end at the ice camps of Antarctica. Disch likens the novel to a work of
objective history while also making the comparison to older, more archetypal
works of adventure, such as </i>Beowulf, Moby Dick, <i>and </i>The Narrative of Arthur Gordon Pym. <i>Disch writes: “Batchelor manages to make good on his promise of the
highest and wildest drama precisely because he keeps a certain distance from
his cast of high-voltage characters and handles their passions, crimes, and
ordeals with electrician’s gloves. He anatomizes them, as a historian might,
rather than presenting them always in cinematically detailed scenes.”</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-H17mYfHmzau8ymIAMO4QovetVbx72DDcp2E3n9FHrkaBjSqX3Zlc0pwJA056kV4PExzlTn21GUKjzkeYeKoDPzbjvtS90qRVowgnayuJhfuw9NUZsJBtQBhpjp8tYXOPFOLAjV1Vw5iF/s991/Screen.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="991" data-original-width="750" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-H17mYfHmzau8ymIAMO4QovetVbx72DDcp2E3n9FHrkaBjSqX3Zlc0pwJA056kV4PExzlTn21GUKjzkeYeKoDPzbjvtS90qRVowgnayuJhfuw9NUZsJBtQBhpjp8tYXOPFOLAjV1Vw5iF/s320/Screen.jpg" /></a></i></div><i style="mso-bidi-font-style: normal;"><br /></i><b><span style="font-size: 14.0pt;">--Other
Dimensions: Screen by Gahan Wilson</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Gahan
Wilson also receives a nice new illustrative portrait, courtesy of the
cartoonist himself. This month Wilson looks at two films which will likely be
familiar to readers in the Vortex: </span></i><span style="font-size: 14.0pt;">Videodrome
<i style="mso-bidi-font-style: normal;">and </i>The Dark Crystal. <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><o:p></o:p></i></b></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14pt;">-Videodrome </span><i style="font-size: 14pt;">is a darkly satirical horror (some say science fiction) film from
Canadian director David Cronenberg which takes the television viewer’s
obsession with violence to an extreme level. The film concerns a journalist who
discovers a secret television channel which consists of extremely violent and
sexually provocative images. The more you watch the more elastic your reality
becomes. The film is a notable example of “body horror” in cinema, a subgenre
of the horror film characterized by extreme physical transformation or
mutation, and usually highlighted by a talented special makeup effects artist.
In the case of </i><span style="font-size: 14pt;">Videodrome, </span><i style="font-size: 14pt;">the
gruesome effects were created by multi-Academy Award winner Rick Baker.</i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-David
Cronenberg can probably be credited with inventing the body horror film, at
least in North American cinema, through the innovative horror/sf films he made
early in his career </span></i><span style="font-size: 14pt;">(Shivers, Rabid,
The Brood, Scanners, The Fly), <i>though
there were other films, such as the 1978 remake of </i>Invasion of the Body
Snatchers <i>and John Carpenter’s remake of </i>The
Thing.<i> On a side note, Dennis Etchison wrote
the novelization of </i>Videodrome<i> under
the pseudonym Jack Martin. Etchison, an award-winning writer of horror and
science fiction, was a friend to several </i>Twilight Zone <i>writers, including Charles Beaumont, Richard Matheson, George Clayton
Johnson, and Ray Bradbury, and also scripted the majority of </i>The Twilight
Zone Radio Dramas.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-Gahan
Wilson uses </span></i><span style="font-size: 14pt;">Videodrome <i>to illustrate the differences between the
films of his youth, where suggestion and restraint created scary effects, and
the special effects extravaganzas of the eighties, where a new and talented
generation of special makeup effects artists created memorably grotesque work
which will likely never be equaled for artistry or effectiveness. </i>Videodrome
<i>is not a reticent film, and Cronenberg is
not, or was not, a restrained director. “The whole movie,” Wilson writes, “as
stated above, is mercilessly explicit, almost tediously insistent that you see </i>everything
<i>no matter how repulsive it may be or how
technically difficult it may be to deliver.” Overall, Wilson greatly enjoyed
the film, though he found the ending to be a bit of a dodge.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-Wilson
next looks at </span></i><span style="font-size: 14pt;">The Dark Crystal, <i>a fantasy film from Jim Henson and Frank Oz featuring
a cast of highly detailed and innovative puppets. Wilson sees the film as
having a strike against it from the outset: it seeks to illustrate fairyland,
which he feels is too personal a place to be convincingly rendered in a film.
Wilson also found another flaw with the film. There are simply too few characters,
likely due to the cost of creating the puppets. The result is that the world of
</i>The Dark Crystal<i> seems almost
desolate. Wilson also found problems with the plot, the design of the heroic
characters, and the bleak tone of the film (a complaint frequently echoed at
the time as the film was marketed as a family film and many viewers expected
the tone of Jim Henson’s </i>The Muppets <i>or
</i>Sesame Street).<i> Wilson concludes on a
positive note, however: “. . .that aside, there are some really marvelous
things in the movie. My favorite sequence takes place in a swamp full of grand
inventions, both vegetable and animal, including flying flowers and a lovable
swamp monster. It all worked so well it made me wonder if the sequel to </i>Crystal
<i>might not be well advised to skip the
trappings of plot and present itself as a travelogue.”</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14pt;">-The Dark Crystal </span><i style="font-size: 14pt;">did not receive a sequel but it did get a prequel in the form of the
Netflix series </i><span style="font-size: 14pt;">The Dark Crystal: Age of Resistance.</span><i style="font-size: 14pt;"> The film has also been the subject of books, comic books, video games,
cassette tapes, and other media. The film also greatly furthered the career of illustrator
Brian Froud, who designed much of the film as well as Jim Henson’s follow-up, </i><span style="font-size: 14pt;">Labyrinth.
</span><i style="font-size: 14pt;">Froud turned those experiences into a
successful series of books.</i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUFRxc_k2hZWAFZi0ZEdDX23G9_bCM7hFg7RQmZPh_C9ebSF47uu4awpPH9MJVRYcJMQ5NFxpqzG8ueHTB9hFY4y9yYvg83SsFhwfleOVgY4OhuMNkojmWZDpzwXEThGGsAAeIXnxffBop/s1036/Music.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="535" data-original-width="1036" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUFRxc_k2hZWAFZi0ZEdDX23G9_bCM7hFg7RQmZPh_C9ebSF47uu4awpPH9MJVRYcJMQ5NFxpqzG8ueHTB9hFY4y9yYvg83SsFhwfleOVgY4OhuMNkojmWZDpzwXEThGGsAAeIXnxffBop/s320/Music.jpg" width="320" /></a></div><br /><b><span style="font-size: 14.0pt;">--Other
Dimensions: Music by Jack Sullivan</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Jack
Sullivan returns to the pages of TZ to share his considerable knowledge of
music with a look at the career of Bernard Herrmann, the composer behind the musical
scores for numerous horror, science fiction, fantasy, and mystery films and
television series, including music for director Alfred Hitchcock, stop-motion
animator Ray Harryhausen, director Brian de Palma, and, of course, </span></i><span style="font-size: 14.0pt;">The Twilight Zone. <i style="mso-bidi-font-style: normal;">Herrmann
scored the music for the opening sequence of the first season of TZ (which I
prefer over the better-known theme created from the music of Marius Constant),
as well as music for several notable episodes, including “Walking Distance,”
“Eye of the Beholder,” and “Living Doll.” Herrmann’s music for </i>The Twilight
Zone <i style="mso-bidi-font-style: normal;">was recycled frequently on the
series and can be heard in numerous episodes. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-As
he did with his earlier music column, Sullivan describes the musical
compositions in varying levels of detail and suggests the best available recordings
for readers who wish to purchase the music. Sullivan covers Herrmann’s scores
for </span></i><span style="font-size: 14pt;">Citizen Kane, Hangover Square,
The Ghost and Mrs. Muir, The Day the Earth Stood Still, Mysterious Island,
Jason and the Argonauts, Fahrenheit 451, The Seventh Voyage of Sinbad, Journey
to the Center of the Earth, Vertigo, North by Northwest, <i>and </i>Psycho.<i> Sullivan also
briefly touches on Herrmann’s music for television on such series as </i>Kraft
Suspense Theatre, The Alfred Hitchcock Hour, <i>and </i>The Twilight Zone. <i>Sullivan
concludes his column with a look at Herrmann’s later career after his falling
out with Alfred Hitchcock, with work on such films as </i>The Night Digger,
Sisters, It’s Alive, Obsession, <i>and </i>Taxi
Driver. <i>Sullivan indicates that this is
the first in a new series of columns looking at film composers.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeJsglURb2z5tNZsupGqe6nNURPhrol1JjWBxvzJOO1D-7BUzVg6liM5B9SYyf2Y4DLGRRO3881UEughBZ6DtzkC08-Uu-LwGSw4xSLTVUJ-jYKxYddmBQSFqIbnvn-XQwVDa0hWPsUrQq/s507/Nostalgia.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="507" data-original-width="354" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeJsglURb2z5tNZsupGqe6nNURPhrol1JjWBxvzJOO1D-7BUzVg6liM5B9SYyf2Y4DLGRRO3881UEughBZ6DtzkC08-Uu-LwGSw4xSLTVUJ-jYKxYddmBQSFqIbnvn-XQwVDa0hWPsUrQq/s320/Nostalgia.jpg" /></a></i></div><i style="mso-bidi-font-style: normal;"><br /></i><b><span style="font-size: 14.0pt;">--Other
Dimensions: Nostalgia by Ron Goulart</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">“Walking with Zombies and Other Saturday
Afternoon Pastimes” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-Goulart’s
column is devoted to horror films of the 1940s. Goulart feels that the horror
films of the forties have long lived in the shadow of the more famous horror
films from the prior decade. Goulart begins by describing the ideal viewing
conditions in the movie palaces of his youth before launching into a nostalgic
run of actors and films. He begins with Bela Lugosi’s appearances as Ygor in </span></i><span style="font-size: 14pt;">Son of Frankenstein <i>and </i>Ghost of Frankenstein <i>before
moving on to Universal’s </i>Mummy <i>films.
Here Goulart spends time on the performers under wraps such as Tom Tyler and
Lon Chaney, Jr. He also gives space to the (mostly) British actors who
populated horror films during the decade, such as Lionel Atwill, George Zucco,
Basil Rathbone, and, of course, Boris Karloff. Goulart notes that American
actress Evelyn Ankers appeared in virtually every Universal horror film of the
decade, decries Lon Chaney, Jr.’s attempts to play </i>Son of Dracula, <i>and praises Chaney, Jr. Bela Lugosi, and
Maria Ouspenskaya in Universal’s </i>The Wolf Man.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-Goulart
spends time on poverty row productions </span></i><span style="font-size: 14pt;">(Voodoo
Man, The Devil Bat)<i> before moving on to
the Bob Hope and Paulette Goddard “old dark house” mystery films </i>The Cat
and the Canary <i>and </i>The Ghost Breakers,
<i>as well as other, cheaper, horror comedy
films.</i> <i>Goulart also looks at the
finest series of horror films of the decade, those produced at RKO by Val
Lewton with directors Jacques Tourneur (director of TZ’s “Night Call”) and
Robert Wise. Goulart’s favorite among these is </i>I Walked with a Zombie.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-size: 14.0pt;">--Other
Dimensions: Fantasy Acrostic #1 by Peter Cannon</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-It’s
puzzle time again. The puzzle and answers are below. <o:p></o:p></span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdyeXxtWxAnR-sbcO7WHJAeRZ3n0gtCmJROhVztOMk5mWtktKVDNCXzxNY71zLxUnVqMzoyxEnJZi4MF5Cjl1pKl-pPDp_oQY9KEiaGfuhiegNjP06iWPCbO6Q3k7gpBIoqDqvYL7OpJun/s2048/Acrostic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1475" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdyeXxtWxAnR-sbcO7WHJAeRZ3n0gtCmJROhVztOMk5mWtktKVDNCXzxNY71zLxUnVqMzoyxEnJZi4MF5Cjl1pKl-pPDp_oQY9KEiaGfuhiegNjP06iWPCbO6Q3k7gpBIoqDqvYL7OpJun/w460-h640/Acrostic.jpg" width="460" /></a></i></div><i style="mso-bidi-font-style: normal;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixRj4dZJ6tfcxJtByRGVRuZ896G80OyjVVvBH32IkcKIFkTtWqG3aJ5S6VsAzy0Hswnxd6PR7XuThP9a0OefOQnOB_KRTDw0IH6jKJruFlE0bmOVZNVItKT3xS5LoSe9rmgWgPWEtztj69/s2048/Acrostic+Answers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1433" data-original-width="2048" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixRj4dZJ6tfcxJtByRGVRuZ896G80OyjVVvBH32IkcKIFkTtWqG3aJ5S6VsAzy0Hswnxd6PR7XuThP9a0OefOQnOB_KRTDw0IH6jKJruFlE0bmOVZNVItKT3xS5LoSe9rmgWgPWEtztj69/w640-h448/Acrostic+Answers.jpg" width="640" /></a></div><br /><span style="font-size: 14.0pt;"><br /></span></i><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9BjGpZzivQbTkn1qpYBxGIPr8ISqZ8ohO_DT7iP51KxnEF3OGYd4-qssfvzmbZu8tn9WEj25ocdd8M34-npC6fVKsb8qpgUq2FRbv-vUkCHy_hYNWy8dak-O6FInGYl8PAOoUw4h5jLvm/s654/ETC+1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="608" data-original-width="654" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9BjGpZzivQbTkn1qpYBxGIPr8ISqZ8ohO_DT7iP51KxnEF3OGYd4-qssfvzmbZu8tn9WEj25ocdd8M34-npC6fVKsb8qpgUq2FRbv-vUkCHy_hYNWy8dak-O6FInGYl8PAOoUw4h5jLvm/s320/ETC+1.jpg" width="320" /></a></div><b><span style="font-size: 14.0pt;">--Other
Dimensions: Etc.</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-The
miscellany column this month begins with a final entry from the TZ Magazine
story contest, printing the shortest entry received by the magazine.
Interestingly, the short-short is by Bill DeVoe, author of the 2010 book </span></i><span style="font-size: 14.0pt;">Trivia from The Twilight Zone. <i style="mso-bidi-font-style: normal;">Next, the column shares a photograph sent in by author George R.R.
Martin, who saw a restaurant sign reading: “Human Buffet Every Monday Night,”
and thought of the TZ episode, “To Serve Man.” There is a brief profile of Jeff
Rovin’s book, </i>The Science Fiction Collector’s Catalog, <i style="mso-bidi-font-style: normal;">and a look at a new contest calling for writers to create the worst possible
opening lines to a story. <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-The
remainder of the column is (mostly) devoted to the upcoming release of </span></i><span style="font-size: 14pt;">Twilight Zone: The Movie. <i>We begin with Robert Martin’s profile of director George Miller (pictured with Carol Serling),
director of the </i>Mad Max <i>films, who
directed a remake of Richard Matheson’s “Nightmare at 20,000 Feet” for </i>Twilight
Zone: The Movie. <i>Miller describes how he
got the job, his approach to remaking a classic, and the technical challenges
of the shoot. Carol Serling is also briefly interviewed concerning her cameo as
a passenger on the airplane during the “Nightmare at 20,000 Feet” segment. We
are also given a general update on the shooting of the film and are promised
production art and storyboards in an upcoming issue.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-Mel
Gibson, star of George Miller’s </span></i><span style="font-size: 14pt;">Mad
Max <i>and </i>Mad Max 2 <i>(aka </i>The Road Warrior), <i>is interviewed by James Verniere. This
interview has some interesting moments, since Gibson was not yet the
high-profile star he became later in the decade. Gibson speaks about his being
born in America but raised in Australia. At one point, Verniere asks Gibson if
the actor will be appearing in </i>Mad Max III, <i>to which Gibson curtly replies: “No.” Gibson, of course, did appear in
the third </i>Mad Max <i>film, </i>Mad Max
Beyond Thunderdome. <i>Gibson also describes
what is was like shooting the </i>Mad Max <i>films,
how he got the role, and what his plans are for the future. At the time of this
interview, Gibson was adamant that he did not want to become an action film
star. Gibson promptly went on to become one of the most bankable action film
stars of the ‘80s and ‘90s, particularly with the </i>Lethal Weapon <i>series.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-Finally,
there is a brief update on the final segment being filmed for </span></i><span style="font-size: 14pt;">Twilight Zone: The Movie, <i>Steven Spielberg’s remake of George Clayton Johnson’s “Kick the Can.”
The actor Scatman Crothers is briefly profiled and Spielberg is quoted on the similarities
and differences in working with children and older actors.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxv0YFRU0WqnepJ4fQDBDD4XtlEsUV7OVtSODbPbsYXAEeRrWC_IEQ4kP6-85ky9ylqEzmRRCU77mOpL-5Pxyqos4rEF0NXuFa6DECk950xJD9LPdWuWzZmfKP034CEUdlOUVQxyvQMlas/s677/VC+Andrews.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="513" data-original-width="677" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxv0YFRU0WqnepJ4fQDBDD4XtlEsUV7OVtSODbPbsYXAEeRrWC_IEQ4kP6-85ky9ylqEzmRRCU77mOpL-5Pxyqos4rEF0NXuFa6DECk950xJD9LPdWuWzZmfKP034CEUdlOUVQxyvQMlas/s320/VC+Andrews.jpg" width="320" /></a></i></div><i style="mso-bidi-font-style: normal;"><br /></i><b><span style="font-size: 14.0pt;">--TZ
Interview: V.C. Andrews by Lorenzo Carcaterra</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">“Her bestselling Gothics are populated
by child-abusers, psychopaths, and sadists. And she herself knows a thing or
two about pain.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-This
interview is uncomfortable and unintentionally funny, not because there are
shocking revelations or anything of that sort, but simply because V.C. Andrews
clearly does not wish to be interviewed. Andrews inadvertently comes off as
arrogant, defensive, surly, and shallow. Interviewer Carcaterra, a
journalist-turned-novelist perhaps best-known for </span></i><span style="font-size: 14pt;">Sleepers, <i>his
1995 novel turned into a 1996 film, appears to do his best to remain patient
with his defensive subject. The interview was conducted shortly before the
release of Andrews’ first hardcover novel, </i>My Sweet Audrina, <i>which was also her first novel not connected
to the Dollanganger Family novels, which began with </i>Flowers in the Attic.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-Carcaterra
gives a brief summary of Andrews’ life, short on personal details but including
information on her working methods and the construction of her novels. Andrews proceeds
to discuss her writing methods, her disdain for her editor, why critics don’t
know what they’re talking about, why she’s not a horror writer, and why no one
else can write the way she writes. This last statement is ironic since another
hand has been writing V.C. Andrews books in a seemingly endless stream since
the author’s death. However, one can at least admire Andrews’ drive to become a
bestselling author. She always loved to read and write and, when working on a
new novel, showed an incredible work ethic, barely stopping to eat or sleep.
Some of Andrews’ personal details vaguely emerge during the course of the
interview. She’s unmarried, lives with her mother in Virginia Beach, and began
her professional career as a commercial artist. She gave this up after she
found she could make more money writing. Andrews took a bad fall down a school
staircase as a young woman, the injures from which, despite what many people
thought, did not leave her crippled but did require the occasional use of a
wheelchair.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-Andrews
is generally reticent to reveal anything about her personal life, including her
childhood. One can understand why Andrews was so defensive if you consider that
she was a best-selling author loved by perhaps millions of readers but also a
writer unaccepted by any literary circle. She likely felt like a highly
successful outsider in the book industry, and was openly reviled by many
contemporary writers in the horror community. Nevertheless, Andrews’ name is
still being used on books to this day, though she died in 1986. Films have been
made from her work, as well. It is certain, at this late date, that she is a
notable, if not important, figure in horror and Gothic fiction.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-An
excerpt from Andrews’ novel </span></i><span style="font-size: 14pt;">If There
Be Thorns <i>is included with the interview.
Andrews authored five books in her lifetime, with a sixth and seventh, </i>Garden
of Shadows <i>and </i>Fallen Hearts, <i>completed after her death by horror/thriller
novelist Andrew Neiderman, who also completed several others “inspired” by
Andrews. Neiderman has written dozens of novels set within the worlds created
by Andrews, all under Andrews’ name. For several years, the paperback versions
of Andrews’ novels were notable for their die-cut or step-back covers, with
fully painted interior covers by Lisa Falkenstern.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-If
you are a V.C. Andrews fan, this interview is recommended, despite lacking any
real content. It is safe to say that Andrews was not comfortable being
interviewed and likely viewed the entire process as an intrusion to her
privacy. She states very clearly in the interview that it is the book that
matters, not the author. She was an introverted woman who valued her privacy.
It is a wonder she agreed to this interview in the first place. It is also
strange to find it in the pages of TZ. I suppose the magazine aimed to
interview all the big names in horror publishing at the time, as they
previously interviewed King, Straub, Saul, etc.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-size: 14.0pt;">--Cartoon
by Thomas Swick</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;"><o:p> </o:p></span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7lkCRyUGUMeHyAg_oVgxr3v7XNsVsG1F-VmADPe6jXQon7l1lXyeYu_qzKElJhvH-osxO02Xn0P1nX7U4FzX0V6sSHY2DC4FKGbFIArJNoiKOiZCKylE_4PuJiSo3atNlHOwAqZpqogY9/s1000/Cartoon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="746" data-original-width="1000" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7lkCRyUGUMeHyAg_oVgxr3v7XNsVsG1F-VmADPe6jXQon7l1lXyeYu_qzKElJhvH-osxO02Xn0P1nX7U4FzX0V6sSHY2DC4FKGbFIArJNoiKOiZCKylE_4PuJiSo3atNlHOwAqZpqogY9/w640-h478/Cartoon.jpg" width="640" /></a></b></div><b style="mso-bidi-font-weight: normal;"><br /></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJJfjpKeJFte6ufv9p4M5BECgnEFqZZyb-YP_h3yZRkYmg1bx29C7LkHDsrtM0fH1YgPbDy8_ZhTdVhg4CubMtlKbCGOsZmLevjpoz_sOUSzpC1p8xfFqoklhQC6AUDcizpPxySXBoniCM/s1574/The+Raft+1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1492" data-original-width="1574" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJJfjpKeJFte6ufv9p4M5BECgnEFqZZyb-YP_h3yZRkYmg1bx29C7LkHDsrtM0fH1YgPbDy8_ZhTdVhg4CubMtlKbCGOsZmLevjpoz_sOUSzpC1p8xfFqoklhQC6AUDcizpPxySXBoniCM/s320/The+Raft+1.jpg" width="320" /></a></b></div><b><span style="font-size: 14.0pt;">--“The
Raft” by Stephen King</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">Illustrated by David Klein<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">“There were five of them out there in
the chill water: two girls, two boys . . . and something worse than their
darkest nightmares. What follows is a tale of total, unrelieved horror –
definitely not for the faint of heart.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-Four
college students drive out to a secluded lake in the early days of autumn. Cool
weather is closing in quickly and soon it will be too cold to swim. The
students swim out to a wooden raft in the middle of the lake and discover, to
their horror, that there is something else in the lake. It looks like an oil
slick but clearly has a mind of its own. It surrounds the raft and begins
killing them one by one in horrible fashion. Soon, it becomes a frantic
struggle for survival against an infinitely patient and hungry element with the
unnerving power to hypnotize anyone who looks into its stygian depths.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-A
lot is made in the issue about the gruesome nature of Stephen King’s story,
and, for those with a weak stomach, I’ll echo the advisement to steer clear of
this one. For those who like their horror straight-up, however, “The Raft” can
be recommended unreservedly. Personally, I rank it close to the top of all of
King’s short stories and, reading it again, find that it has lost none of its
power to disturb. Although it is crude in places, it shows King at the height
of his storytelling powers in creating characters, setting, and an absolutely
terrifying situation.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-“The
Raft” was first published as a removable insert in the November, 1982 issue of </span></i><span style="font-size: 14pt;">Gallery, <i>a men’s
magazine which was a sister publication of </i>Rod Serling’s The Twilight Zone
Magazine, <i>as both periodicals were issued
by Montcalm Publishing. The story was reprinted in the pages of TZ and
collected in King’s 1985 story collection, </i>Skeleton Crew. <i>In 1982, George Romero scripted an
adaptation of King’s story for the film </i>Creepshow 2, <i>directed by Michael Gornick. The sequence is arguably the most
memorable in the film. It stars Paul Satterfield, Daniel Beer, Page Hannah, and
Jeremy Green, featuring grisly effects created by the KNB EFX Group. Romero
changed the ending of the story to suit the cinematic treatment and give it a
shock ending more in line with the comic book style of the film. An interesting
bit of connecting trivia to the first </i>Creepshow <i>film is that the students are from the fictional Horlicks University in
Pittsburgh, the same university featured in the first film’s segment, “The
Crate,” based on a story by King also published in </i>Gallery <i>for the July, 1979 issue.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-The
story behind the writing of “The Raft” is interesting in itself. King relates
the tale in his notes at the back of </span></i><span style="font-size: 14pt;">Skeleton
Crew <i>but must also have related the tale
at the time of its magazine publication since T.E.D. Klein repeats it in his
introduction to the story. King originally wrote the story as “The Float” in
1968 and sold it the following year to </i>Adam <i>magazine. King states that </i>Adam <i>only
paid on publication, not acceptance. The year following that, in 1970, King was
driving his car through a construction site when a traffic cone struck the
undercarriage of his car and knocked the car’s muffler loose. King was so
angered by this that he got out of his car and began collecting the traffic
cones so that no one else would be victimized by them. A policeman arrived to
put a stop to it and issued King a citation for $250. King soon received a
check in the mail from </i>Adam <i>magazine
for that exact amount, for “The Float,” and paid off the ticket. King searched
but never found the issue of </i>Adam <i>with
his story in it. He was convinced that it was published since, again, </i>Adam <i>only paid on publication. King searched the newsstand
for any and all publications from Knight Publishing (the company that issued </i>Adam)<i> but never found his story. It is very likely
that “The Float” was never published. From that day to this, and despite diligent
efforts, nobody has come forward with proof that King’s “The Float” appeared in
any magazine. As King lost the original manuscript, it is equally unlikely that
readers will ever get to see his first version of the story that became “The
Raft.”</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-King
set about recreating the story, changing the title to “The Raft,” when he got
bored on the set of </span></i><span style="font-size: 14pt;">Creepshow <i>in 1981. He states that “The Raft” is far
more gruesome in its effects than “The Float.”</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-size: 14.0pt;">--TZ
Preview Section: TZ’s Triple Bill</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;"><o:p> </o:p></span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAuYFG_HWkpwWrrCkrerK_5LbYW0sDbZKFDOFlr_6aiALdJtESdBtEQRYEvSp3iw0dxw1n1l_nLJBOx2EDavTDII3fbdNvqghjOWvG-BC1ffhcq0Y1kagin1_39O9itc2uiZDGlEFtDMPP/s1450/TZ+Screen+Preview.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1450" data-original-width="1029" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAuYFG_HWkpwWrrCkrerK_5LbYW0sDbZKFDOFlr_6aiALdJtESdBtEQRYEvSp3iw0dxw1n1l_nLJBOx2EDavTDII3fbdNvqghjOWvG-BC1ffhcq0Y1kagin1_39O9itc2uiZDGlEFtDMPP/w454-h640/TZ+Screen+Preview.jpg" width="454" /></a></b></div><b style="mso-bidi-font-weight: normal;"><br /></b><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWts28kiwNdpasu4mC65YqwpXRk2TM5FZpScmI_6M8r0dz_l-CXZ7suQ-kGNkV6LiXkqyNGAqNulwwvnSwvPNNZEWf-c7nxk_84H-ffzp93ORwu3FRMwlg8qxOUJJoRPkRIKoLXUrQao5v/s513/Something+Wicked.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="372" data-original-width="513" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWts28kiwNdpasu4mC65YqwpXRk2TM5FZpScmI_6M8r0dz_l-CXZ7suQ-kGNkV6LiXkqyNGAqNulwwvnSwvPNNZEWf-c7nxk_84H-ffzp93ORwu3FRMwlg8qxOUJJoRPkRIKoLXUrQao5v/s320/Something+Wicked.jpg" width="320" /></a></b></div><b><span style="font-size: 14.0pt;">--TZ
Screen Preview: <i>Something Wicked This Way
Comes </i>by Ed Naha</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span></span></b><span style="font-size: 14.0pt;">“Ray
Bradbury’s magical novel is at last on film – with a little help from the magic
of special effects. Ed Naha chronicles the three-million-dollar facelift.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-Film
journalist Ed Naha interviews the film’s associate producer and director of
special effects, Lee Dyer. The film adaptation of Bradbury’s </span></i><span style="font-size: 14pt;">1962 <i>dark
fantasy novel about a malevolent traveling carnival, which itself began as a
film treatment for Gene Kelly, suffered a troubled production. Produced by
Disney, the film was shot by director Jack Clayton (director of </i>The
Innocents)<i> from a script by Bradbury.
However, an early cut of the film was unfavorably received by Disney executives
to the point that a three-million-dollar special effects overhaul was ordered
on the production. The resultant film is a bit of a mess, and, despite the
money spent, surprisingly cheap in appearance. Although the film has its fans, and
I include myself among them, it must ultimately be scored an average if not
below average adaptation of Bradbury’s novel. This was the judgement from
critics and audiences at the time, as the film was neither a critical nor
commercial success. Lee Dyer, however, is extremely optimistic in this interview.
He believes the special effects overhaul virtually saved the film, and made it
better than it was before. Dyer guides Naha through a number of new scenes
added to the film as well as changes (read: improvements) made to existing
scenes. The interview concludes with Dyer describing a sequence featuring
spiders and its effectiveness on a test audience, members of whom could not
believe the film was a Disney product. Dyer’s response: “That’s probably the
biggest compliment anyone could pay me!” Several photographs from the film
accompany the article.</i></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbfyJ9WhHWS5DWBbmOI7nKF1BpyorWb4lxeY_eInp1p7iOGbqfsPvJC8yPdD-yeEpke2JYDIjf-0gWseGw28Cdaa3ac_ldJWrYPs0-1oFItEsIkKfEJ9cFRWMO4ZNbtYuPgCWUxDbhkNd6/s488/Psycho+II.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="323" data-original-width="488" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbfyJ9WhHWS5DWBbmOI7nKF1BpyorWb4lxeY_eInp1p7iOGbqfsPvJC8yPdD-yeEpke2JYDIjf-0gWseGw28Cdaa3ac_ldJWrYPs0-1oFItEsIkKfEJ9cFRWMO4ZNbtYuPgCWUxDbhkNd6/s320/Psycho+II.jpg" width="320" /></a></div><b><span style="font-size: 14.0pt;">--TZ
Screen Preview: <i>Psycho II </i>by James
Verniere</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">“America’s favorite motel-keeper is
back, and he’s just as odd as ever. James Verniere talks to director Richard
Franklin, the man who’s set Norman Bates free.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14pt;">-Psycho II </span><i style="font-size: 14pt;">may have had the least-troubled production of the films under
discussion in this issue, and it is certainly the film that made the most money
and received the highest critical acclaim. Still, the film is best viewed as a
better-than-average example of the slasher film so prevalent in the eighties,
and comparison’s to Alfred Hitchcock’s </i><span style="font-size: 14pt;">Psycho</span><i style="font-size: 14pt;"> should be avoided. I recently re-watched </i><span style="font-size: 14pt;">Psycho II</span><i style="font-size: 14pt;"> and, although I enjoyed it as a younger
viewer, I found it pretty dreadful upon another viewing. The film is
competently made, and Anthony Perkins is very good in it, but there is a sort
of paint-by-numbers quality to its plotting (complete with ludicrous twist
ending) and a griminess to its tone that is off-putting and badly dates the
film. Plus, the central premise, that Norman Bates is released back into the
community to reside virtually unsupervised at the scene of his crimes, requires
more suspension of disbelief than I was willing to give. Ultimately, it feels
like a completely unnecessary film, and the fact that two additional sequels, a
shot-for-shot remake, a television pilot, and a television series followed is
staggering.</i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-Still,
</span></i><span style="font-size: 14pt;">Psycho II<i> definitely has its fans. And those fans might be interested in James
Verniere’s interview with director Richard Franklin. Franklin was best-known at
the time for the 1981 Australian thriller </i>Road Games, <i>starring Jamie Lee Curtis and Stacy Keach. Franklin brings the gritty, grounded
approach of that film to bear on </i>Psycho II. <i>The impressive cast (Anthony Perkins, Vera Miles, Robert Loggia, Meg
Tilly, Dennis Franz) is briefly discussed, as is the script from Tom Holland
and the musical score from </i>Twilight Zone<i>
alum Jerry Goldsmith. Richard Franklin speaks on not being intimidated by the
original or by Hitchcock’s legacy, as well as the challenges of eliciting the
same type of shocks as the original film. Franklin also speaks on the character
of Norman Bates and offers a response to those who are automatically skeptical
of the film: “I think that anybody who looks at our film objectively will not
be disappointed. I think that our film evokes what we remember of the original,
but, most important, it is a film in its own right. What I hope will happen is
that the two films will merge and become one larger film.” The article is also
accompanied by several photographs from the film.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-The
article also features Verniere’s short interview with Antony Perkins. Perkins
comes across as a very genial man, optimistic and unwilling to say anything
negative about anything. He speaks on being typecast after </span></i><span style="font-size: 14pt;">Psycho, <i>the
opportunities this afforded him, and of making the most of those opportunities.
Perkins also talks about working with Hitchcock, about the qualities of the
script for </i>Psycho II <i>that captured
his imagination, how Norman Bates has grown and changed as a character, whether
he received correspondence from the American murderer Ed Gein (whose crimes
allegedly inspired Robert Bloch’s original novel), and whether he felt that </i>Psycho
II <i>captured the “seductive ghoulishness”
of the original.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF6XKxcsHWvmaHqf7J8As_a49gGT67cz4boIh8x1ekXt2skAMmRCQLSEhlRfmJpY0jXPpkop8jQPX2LvDiQVQdQyjfCYT3k-SnX8l_styo_BGHnn9ycs3TIpl4i9CrSvmn32n2KWSz2ulq/s541/The+Keep.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="380" data-original-width="541" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF6XKxcsHWvmaHqf7J8As_a49gGT67cz4boIh8x1ekXt2skAMmRCQLSEhlRfmJpY0jXPpkop8jQPX2LvDiQVQdQyjfCYT3k-SnX8l_styo_BGHnn9ycs3TIpl4i9CrSvmn32n2KWSz2ulq/s320/The+Keep.jpg" width="320" /></a></i></div><i style="mso-bidi-font-style: normal;"><br /></i><b><span style="font-size: 14.0pt;">--TZ
Screen Preview: <i>The Keep </i>by James
Verniere</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">“In Paramount’s version of the paperback
bestseller, interfering Nazis stumble on a far more ancient evil. James
Verniere reports.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14pt;">-The Keep </span><i style="font-size: 14pt;">had a very troubled production, with heavy studio interference reducing
director Michael Mann’s vision of a three-hour plus epic horror/adventure film
into a ninety-six-minute, confused mess which the director has tried to bury
ever since. Verniere profiles the story behind F. Paul Wilson’s novel
concerning Nazis who inadvertently unleash an ancient evil entity in Romania as
well as the supernatural warrior destined to the battle the evil. Verniere also
discusses the filming locations, Michael Mann’s previous work, and the
director’s resistance to the “horror” label for the film. In the latter
respect, Verniere likens Mann’s resistance to director Paul Schrader’s for his remake
of </i><span style="font-size: 14pt;">Cat People. </span><i style="font-size: 14pt;">One amusing aspect is
Verniere’s negative view of Wilson’s bestselling novel, which he labels
“run-of-the-mill” and “mediocre” in the course of the article. The article is
briefer than the others since Michael Mann kept details of the film guarded
against the press. Several photographs from the film accompany the article.</i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis4ediHdZ-TXybDHkPyuwO9R3c03gHlCwYopJZkEOB5kHMHWLjMvk9I_eDBQ2zp4_3nr_6RMMSg6YAukpmtPykT7Y-QoLJnLCbApEg2kOOmvofqDRA_ZyrTs1L_JilhrjTXCpW9utpFfOG/s2248/In+the+Field+of+the+Dying+Cherry+Tree+1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="696" data-original-width="2248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis4ediHdZ-TXybDHkPyuwO9R3c03gHlCwYopJZkEOB5kHMHWLjMvk9I_eDBQ2zp4_3nr_6RMMSg6YAukpmtPykT7Y-QoLJnLCbApEg2kOOmvofqDRA_ZyrTs1L_JilhrjTXCpW9utpFfOG/s320/In+the+Field+of+the+Dying+Cherry+Tree+1.jpg" width="320" /></a></i></div><i style="mso-bidi-font-style: normal;"><br /></i><b><span style="font-size: 14.0pt;">--“In
the Field of the Dying Cherry Tree” by Curtis K. Stadtfeld</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">Illustrated by Robert Morello<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">“How long could a tree keep on dying?
How long could a man?” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-An
older man recalls a time when, as a boy, he first witnessed a horribly
blackened corpse hanging from an old cherry tree on his family’s property. No
one else seems to see the hanging man. The boy eventually learns the story from
his parents, who heard it from a town gossip. The hanging body is the
apparition of a wrongly murdered man, who was a stranger beset by townsfolk who
believed he had stolen a horse. The hanging man continues to intermittently appear
to the narrator as he grows to adulthood. He now tends the family property and
has come to accept the presence of the apparition, though he still attempts to
shield his own child from the vision.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-This
is a pleasantly creepy ghost story with a careful building of atmosphere that gives
the story its power. The description of the dead, blackened, hanging man is
grisly and effective.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOMwb9GeQ2hGUKWvhApr_0ofyuTrAxF90b6vlwrHtEo9yB5IaGTn63U-a6EqQ4IEPVGBocG8CA_WZ3wbCBIr1JX09FVxHNB-cNvFrGgKNUw7RxIinwoYTPMelcpGsmj11t5SOY7fnt-kzB/s1321/Confessions+of+a+Freelance+Fantasists.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="902" data-original-width="1321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOMwb9GeQ2hGUKWvhApr_0ofyuTrAxF90b6vlwrHtEo9yB5IaGTn63U-a6EqQ4IEPVGBocG8CA_WZ3wbCBIr1JX09FVxHNB-cNvFrGgKNUw7RxIinwoYTPMelcpGsmj11t5SOY7fnt-kzB/s320/Confessions+of+a+Freelance+Fantasists.jpg" width="320" /></a></i></div><i style="mso-bidi-font-style: normal;"><br /></i><b><span style="font-size: 14.0pt;">--“Confessions
of a Freelance Fantasist” by Isidore Haiblum</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">Illustrated by the author<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">“A survival guide in the form of a
memoir, by the author of <i style="mso-bidi-font-style: normal;">The Tsaddik of
the Seven Wonders.” <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-This
is a humorous memoir by the science fiction and fantasy writer who produced
“the first Yiddish science fantasy novel ever” (as proclaimed on the paperback)
with his first book, </span></i><span style="font-size: 14pt;">The Tsaddik of
the Seven Wonders.<i> Haiblum wrote several additional
science fiction novels, noted for their wit and inventiveness, as well as
mystery fiction, much of it reflecting his Jewish upbringing in New York. Haiblum
guides the reader through his childhood, describing his Americanization by learning
English as a second language (after Yiddish), discovering American comic books
and radio, and learning to write and draw imaginative stories. Haiblum
describes his school days, his days at university, his short stint as a civil
servant working for the housing division of the city of New York, and
ultimately his plunge into the world of professional writing, where he began
his career under the guidance of editor Larry Shaw at Dell books. </i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-This
was a funny and interesting memoir from a SF writer unknown to me. The memoir
is profusely illustrated with Haiblum’s sketches and doodles, presenting
caricatures of himself at different stages of his life. It makes for a
pleasing, breezy read.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt3F5QvbmBtRuXa0YyzzbTuC8BGx27rb0OA3ER9r8FjDe9t9atXlvyWLLLcMu-39U713YCPr0Z_Fd2AuccSWHCgN5kQ4M5fMb4rthqWQns7QYBCyso8xAtCBaRkFSiAbk6ZVrUsNUlo8Zg/s1084/Harry%2527s+Story.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1084" data-original-width="1030" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt3F5QvbmBtRuXa0YyzzbTuC8BGx27rb0OA3ER9r8FjDe9t9atXlvyWLLLcMu-39U713YCPr0Z_Fd2AuccSWHCgN5kQ4M5fMb4rthqWQns7QYBCyso8xAtCBaRkFSiAbk6ZVrUsNUlo8Zg/s320/Harry%2527s+Story.jpg" /></a></i></div><i style="mso-bidi-font-style: normal;"><br /></i><b><span style="font-size: 14.0pt;">--“Harry’s
Story” by Robert H. Curtis</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">Illustrated by Nicola Cuti<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">“The situation was as simple as an E.C.
Comic. Unfortunately, Harry was a bit simple, too!”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-Harry
isn’t very bright. As a young man, he accidentally caused the deaths of his
parents when he climbed behind the wheel of the family car and rammed the vehicle
into a tree. Harry was disfigured but survived, unlike his parents. All grown
up now, Harry has a job and has started a relationship with his beautiful
coworker, Virginia, who everyone tells him is only interested in him because of
the money Harry received upon the death of his parents. Harry doesn’t see it
that way, though, because Harry isn’t very bright. Harry also doesn’t
understand that his new girlfriend and her friend, a man named Freddie, are
planning to do away with Harry to get at the money in his possession. Virginia
and Freddie poison Harry but that doesn’t keep the simple man down. He comes
back from the dead and surprises Virginia and Freddie while they are making
love. The shock is too much for the murderous couple. They go stark, raving mad
and are institutionalized. But Harry still visits them regularly. This humorous
horror story was reprinted in the first issue of TZ’s sister magazine, </span></i><span style="font-size: 14pt;">Night Cry.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZae8zcZ-YOJSsQdJl1D_OXm2svoDgPZ_yCm8EaYPS09n0pL53j1BqY-qRE5k1hgqfgldq9Ax-tdwTXZ5mXcLXGd2o2wGHXCgmQSynyLg_h6jk6EBkDC4q1ku5Ycs3cTbQpuGLY6IvHMp0/s994/The+Tuck+at+the+Foot+of+the+Bed.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="991" data-original-width="994" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZae8zcZ-YOJSsQdJl1D_OXm2svoDgPZ_yCm8EaYPS09n0pL53j1BqY-qRE5k1hgqfgldq9Ax-tdwTXZ5mXcLXGd2o2wGHXCgmQSynyLg_h6jk6EBkDC4q1ku5Ycs3cTbQpuGLY6IvHMp0/s320/The+Tuck+at+the+Foot+of+the+Bed.jpg" width="320" /></a></div><br /><b><span style="font-size: 14.0pt;">--“The
Tuck at the Foot of the Bed” by Ardath Mayhar</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">Illustrated by Frances Jetter<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">“A cautionary tale on the importance –
nay necessity – of making your own bed.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-Barbara
has always had a fear of someone or something reaching out from under the bed
and grabbing her. She makes sure to always tuck the sheets in at the foot of
the bed so that her feet aren’t exposed to reaching hands. Barbara grows up and
gets married. Her husband convinces her that the fear of being grabbed is
irrational. Eventually, Barbara lets go of her fear. One night, her husband
makes the bed. He doesn’t tuck in the sheet at the foot of the bed. In the
middle of the night, something from underneath the bed reaches up and grabs
Barbara. She screams, waking her husband. He reaches out to her but cannot grab
her before she is pulled down from the bed and through an opening in the floor,
which quickly disappears afterwards.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-This
short-short was a predictable but creepy play on a fear that many people have,
that of leaving one’s body exposed while sleeping. The story was collected in </span></i><span style="font-size: 14pt;">Crazy Quilt: The Best Short Stories of Ardath Mayhar <i>(2009).</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYUD0XF3J67zYFuiNFI0JIDIzOYn6C12l1nJZhzr_-Hdf22MZ_xb3c2UbYNQlbwGv2uVmjgUXW0e5cFJVaX2Mly6SPs5EZ6JekHHZ7tL4QqF6NPr1Qs7TmONJDiY71fN-Et1XHXiacSuK1/s1448/A+Fragment+of+Fact.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1448" data-original-width="1012" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYUD0XF3J67zYFuiNFI0JIDIzOYn6C12l1nJZhzr_-Hdf22MZ_xb3c2UbYNQlbwGv2uVmjgUXW0e5cFJVaX2Mly6SPs5EZ6JekHHZ7tL4QqF6NPr1Qs7TmONJDiY71fN-Et1XHXiacSuK1/s320/A+Fragment+of+Fact.jpg" /></a></i></div><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Required
Reading: “A Fragment of Fact” by Chris Massie <o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">Illustrated by José Reyes<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">“A curious encounter, one night in the
country, with a most peculiar man . . . or something rather like one.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-A
cyclist travels far from his home along the English marshlands. He becomes
increasingly tired and thirsty. As he doesn’t see an inn anywhere, he chances
upon an isolated home. He sees the shape of an enormous man pass across the
window blinds. He parks his bicycle, strolls to the door and pulls the bell. The
cyclist is greeted by this enormous man who invites him into the house. The
cyclist asks for water and is brought the dog’s water bowl. The enormous man
apologizes, explains that his dog recently died, and corrects the error by
bringing the cyclist clean water. The man informs the cyclist that between the
ringing of the bell and his answering the door, his wife died, as well. The
cyclist is greatly disturbed by this news. He apologizes for his poor timing and
moves to leave the home. He tells the enormous man to see to his wife, make
sure she is dead, and to call a doctor. As the cyclist pedals away, a large dog
lunges from the hedges and nips at his heels.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-This
unnerving story originally appeared in </span></i><span style="font-size: 14pt;">The
Pan Book of Horror Stories <i>(1959). Its
appearance in TZ was its first republication outside of reprints of the </i>Pan
<i>book. It is a creepily effective piece,
though I’m not sure why Klein chose to include it here. Perhaps to fill a space
and perhaps to resurrect an English story that was likely unfamiliar to TZ’s
readers. It reminded me very much of the stories of Robert Aickman, strange
stories rather than horror stories, stories of unease and disorientation. Besides
“The Raft,” this was my favorite story in the issue.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1rE4bYgQUrXP_yl4ylQQ5DK3XeRXmNl2YguhwGjLwzLSxFEOjddMNoNV60ueyFZ1H1En_0QYGCfnOxn12cib7rGTmIrVTR1IY4LsTV6AkzAHv3Rb3IEeNq_Y_g-N5H5sEqTum71EqMYkx/s745/The+Takeover+Bid.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="745" data-original-width="742" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1rE4bYgQUrXP_yl4ylQQ5DK3XeRXmNl2YguhwGjLwzLSxFEOjddMNoNV60ueyFZ1H1En_0QYGCfnOxn12cib7rGTmIrVTR1IY4LsTV6AkzAHv3Rb3IEeNq_Y_g-N5H5sEqTum71EqMYkx/s320/The+Takeover+Bid.jpg" /></a></i></div><i style="mso-bidi-font-style: normal;"><br /></i><b><span style="font-size: 14.0pt;">--“Takeover
Bid” by Andrew Weiner</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">Illustrated by Marty Blake<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">“Money, they say, makes the man. What,
then, did the stock shares make?” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-Baker,
a struggling workingman who carefully saves to buy a home with his wife, gets a
call from his friend Lomax, a wealthy investor, with the offer of a lifetime.
An investment opportunity presents itself in the form of a new company,
Advanced Hurgorvia. Baker sinks all his carefully saved money in the stock and
watches it steadily rise. His wife encourages him to sell but he holds out,
again and again. Soon, Baker begins experiencing strange physical changes. When
he meets Lomax at a restaurant, he sees that his friend is experiencing the
same bizarre changes. After receiving much correspondence from the company,
Baker eventually discovers the truth. This is an alien invasion, not from the
skies but from the stock market. Baker and Lomax and all the other greedy
investors are changing into aliens. Soon, Advanced Hurgorvia will be big enough
for a full-scale takeover.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEJHaYg8gUuFVGseYiBNmNFBWaxN_czlFZgGRbD9ugeIheVdYfyLPF8FFk3TTtPed-tJPbZDwUGP9wXt4sXJ-rZP6K65rnnMFpO5m1CjOrILwONuBzXsVhPPdxdaykIVo6hkJHzKZ8XP5u/s1116/Listen.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="832" data-original-width="1116" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEJHaYg8gUuFVGseYiBNmNFBWaxN_czlFZgGRbD9ugeIheVdYfyLPF8FFk3TTtPed-tJPbZDwUGP9wXt4sXJ-rZP6K65rnnMFpO5m1CjOrILwONuBzXsVhPPdxdaykIVo6hkJHzKZ8XP5u/s320/Listen.jpg" width="320" /></a></i></div><i style="mso-bidi-font-style: normal;"><br /></i><b><span style="font-size: 14.0pt;">--“Listen”
by Joe R. Lansdale</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">Illustrated by Bill Logan<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">“Invisibility – as the psychiatrist
discovered – was just a state of mind.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-Merguson
finds himself slowly disappearing. People ignore him, forget about him, look
past him. He has to constantly repeat himself and he seems to leave people’s
memories as soon as he finishes interacting with them. It has gotten so bad
that Merguson’s wife openly cheats on him. Merguson visits a psychiatrist to
try and fix the problem. Except the psychiatrist is just as bad as everyone
else. Merguson grows enraged when he realizes that the shrink hasn’t heard a
word he’s said. Merguson strangles the psychiatrist to death. He’ll never be
caught, though, because the secretary swears that no one arrived for an
appointment that afternoon.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-Joe
Lansdale returns to the pages of TZ with another humorous and grim short-short.
Lansdale has always been a highly versatile writer but found a niche in the pages
of TZ with these short, blackly funny shockers. The story has been reprinted a
few times. It was first collected in Lansdale’s </span></i><span style="font-size: 14pt;">A Fistful of Stories (and Articles) <i>(1996), included in </i>100 Menacing Little
Murder Stories <i>(1998), and reprinted in
Lansdale’s collection </i>Bumper Crop <i>(2004),
where he wrote: “Ever feel like no one’s paying attention? That you’re lost in
the crowd? Everyone feels that way from time to time, but there are people who
feel that way all the time. Shy people. Insecure people. I’ve known them. That
knowledge inspired this story.”</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-size: 14.0pt;">--The
Fantasy Five-Foot Bookshelf by Thomas M. Disch, Karl Edward Wagner, and R.S.
Hadji</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-size: 14.0pt;">“Three unusually erudite scholars (with
unusually strong opinions) list their favorite – and least favorite – reading. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;">-This
opinionated reader’s guide to supernatural fiction features three experts
sharing their picks for the best and worst in the genre. This feature, and the
companion lists in the next issue, has served as a sort of underground guide
for discerning horror readers since its first appearance. At the time, many of
these works were very difficult to get hold of, unless one was willing to pay a
large sum on the secondhand market. With the advent of the internet and the small
press, many of these works have become accessible again. Particular mention
should be made of Valancourt Books, which has made an effort to reprint a
number of the titles on this list, particularly those selected by Karl Edward
Wagner. The lists are shared below.</span></i></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqa5VoBhyphenhyphen9akXc-oReX6wnbQ3KQ1tHz4MkDtTwCHKxB2-VZjcfhV1YLLWOmBooectYH1cra6vk38u-DFKZ8aPfwVZi6ah3GttpQwyTnV7FsLe5mibQ27zFx9fuAwbhzdwEg4GJ81XPhk7_/s2048/Fantasy+Five+Foot+Bookshelf+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1504" data-original-width="2048" height="470" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqa5VoBhyphenhyphen9akXc-oReX6wnbQ3KQ1tHz4MkDtTwCHKxB2-VZjcfhV1YLLWOmBooectYH1cra6vk38u-DFKZ8aPfwVZi6ah3GttpQwyTnV7FsLe5mibQ27zFx9fuAwbhzdwEg4GJ81XPhk7_/w640-h470/Fantasy+Five+Foot+Bookshelf+1.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhssMo1eQ9JP5rj68hC5906TF-oZJHJFjpE9oqubzS9nfDHJ7bnwyNjO_3YahhJ8l1QZQ5UBQFbn2bMJHLDLULfwLmVwVEECtaYH1LnC1-uYXv-9uSvEfdEBv95H8UAV7HXsayzUbd8589E/s2048/Fantasy+Five+Foot+Bookshelf+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1513" data-original-width="2048" height="472" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhssMo1eQ9JP5rj68hC5906TF-oZJHJFjpE9oqubzS9nfDHJ7bnwyNjO_3YahhJ8l1QZQ5UBQFbn2bMJHLDLULfwLmVwVEECtaYH1LnC1-uYXv-9uSvEfdEBv95H8UAV7HXsayzUbd8589E/w640-h472/Fantasy+Five+Foot+Bookshelf+3.jpg" width="640" /></a></div><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-size: 14.0pt;">--Show-By-Show
Guide: TV’s <i>Twilight Zone: </i>Part
Twenty-Four by Marc Scott Zicree</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Zicree
is nearing the end of his guide to the original series. In this installment, he
provides cast and crew listings, plot summaries, and Rod Serling’s opening and
closing narrations for the fifth season episodes “What’s in the Box,” “I Am the
Night – Color Me Black,” and “The Masks.” <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwbg03kWF20diqrv-JPNAn9XkPUHeeAln_7LQwfM58wbW2N11ZRFd-Q4QILVA8vSrfciq85juXMRRo8SWoKtkJ97XKWlicRX2LskneQS99ogp71O8kyDEA89WXoKm3Igo8RUxdu4hdJaOX/s1003/The+Lonely.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="657" data-original-width="1003" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwbg03kWF20diqrv-JPNAn9XkPUHeeAln_7LQwfM58wbW2N11ZRFd-Q4QILVA8vSrfciq85juXMRRo8SWoKtkJ97XKWlicRX2LskneQS99ogp71O8kyDEA89WXoKm3Igo8RUxdu4hdJaOX/s320/The+Lonely.jpg" width="320" /></a></i></div><i style="mso-bidi-font-style: normal;"><br /></i><b><span style="font-size: 14.0pt;">--TZ
Classic Teleplay: “The Lonely” by Rod Serling</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Rod
Serling’s teleplay for the first season episode “The Lonely” is presented here.
The episode was directed by Jack Smight, starring Jack Warden, Jean Marsh, and
John Dehner, with a musical score from Bernard Herrmann. “The Lonely” remains
an emotionally resonant showcase for Rod Serling’s fine writing. You can read
more about the episode by revisiting Brian’s <a href="https://twilightzonevortex.blogspot.com/2011/09/lonely.html"><span style="color: white;">review. </span></a><o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-size: 14.0pt;">--Looking
Ahead: In the August TZ</span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1_pfdbsvQ4K9Wowd8Yyk2wXow_moqqCCw2jbHTY5FEd_E0WKjJaNSTGKOE0MH5azaIPZex8p0238LmDjlI3-G2_oeKeBLTAU4kcuBbio1qeApkab6Vo0Zh0b4VMpYvh7RTLJkHp7Y9rR0/s2048/In+the+August+TZ.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1340" data-original-width="2048" height="418" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1_pfdbsvQ4K9Wowd8Yyk2wXow_moqqCCw2jbHTY5FEd_E0WKjJaNSTGKOE0MH5azaIPZex8p0238LmDjlI3-G2_oeKeBLTAU4kcuBbio1qeApkab6Vo0Zh0b4VMpYvh7RTLJkHp7Y9rR0/w640-h418/In+the+August+TZ.jpg" width="640" /></a></b></div><i><span style="font-size: 14.0pt;"><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><i><span style="font-size: 14.0pt;"><br /></span></i></p>-If
you’ve come this far, I thank you very much for reading and hope you enjoyed
discovering or revisiting this issue of TZ Magazine with me. Next up in the
Vortex, Brian will be posting his first episode review of the fifth season with
a look at Richard Matheson’s “Steel.”</span></i><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;"><b><span style="font-size: 14.0pt;">-JP</span></b></p>JPhttp://www.blogger.com/profile/14808904189056290207noreply@blogger.com0tag:blogger.com,1999:blog-1318310043864039191.post-80220775056139998492021-04-25T06:00:00.192-05:002021-04-25T06:00:00.196-05:00Calling The Twilight Zone<p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7G-emdLatfG5CqG0382PXfe2dNPx8uGY9f3s4qQwAc0Qpbl3eb9hY9iR1TN_ys3MCwgPlLDNGToGC9z5d40Q9L2xR-Ug2Qt3Mp7dutfEWul8lcyP_AJsnMKGdbsg7LeMw2gTCCIMpkT_3/s1118/Calling+Twilight+Zone+%2528Long+Distance+Call%2529.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="860" data-original-width="1118" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7G-emdLatfG5CqG0382PXfe2dNPx8uGY9f3s4qQwAc0Qpbl3eb9hY9iR1TN_ys3MCwgPlLDNGToGC9z5d40Q9L2xR-Ug2Qt3Mp7dutfEWul8lcyP_AJsnMKGdbsg7LeMw2gTCCIMpkT_3/w400-h308/Calling+Twilight+Zone+%2528Long+Distance+Call%2529.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Philip Abbott in "Long Distance Call"</b></td></tr></tbody></table><i style="font-size: 14pt;"><b></b></i><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="font-size: 14pt;"><b><i style="font-size: 14pt;"><b><br /></b></i></b></i></p><i style="font-size: 14pt;"><b>Telephonic Terror in the Fifth Dimension</b></i><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p> </o:p></span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Today is National Telephone Day, and this provides me with an opportunity to observe
something interesting about </span><i style="font-size: 14pt;">The Twilight
Zone.</i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">I recently began
considering the importance of the telephone on the series, not only as an
element of set decoration or as a simple plot device, but also as a genuine mode
of narrative transition, or as a means for strangeness and suspense. After
consideration, I arrived at the conclusion that the telephone is the most
potent recurrent symbol on the series. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">I started along this
line of thinking while writing my recent review of the fifth season opener, “In
Praise of Pip.” One of my small observations, but hardly mine alone, was that a
telephone call marked a definitive turning point in the story, not only from
one act to the next but also in the emotional transition of the principal
character. This occurs when Max Phillips receives a call from his
landlady, Mrs. Feeny, informing him that a telegram arrived from the Army reporting
that Max’s son, Pip, was seriously wounded in Vietnam. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Before receiving this
call, Max behaves as though emotionally deceased. He smiles ruefully into the
mirror, speaks hypothetically about this or that, gently teases the kind-hearted
Mrs. Feeny, lazes about his one-room apartment, and appears completely apathetic
to the problems of a young man named George who comes to him for help. Later,
Max visits his employer, Moran, and lazes about Moran’s hotel room, casually
smoking a cigarette and remaining indifferent to everything around him,
including George’s fate, even as the young man, badly beaten, is dragged into
the room.</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUi3qab6Mt0Kqg-3IweSgktPHmPLutgECQQR52N95AcnR33MHmcNv1d1ZKo6olVrXpnxpBUCdKhW7XnzYwbV_UUn8ZT6sjul11vo553Lb52IK_R9K7076dAU7nBx-ilQKJTOXk09aZ00dT/s931/Calling+Twilight+Zone+%2528In+Praise+of+Pip%2529.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="706" data-original-width="931" height="152" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUi3qab6Mt0Kqg-3IweSgktPHmPLutgECQQR52N95AcnR33MHmcNv1d1ZKo6olVrXpnxpBUCdKhW7XnzYwbV_UUn8ZT6sjul11vo553Lb52IK_R9K7076dAU7nBx-ilQKJTOXk09aZ00dT/w200-h152/Calling+Twilight+Zone+%2528In+Praise+of+Pip%2529.jpg" width="200" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Max then receives Mrs. Feeny’s
telephone call. All of the emotions he has buried come roaring to the surface:
sadness and regret at not being a better father, anger at having wasted his
life working for Moran, melancholy provoked by an amusement park. From this
point in the episode, Max is an open wound of emotion. The character who pleads
for God to spare his son, weeping while dying in a deserted amusement park, is
hardly recognizable as the character we meet at the beginning of the episode.
It is a stark transition, beautifully played by Jack Klugman, and it begins with a telephone call. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Intrigued by this
thematic notion, I searched other episodes for moments in which a telephone
played a key, perhaps even pivotal, role in the story. The results were some of the most memorable
sequences of the series. In celebration of National Telephone Day, then, let’s
trace a journey through some other moments in which a telephone sends a
character spiraling into that “fifth dimension beyond that which is known to
man.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p> </o:p></span><span style="font-size: 14pt;">-JP</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimptclE077BKF8JgSFd2MGNSx_cy8FOOs2uN8ktbWu0g924u0zndjH9bj6pilEriiA74EDfu8e5q7l761mNa59ptKsZ87Hd8VOfedNK0V2qe6BK-Q-9BouKqK26WFWaEREVNEMyk1yiEak/s482/Calling+Twilight+Zone+%2528Where+Is+Everybody%2529.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="379" data-original-width="482" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimptclE077BKF8JgSFd2MGNSx_cy8FOOs2uN8ktbWu0g924u0zndjH9bj6pilEriiA74EDfu8e5q7l761mNa59ptKsZ87Hd8VOfedNK0V2qe6BK-Q-9BouKqK26WFWaEREVNEMyk1yiEak/s320/Calling+Twilight+Zone+%2528Where+Is+Everybody%2529.jpg" width="320" /></a></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>“Where Is Everybody?” </b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Season One, Episode 1 (October 2, 1959)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Written
by Rod Serling</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Directed by Robert Stevens</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Starring Earl Holliman<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Our first call arrives during the first
act of the pilot episode, when the amnesiac Mike Ferris rushes to a telephone
booth to answer a ringing phone and receives only silence on the other end.
Ferris deposits a coin and dials the operator. Desperate for human
contact, Ferris mistakes the recorded operator for a living voice.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">The moment arrives after a deliberate
buildup of incidents in which Ferris, devoid of personal memory, wanders into
a deserted town that, it turns out, is a construct of his fractured mind under pressure
from an isolation chamber. The flat, impersonal voice of the special operator
is another blow to Ferris’s sanity in a progressive line of maddening signs of almost
life: a jukebox playing to an empty café, a lifelike mannequin sitting in a
department store van, a smoking cigar resting in an ashtray. Night eventually
falls and brings with it a suffocating sense of paranoia. Ferris cracks under
the strain and the curtain is finally pulled back on his plight. </span><span style="font-size: 14pt;"> </span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin-Qri4w1OAK-anTtO9vokNx8k9-6j4a76Csb8Ep75nGfpXBeHj_-tVCT2OBZoK_khcxXrmAcmb3BWja3FFwJw_c9JKYQ0Q7Vujzqcp5qnhg_PNRjmHyzSDj9uw-fZn8BWwEco7qmEiUMR/s921/Calling+Twilight+Zone+%2528And+When+the+Sky%2529.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="697" data-original-width="921" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin-Qri4w1OAK-anTtO9vokNx8k9-6j4a76Csb8Ep75nGfpXBeHj_-tVCT2OBZoK_khcxXrmAcmb3BWja3FFwJw_c9JKYQ0Q7Vujzqcp5qnhg_PNRjmHyzSDj9uw-fZn8BWwEco7qmEiUMR/s320/Calling+Twilight+Zone+%2528And+When+the+Sky%2529.jpg" width="320" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p> </o:p></span><b style="font-size: 14pt;">“And When the Sky Was Opened”</b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Season One, Episode 11 (December 11,
1959)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Written
by Rod Serling, based on a story by Richard Matheson<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Directed
by Douglas Heyes</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Starring Charles Aidman, Rod Taylor, James Hutton<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Three astronauts find themselves slowly
fading from existence after returning home from a mission in an experimental
spacecraft. The episode is told in nonlinear fashion and we are shown, via
flashback, the method by which the first of these astronauts, Colonel Ed
Harrington, vanished.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p> </o:p></span><span style="font-size: 14pt;">A celebratory drink in a bar turns to nightmare as Harrington senses a growing feeling that he’s physically fading
away. Harrington does what anyone would do in the situation. He telephones home
to hear a familiar voice and try to shake the dreadful feeling. Except
Harrington’s parents claim not to have a son and they hang up on who they
assume to be a prank caller. Harrington has time to impart his fears to his
crewmate, Lieutenant Colonel Clegg Forbes, before vanishing, taking along any
and all memory of him. Forbes alone remembers, and he spends the remainder of
the episode futilely attempting to conjure another’s memory of Harrington and
prevent himself from suffering the same fate.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHw4kyjE-jwyH6xuFHREMWtcW4QZLu199OL-VJ_SNo1FvqBnSJE-WRLmmDN0W_z8bRHA0ykAWgLJhXHWl8na-ImE3dSiohvqsR0ZHQSg9dDpCE38kq7WqLlX0dO1_d3vnDNJLLOpzQG4yg/s1600/Calling+Twilight+Zone+%2528The+Hitch+Hiker%2529.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1108" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHw4kyjE-jwyH6xuFHREMWtcW4QZLu199OL-VJ_SNo1FvqBnSJE-WRLmmDN0W_z8bRHA0ykAWgLJhXHWl8na-ImE3dSiohvqsR0ZHQSg9dDpCE38kq7WqLlX0dO1_d3vnDNJLLOpzQG4yg/s320/Calling+Twilight+Zone+%2528The+Hitch+Hiker%2529.jpg" width="320" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>“The Hitch-Hiker” </b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Season One, Episode 16 (January 22,
1960)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Written
by Rod Serling, from the radio play by Lucille Fletcher<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Directed
by Alvin Ganzer</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Starring Inger Stevens <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">In one of the most haunting and
atmospheric sequences on the series, Nan Adams, a young woman on a
cross-country drive, calls home from a lonely roadside telephone booth and
discovers that her mother has suffered a nervous breakdown. The breakdown was
brought on by the death of her daughter in a car accident while traveling
across country. The shabby hitchhiker whose preternatural presence has pursued Nan
on her journey is revealed to be the shade of Mr. Death himself. “I believe
you’re going . . . </span><i style="font-size: 14pt;">my </i><span style="font-size: 14pt;">way?”</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuDumnD3HeseetFVotnaIDl1_AQDMuYCFFc8lTRlq-UV0pv8boKBUS4RK3q6xZRSTxOK5ZBeOSJ2ddJSwu8sKESsODkdsImls18MuOy0QMpCdlCbCrZnXm48Z-iirskh3f6n_Rdk1oXz5U/s1253/Calling+Twilight+Zone+%2528A+World+of+Difference%2529.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="802" data-original-width="1253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuDumnD3HeseetFVotnaIDl1_AQDMuYCFFc8lTRlq-UV0pv8boKBUS4RK3q6xZRSTxOK5ZBeOSJ2ddJSwu8sKESsODkdsImls18MuOy0QMpCdlCbCrZnXm48Z-iirskh3f6n_Rdk1oXz5U/s320/Calling+Twilight+Zone+%2528A+World+of+Difference%2529.jpg" width="320" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>“A World of Difference”</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Season One, Episode 23 (March 11, 1960)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Written
by Richard Matheson</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Directed by Ted Post</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Starring Howard Duff<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Arthur Curtis is a contented man. He has
a loving wife, a young daughter, a successful business, and is soon leaving
on a much-needed vacation. Curtis sits down and attempts to place a telephone
call. The phone seems to be disconnected. Frustrated, he rises from his chair.
Suddenly, he hears someone call “Cut!” Inexplicably, Curtis finds himself on
the set of a movie. The life he has known is stripped away in an instant. It
will take all of Curtis’s strength to escape from this nightmare
world.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBseJVXYtAdjth23GupJGNf0iuvk8OhwPsZXhdPoxr8dnnwde3EzCmm-BW1x0fP3ADGwM8NWGEfOciUph8FY5VaN43Zouc3fMDP4ixx9cBnCt5VfrWe764Jd2BDNns92a93T6ltCjQQ8Ap/s1115/Calling+Twilight+Zone+%2528The+Chaser%2529+1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="742" data-original-width="1115" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBseJVXYtAdjth23GupJGNf0iuvk8OhwPsZXhdPoxr8dnnwde3EzCmm-BW1x0fP3ADGwM8NWGEfOciUph8FY5VaN43Zouc3fMDP4ixx9cBnCt5VfrWe764Jd2BDNns92a93T6ltCjQQ8Ap/s320/Calling+Twilight+Zone+%2528The+Chaser%2529+1.jpg" width="320" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>“The Chaser” </b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Season One, Episode 31 (May 13, 1960)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Written
by Robert Presnell, Jr., from a story by John Collier<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Directed
by Douglas Heyes</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Starring George Grizzard and Patricia Barry<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">The lovesick Roger Shackleforth holds up
a line to use a public telephone while trying to score some time with Leila, a
beautiful, shallow woman who wants nothing to do with him. Roger eventually
resorts to a love potion, purchased in the apothecary of Professor A. Daemon, and
receives more than he bargained for in the process.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWHClI-g3Js_P_bZG6Yz0garXeC5uIjcIMfBywDfrCslqBUHGi471Bf7VJ2fbEv8wYpxhVuaqty54juii-_znsW6WA07CxVD7MqenY0zozAWLY6ldGW031Ki4KeaJocnB6aoeZY8Cx4TOC/s931/Calling+Twilight+Zone+%2528Nervous+Man%2529.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="715" data-original-width="931" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWHClI-g3Js_P_bZG6Yz0garXeC5uIjcIMfBywDfrCslqBUHGi471Bf7VJ2fbEv8wYpxhVuaqty54juii-_znsW6WA07CxVD7MqenY0zozAWLY6ldGW031Ki4KeaJocnB6aoeZY8Cx4TOC/s320/Calling+Twilight+Zone+%2528Nervous+Man%2529.jpg" width="320" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>“Nervous Man in a Four Dollar Room”</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Season Two, Episode 39 (October 14,
1960)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Written
by Rod Serling</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Directed by Douglas Heyes</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Starring Joe Mantell<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">One of Rod Serling’s favorite
storytelling devices was to place a single character in a small setting with
only a telephone to contact the outside world. The template was set with this
second season offering in which the cowardly, low-level criminal Jackie Rhoades
is prevented from committing a dangerous act by his braver, wiser, alter ego. A
battle of wills occurs between Rhoades and his reflection in the mirror of a
dingy hotel room.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">The telephone acts as the method by
which Jackie is pushed towards the dangerous act and subsequently the means by
which John Rhoades, that braver, wiser side, announces his arrival into the
world. He phones the front desk of the hotel and, in a classic bit of Serling
dialogue, tells the clerk: “This is John Rhoades, room 14, I’m checking out.
No, I’m not coming back. No, as a matter of fact, nothing’s all right. The
room’s too hot, too small and too dirty. It’s just the place for bums, but not
for me.”</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI4yPQY-lEKrkuUNOh-zjveO7fcPoUzWAXncHXJKXbUIQ6ZyUEEZeXa11UsJC3yLM-qsUrnn1Xne6afxAk9yDmqK87CtqIGjv1d3tWIn1OE0BstPTU53UlK1vNUWIJZRuAkbBemLP0Rxj5/s921/Calling+Twilight+Zone+%2528A+Thing+About+Machines%2529.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="703" data-original-width="921" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI4yPQY-lEKrkuUNOh-zjveO7fcPoUzWAXncHXJKXbUIQ6ZyUEEZeXa11UsJC3yLM-qsUrnn1Xne6afxAk9yDmqK87CtqIGjv1d3tWIn1OE0BstPTU53UlK1vNUWIJZRuAkbBemLP0Rxj5/s320/Calling+Twilight+Zone+%2528A+Thing+About+Machines%2529.jpg" width="320" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>“A Thing About Machines”</b></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Season Two, Episode 40 (October 28, 1960)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Written
by Rod Serling</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Directed by David Orrick McDearmon</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Starring Richard Haydn<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Bartlett Finchley calls up an old flame
for some company as he feels the house and everything in it begin to viciously
turn on him. To his displeasure, he learns that this old flame, who he has not
bothered to telephone for some time, has gotten married and wants nothing to do
with him. Finchley angrily rips the phone from the wall. This does not,
however, prevent the telephone from communicating its hatred of him. “Get out
of here, Finchley!” it repeatedly crows at him. It serves as a call to arms as
the gadgets and appliances that Finchley has abused over time come alive to
take their revenge.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdd6PHnp7xX9ynScnGJj2crBeGy-u7xLPB8ltvIOOUP2oqKm22szW5ObuNTpTgUrGlW15IordxsOeHlVY2H_wtTYeDQo0giyseay69jkP7WyWjkJdEHbesDyfZ3nGuixeJ_X9L5GAtayO8/s1244/Calling+Twilight+Zone+%2528Nick+of+Time%2529.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="929" data-original-width="1244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdd6PHnp7xX9ynScnGJj2crBeGy-u7xLPB8ltvIOOUP2oqKm22szW5ObuNTpTgUrGlW15IordxsOeHlVY2H_wtTYeDQo0giyseay69jkP7WyWjkJdEHbesDyfZ3nGuixeJ_X9L5GAtayO8/s320/Calling+Twilight+Zone+%2528Nick+of+Time%2529.jpg" width="320" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>“Nick of Time” </b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Season Two, Episode 43 (November 18,
1960)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Written
by Richard Matheson</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Directed by Richard L. Bare<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Starring
William Shatner and Patricia Breslin<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">A telephone call moves the viewer into
the conflict: Don Carter’s self-imprisonment through superstition brought on by
a penny fortune-telling machine. Don feels anxiety about a job promotion. He
feeds a penny into the machine and inquires about the job. “It has been decided
in your favor” is the message he receives. This sends Don rushing to the
telephone to verify the message. The message from the machine is confirmed. All
of Don’s anxiety about the job promotion is transferred to the fortune-telling
machine, figuratively chaining him to a table in a restaurant in Ohio.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfceD67eyoNFuRB6RV9eZVAoO7MfbBCNE3zbEoLoGgAj8n9KYkCtLwMra6a2YuepYBrdfVYPMWF5Gt3fTxGxHTTRh9UPOVBjfi-KkNkV0KoUstlV3tduZA-q8WVG0OviP_xBYk1e0PPTbz/s949/Calling+Twilight+Zone+%2528Long+Distance+Call%2529+1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="708" data-original-width="949" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfceD67eyoNFuRB6RV9eZVAoO7MfbBCNE3zbEoLoGgAj8n9KYkCtLwMra6a2YuepYBrdfVYPMWF5Gt3fTxGxHTTRh9UPOVBjfi-KkNkV0KoUstlV3tduZA-q8WVG0OviP_xBYk1e0PPTbz/s320/Calling+Twilight+Zone+%2528Long+Distance+Call%2529+1.jpg" width="320" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>“Long Distance Call”</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Season Two, Episode 58 (March 31, 1961)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Written
by William Idelson and Charles Beaumont</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Directed by James Sheldon<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Starring
Philip Abbott, Lili Darvas, Patricia Smith, Bill Mumy<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Few episodes dealt with material as
disturbing as that of “Long Distance Call.” A grandmother on the edge of death
gives her young grandson a toy telephone for his birthday and tells him that he
can speak to Grandma any time he wants. Her love for the boy is overbearing, a
wedge between her son and daughter-in-law and their only child. Grandma’s love
is so strong that when she dies, the toy telephone becomes a conduit through
which the boy continues to communicate with her in the afterlife. This is
alarming on its own, but Grandma has further plans. In perhaps the most unsettling
sequence on the series, the boy is compelled by the dead grandmother to take
his own life so that they may be together again. As the boy hovers between life and death, the father takes up the
toy telephone and makes a final, desperate plea for his son’s life.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs2CM7oMdIHsJFdGUqm7E34Bsa4y6LHdn9T6KfJnsmpCusmoE6Qvdu0RInleKoVQBt5s7pTFNLps9Z91N4ktXTmDNQQyr-fNytB86eaR5j6WyhKqUHHvQZT4IfkIm_HAzil1QSRn6XG70O/s918/Calling+Twilight+Zone+%2528Will+the+Real+Martian%2529.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="702" data-original-width="918" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs2CM7oMdIHsJFdGUqm7E34Bsa4y6LHdn9T6KfJnsmpCusmoE6Qvdu0RInleKoVQBt5s7pTFNLps9Z91N4ktXTmDNQQyr-fNytB86eaR5j6WyhKqUHHvQZT4IfkIm_HAzil1QSRn6XG70O/s320/Calling+Twilight+Zone+%2528Will+the+Real+Martian%2529.jpg" width="320" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>“Will the Real Martian Please Stand Up?”</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Season Two, Episode 64 (May 26, 1961)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Written
by Rod Serling</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Directed by Montgomery Pittman<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">"Wintry February night, the present. Order of events: a phone call from a frightened woman notating the arrival of an unidentified flying object . . ." </span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Rod Serling provides a fantastic twist to
the “one among us is a murderer” mystery story. Snowbound bus travelers stranded at the Hi-Way Café work with the counterman and a pair of state troopers to uncover an alien in their midst. The wily extraterrestrial possesses the mental powers to cut the lights, explode sugar dispensers, start up a jukebox, and
cause the telephone on the wall to ring.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">A pivotal moment, and a clever
sleight-of-hand, occurs when one of the state troopers answers the ringing
telephone to be informed that a bridge leading out of the area is now passable.
Unfortunately, the bridge isn’t passable. The police car and the bus plunge
into the cold river below, killing everyone. Everyone except the alien, that
is. He returns to the diner, leading to one of the most bizarre, ironic,
and iconic endings on the series.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggHE44iAp-6r79iJSNFjihUdI9H135xB9YWhf83lhDnSyrG3FXdvFd5E6cshYsDxAYecDft7kXTBWJ_mOzBNNgGEdDjrxH4jgL7BURGmC-g7n3a-jzdg_5-F2EfBH7IV-kagOVz5x0I2lg/s640/Calling+Twilight+Zone+%2528The+Jungle%2529.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="480" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggHE44iAp-6r79iJSNFjihUdI9H135xB9YWhf83lhDnSyrG3FXdvFd5E6cshYsDxAYecDft7kXTBWJ_mOzBNNgGEdDjrxH4jgL7BURGmC-g7n3a-jzdg_5-F2EfBH7IV-kagOVz5x0I2lg/s320/Calling+Twilight+Zone+%2528The+Jungle%2529.jpg" width="320" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>“The Jungle”</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Season Three, Episode 77 (December 1,
1961)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Written
by Charles Beaumont, based on his story<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Directed
by William F. Claxton</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Starring John Dehner<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Charles Beaumont spins a tense tale of
supernatural pursuit, pitting a modern man in New York City against the primal
magic of the African jungle. Once Alan Richards confiscates protective
talismans from his wife and carelessly tosses them into the fire, it is open
season on trespassers and nonbelievers. “The Jungle” contains an unnerving
extended sequence in which Richards frantically moves through an eerily
deserted city, trying to get home before the increasingly suffocating presence
of the jungle takes physical form and swallows him up.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">The sequence begins when Richards
attempts to place a call from a telephone booth on the corner of a deserted
city street. He is unable to make a call and belatedly notices the “out of
order” sign. Richards leaves the booth only to be called back by the ringing
telephone. It is the jungle calling, and the phone emits the growling and chattering
sounds of animals into his ear.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_UdZu7oscYVyFe8htcptMbVI_Tt1xG28YMcESyMWNBmsVmhVFpmZAmZJe9JVaKvGko6EfqRFlDWsGPJn5Isnuo2N4FyjUSDMCdrnxGau59cxW2ZjJQIcZpQX7z13xCHWsA9D3PawDDP7M/s1260/Calling+Twilight+Zone+%2528Person+or+Persons+Unknown%2529.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="927" data-original-width="1260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_UdZu7oscYVyFe8htcptMbVI_Tt1xG28YMcESyMWNBmsVmhVFpmZAmZJe9JVaKvGko6EfqRFlDWsGPJn5Isnuo2N4FyjUSDMCdrnxGau59cxW2ZjJQIcZpQX7z13xCHWsA9D3PawDDP7M/s320/Calling+Twilight+Zone+%2528Person+or+Persons+Unknown%2529.jpg" width="320" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>“Person or Persons Unknown”</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Season Three, Episode 92 (March 23,
1962)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Written
by Charles Beaumont</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Directed by John Brahm</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Starring Richard Long<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">David Gurney awakens from a night of
drinking to a world where no one knows him. His wife, his
friends, his coworkers, and his mother all deny any knowledge of him. Gurney is placed in
the care of Dr. Koslenko, who allows Gurney use of the telephone in an effort
to prove the life that exists in Gurney’s head isn’t real. Gurney calls a
friend from his schooldays and his own mother, but neither claim to know him. Gurney
breaks out of the hospital, desperate to find the one detail of his life
neglected by whoever, or whatever, erased his existence.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbiB_C1ed-1-QLGx63j-SPcGFmcKu_yNf-gUKVvXaT00-dM3pE83L4fdxfXiSIUaL7Qdsdgsgr_ml0mfGlR2MkEYrtFvVuITOxhhtbAGLRXqjABTcK0aiN5sfpEFHGal-d3ET9uDl6rXOa/s640/Calling+Twilight+Zone+%2528Four+O%2527Clock%2529.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="480" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbiB_C1ed-1-QLGx63j-SPcGFmcKu_yNf-gUKVvXaT00-dM3pE83L4fdxfXiSIUaL7Qdsdgsgr_ml0mfGlR2MkEYrtFvVuITOxhhtbAGLRXqjABTcK0aiN5sfpEFHGal-d3ET9uDl6rXOa/s320/Calling+Twilight+Zone+%2528Four+O%2527Clock%2529.jpg" width="320" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>“Four O’Clock”</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Season Three, Episode 94 (April 6, 1962)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Written
by Rod Serling, based on the story by Price Day<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Directed
by Lamont Johnson</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Starring Theodore Bikel<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Price Day conjured a wonderfully
Dickensian name, Mr. Crangle, to brand the vitriolic crusader for morality
brought brilliantly to life by Theodore Bikel in Rod Serling’s adaptation. An
element not contained in the original story is Crangle’s use of the telephone
to reach out to the world and spread his well-intentioned evil by exposing those
he deems subversive or morally corrupted. As we have seen before, Rod Serling enjoyed
the dramatic possibilities of placing a single character in an isolated setting
with only a telephone to contact the outside world. Although other characters
briefly appear, this is Crangle’s stage to play out his intense internal drama.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEloh7kYCuo7CWDe1c13LazlOec_lF_ARQ1Wktrlwwt25kN86j0YyKYntHnQ1NdX7vnGJzyqHEuvsOfYQJW8X85hgeWQxBxuUF91EoVcD8GRbJ50D7CiPVDb2MTHGSFKU0C-ky_4x5OIF6/s921/Calling+Twilight+Zone+%2528Last+Night+of+a+Jockey%2529.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="702" data-original-width="921" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEloh7kYCuo7CWDe1c13LazlOec_lF_ARQ1Wktrlwwt25kN86j0YyKYntHnQ1NdX7vnGJzyqHEuvsOfYQJW8X85hgeWQxBxuUF91EoVcD8GRbJ50D7CiPVDb2MTHGSFKU0C-ky_4x5OIF6/s320/Calling+Twilight+Zone+%2528Last+Night+of+a+Jockey%2529.jpg" width="320" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>“The
Last Night of a Jockey” </b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Season Five, Episode 125 (October 25,
1963)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Written
by Rod Serling</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Directed by Joseph M. Newman</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Starring Mickey Rooney<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">A counterpoint to the play on size in “Four
O’Clock” is this tale of Grady, a diminutive jockey who loses his livelihood
when caught doping horses. Now he wallows in his own grief and anger, spewing
venom into the telephone at a journalist and an ex-girlfriend. Grady is visited
by his alter ego, who grants his wish to be big. Grady becomes a giant, first
eight feet tall then ten feet tall. When the head of the racing commission telephones
to inform Grady that he’s been cleared to ride again, Grady realizes with
horror that he’s now too big to ride.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkDsbHPYzAh5WlMf-2M9nA5oyr8BYhLrbnD6RBI1yj7UVLXcos0RleKLkSAfF-R_c_e_AO1pU90UobyWhuu9Mf83AKFjAt5GNEFWJsKiKNxlBETRp7IuvH_ROzr_7dkLbe-uFAlJQWDIoD/s934/Calling+Twilight+Zone+%2528Living+Doll%2529.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="705" data-original-width="934" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkDsbHPYzAh5WlMf-2M9nA5oyr8BYhLrbnD6RBI1yj7UVLXcos0RleKLkSAfF-R_c_e_AO1pU90UobyWhuu9Mf83AKFjAt5GNEFWJsKiKNxlBETRp7IuvH_ROzr_7dkLbe-uFAlJQWDIoD/s320/Calling+Twilight+Zone+%2528Living+Doll%2529.jpg" width="320" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>“Living Doll” </b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Season Five, Episode 126 (November 1,
1963)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Written
by Jerry Sohl (as by Charles Beaumont)<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Directed
by Richard C. Sarafian</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Starring Telly Savalas and Mary LaRoche<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">“I’m Talky Tina, and I’m going to </span><i style="font-size: 14pt;">kill you!” </i><span style="font-size: 14pt;">In arguably the most iconic
moment on the series, Erich Streator, a bitter, impotent man with an inferiority
complex, answers the telephone and hears the voice of his stepdaughter’s
wind-up doll threaten to kill him. Streator convinces himself that it’s a cruel
practical joke perpetrated by his wife, Annabelle, as revenge for the harsh way
Streator treats his stepdaughter, Christie. It is only later, when he realizes
that Annabelle could not possibly have placed the threatening call, that
Streator comes to grips which the frightening truth. Talky Tina is alive and out to get him.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvNTmcQVSUwEzDcrg0O5KfIrU9zWOmQS2fVdT5S48_fEI8yV6yqkTMwfbZUxlrwAmawH0WUPVF8z5s89TC_cTCwXmsoCJZlDrzimf5AUXB-uosM_a9cZBpgGUFLH8i2wYKR1Ves5rmohR4/s640/Calling+Twilight+Zone+%2528Night+Call%2529.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="480" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvNTmcQVSUwEzDcrg0O5KfIrU9zWOmQS2fVdT5S48_fEI8yV6yqkTMwfbZUxlrwAmawH0WUPVF8z5s89TC_cTCwXmsoCJZlDrzimf5AUXB-uosM_a9cZBpgGUFLH8i2wYKR1Ves5rmohR4/s320/Calling+Twilight+Zone+%2528Night+Call%2529.jpg" width="320" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>“Night Call”</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Season Five, Episode 139 (February 7,
1964)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Written
by Richard Matheson, based on his story <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Directed
by Jacques Tourneur</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Starring Gladys Cooper<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">During a stormy night, Miss Elva Keene
is disturbed by a series of telephone calls. At first, she hears
only static on the line. Soon, however, she can hear a voice. It is a man’s voice,
struggling to speak. Miss Keene is
frightened. She tells the caller to leave her alone. The telephone company
traces the call to a fallen line in the local cemetery. Miss Keene reveals the
terrible tragedy that, many years ago, befell her fiancé, Brian, a week before
their intended wedding. Ms. Keene admits that she was controlling and that Brian
always did what she wanted. She insisted on driving one night, lost control of
the car, and Brian died as a result. Now, however, she can speak with him again
on the telephone. She has so much she wishes to tell him. That night the
telephone rings. Miss Keene eagerly answers the call. Brian has called one last time to remind her of a difficult truth. Miss Keene told him to go away, and
he always does what she wants. The line is disconnected.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj64Mcxeamm0UYDTL0WOg1JM0583HDUhtfTwRoC0cZbth4jKGam6LZny110MwG0-h9Jbj6mrwZwj0HmkK5pPggRtFf3L2lNyfge8qDbg769KO90DYOTxadvFK60uwgEt42i3QIB47pNywRz/s1108/Calling+Twilight+Zone+%2528The+Jeopardy+Room%2529.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="862" data-original-width="1108" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj64Mcxeamm0UYDTL0WOg1JM0583HDUhtfTwRoC0cZbth4jKGam6LZny110MwG0-h9Jbj6mrwZwj0HmkK5pPggRtFf3L2lNyfge8qDbg769KO90DYOTxadvFK60uwgEt42i3QIB47pNywRz/s320/Calling+Twilight+Zone+%2528The+Jeopardy+Room%2529.jpg" width="320" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><b>“The Jeopardy Room”</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Season Five, Episode 149 (April 17,
1964)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Written
by Rod Serling</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Directed by Richard Donner<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Starring
Martin Landau and John van Dreelen<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Rod Serling’s Cold War thriller is a
claustrophobic game of cat and mouse between Major Ivan Kuchenko, a defecting
KGB agent, and Commissar Vassiloff, a refined assassin tasked with
Kuchenko’s demise. Vassiloff is assisted by the gunman Boris. The
telephone establishes a line of communication between Kuchenko, holed up in a cheap hotel room, and Vassiloff, who watches from a room in the building across the alley. In a game of sadistic sportsmanship,
Vassiloff drugs Kuchenko and places a bomb in Kuchenko's hotel room. If
Kuchenko can uncover the location of the bomb within three hours, he will be
allowed to leave, unharmed.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Vassiloff has hidden the bomb in the
telephone, but there’s a catch. The bomb will only detonate if an incoming call
is answered. Vassiloff telephones Kuchenko’s room to watch his handiwork in action. Kuchenko resists answering the call. He cannot be tricked into picking up the
receiver while the phone is ringing. Kuchenko escapes from the hotel. Later, he calls the hotel room as Vassiloff and Boris are clearing
the evidence. Boris unwittingly answers the phone, setting off the bomb.</span></p><p></p>JPhttp://www.blogger.com/profile/14808904189056290207noreply@blogger.com0tag:blogger.com,1999:blog-1318310043864039191.post-11587669949554152822021-04-12T06:00:00.133-05:002021-04-12T09:35:39.374-05:00Reading Rod Serling’s The Twilight Zone Magazine, Part 23<p> <i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">In which we take a closer look at each issue. For
our capsule history of the magazine, go <a href="http://twilightzonevortex.blogspot.com/2012/01/rod-serlings-twilight-zone-magazine.html"><span style="color: white;">here.</span></a></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0MdM1LKMTP-xtKQmbYwGh_9ztkQNkigqLebc82yDkFAtUs544785-j7X849rAPEdjYg7xzAvm9w5GZcZ5gKjwPAFuUiWkYJQgpiS5SmIEgezRoEW91-TbH-xuXewICFl5_bqKXtblrrSl/s805/Cover.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="805" data-original-width="592" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0MdM1LKMTP-xtKQmbYwGh_9ztkQNkigqLebc82yDkFAtUs544785-j7X849rAPEdjYg7xzAvm9w5GZcZ5gKjwPAFuUiWkYJQgpiS5SmIEgezRoEW91-TbH-xuXewICFl5_bqKXtblrrSl/w294-h400/Cover.jpg" width="294" /></a></b></div><b><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Volume 3, Number 1</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">(March/April, 1983)<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Second Anniversary Issue<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Cover Art:
Kari Brayman <o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">TZ Publications, Inc.:</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">President & Chairman: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">S. Edward Orenstein<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Secretary/Treasurer: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Sidney Z. Gellman<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Executive Vice-Presidents: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Leon Garry, Eric Protter<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Executive Publisher: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">S. Edward Orenstein<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Publisher: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Eric Protter<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Associate Publisher and Consulting Editor: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Carol Serling<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Editor: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">T.E.D. Klein<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Managing Editor: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Jane Bayer<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Associate Editor: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Robert Sabat<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Contributing Editors: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Thomas M. Disch, Gahan
Wilson, Marc Scott Zicree<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Design Director: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Michael Monte<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Art Director: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Pat E. McQueen<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Art Production: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Susan Lindeman, Carol Sun<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Typesetting: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Irma Landazuri<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Production Director: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Stephen J. Fallon<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Controller: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Thomas Schiff<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Ass’t to the Publisher: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Judy Linden<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Public Relations Manager: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Jeffrey Nickora<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Accounting Mgr.: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Chris Grossman<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Accounting Ass’t: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Annmarie Pistilli<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Office Ass’t: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Miriam Wolf<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Circulation Director: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">William D. Smith<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Circulation Mgr.: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Carole A. Harley<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Circulation Ass’t: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Karen Martorano<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Newsstand Sales Manager: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Karen Marks Goldberg<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Eastern Circ. Mgr.: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Hank Rosen<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">West Coast Circ. Mgr.: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Gary Judy<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Advertising Manager: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Rachel Britapaja<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Adv. Production Manager: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Marina Despotakis<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Adv. Ass’t: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Katherine Lys<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Advertising Representatives: </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Barney O’Hara &
Associates <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Contents:</span></u></b><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--“A Note from
the Publisher . . .” by Carol Serling<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--In the
Twilight Zone: “Winners . . .” by T.E.D. Klein<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--Other
Dimensions: Screen by Gahan Wilson<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--Other
Dimensions: Books by Thomas M. Disch<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--Other
Dimensions: Video by Joel A. Samberg<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--Other
Dimensions: The ‘Heroes and Heavies’ Quiz by Kathleen Murray<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--Other
Dimensions: Etc.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--TZ Interview:
Colin Wilson, conducted by Lisa Tuttle<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--A Colin
Wilson Sampler by Colin Wilson<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--“The
Journey” by Abbie Herrick<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--“Critique”
by Brian Ferguson<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--“Evening in
the Park” by Susan Rooke<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--“Say Goodbye
to Judy” by William B. Barfield<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--“5<sup>th</sup>
Dimension” by Scott Edelman<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--“Nightbears”
by Juleen Brantingham<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--TZ Screen
Preview: <i style="mso-bidi-font-style: normal;">The Hunger </i>by James Verniere<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--TZ
Discovery: Notes for a “Twilight Zone” Movie by Rod Serling<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--“The Last
Adam & Eve Story” by Bruce J. Balfour<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--“Dakota
Safari” by Gene O’Neill<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--“Murchison’s
Dream” by Byron Marshall<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--“And Now I’m
Waiting” by Richard Matheson<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--TZ Classic
Teleplay: “A World of His Own” by Richard Matheson<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--Show-By-Show
Guide: TV’s <i style="mso-bidi-font-style: normal;">Twilight Zone, </i>Part 23 by
Marc Scott Zicree<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--In June’s TZ
<o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQIchwpaGmIDpPJlJj3WS4v4t2C3Fl_bephMvP1JWqKTFUPrtT89dBgu1KOfGTTAA6crQ9fB1iAq4zlhE4c2DcbJmItc0VxXLDRoFbg7vN-f1RVpq5p5D-7hHJGkHdj9Fn7hARVVqZcv0K/s301/Carol+Serling.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="301" data-original-width="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQIchwpaGmIDpPJlJj3WS4v4t2C3Fl_bephMvP1JWqKTFUPrtT89dBgu1KOfGTTAA6crQ9fB1iAq4zlhE4c2DcbJmItc0VxXLDRoFbg7vN-f1RVpq5p5D-7hHJGkHdj9Fn7hARVVqZcv0K/s0/Carol+Serling.jpg" /></a></div><span style="font-size: 14pt;"><o:p> </o:p></span><b><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--A Note from the Publisher . . . by Carol Serling</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-Carol Serling begins her occasional column by
quoting from TZ writer Charles Beaumont’s essay of television commentary, “The
Seeing I,” which appeared in the December, 1959 issue of </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">The Magazine of Fantasy and
Science Fiction. <i style="mso-bidi-font-style: normal;">Beaumont’s essay is
important as an insider’s account of the creation of </i>The Twilight Zone, <i style="mso-bidi-font-style: normal;">as well as a signal for the type of
intelligent fantasy produced on the series. It comes recommended to those
interested in TZ on a creative level. Carol Serling uses Beaumont’s essay to illustrate
the ways in which Beaumont’s hopeful musings on the series have become reality,
as the series has remained popular and led to off-shoots such as TZ Magazine. <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-Serling next highlights activity within the TZ
community, including the magazine celebrating its second anniversary, the
publication of Marc Scott Zicree’s </span></i><span style="font-size: 14pt;">The Twilight Zone Companion, <i>and the upcoming release of </i>Twilight Zone: The Movie. <i>The remainder of Serling’s column is
dedicated to introducing new readers to the magazine by outlining the
magazine’s thematic goals and content. An interesting aspect of this portion of
the column is that Serling emphasizes that TZ Magazine does not publish stories
of “exploitative melodrama in which ‘oceans of gore compete with oceans of bile
evoked.’ There will be no sadism and violence for the titillation it brings, none
of the gimmickry of Hollywood horror.” TZ Magazine later became a showcase for,
if not the birthplace of, the so-called “splatterpunk” movement and devoted a
great amount of space to horror fiction as the 1980s became oversaturated with
horror in publishing. The magazine did, however, create a sister publication, </i>Night
Cry, <i>to exclusively feature horror
content in order to keep TZ Magazine more diverse in its offerings.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-Serling concludes her column by quoting an early
and unused version of Rod Serling’s opening narration for the first season of
TZ, and calls on readers to write to the magazine to express their opinions on
the magazine’s contents.</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;"> </span></i><b><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--In the Twilight Zone: “Winners . . .” by T.E.D. Klein</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-For the editorial staff, the highlight of this
issue is the second annual TZ Story Contest, and Klein makes note of the number
of entries, the winners, and the general difficulty in selecting the most
outstanding stories. For this year, instead of giving out first, second, and
third prizes for the contest, the editorial staff of the magazine, who selected
the winners, decided to split the first-prize money among three entries.
Another winning story, a short-short, is included in the issue as well. Klein’s
editorial is rounded out in the usual way, with capsule biographies and
comments on the issue’s contributors. I noted last issue that Mignon Glass,
author of that issue’s story, “A Chance Affair,” was left out of Klein’s
editorial. Klein corrects that oversight here, providing a photo of Glass and
explaining that info on Glass was left out last issue because her story was a
last-minute addition. <o:p></o:p></span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv2XTjxO77JP5w1ol1Ja5qxzozEAv07hq_KxVnKYa2Q6CeaqbIXzkAOU1EnSfnNuftw4xL93WVpJ6cuTFRn5xz9r7xwLCapCSwZw8HpfxpHNyzTnGDlUsa7BCim8Ga-iXDt24oJ88Zz2fk/s527/Screen.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="527" data-original-width="343" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv2XTjxO77JP5w1ol1Ja5qxzozEAv07hq_KxVnKYa2Q6CeaqbIXzkAOU1EnSfnNuftw4xL93WVpJ6cuTFRn5xz9r7xwLCapCSwZw8HpfxpHNyzTnGDlUsa7BCim8Ga-iXDt24oJ88Zz2fk/s320/Screen.jpg" /></a></i></div><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></i><b><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--Other Dimensions: Screen by Gahan Wilson</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-The theme of Gahan Wilson’s film review column this
issue is that fantasy (and horror and science fiction) films are only made to
make money, that an ability to make money is the sole consideration when
developing a film of this type. The result is a sharp decline in quality since
films are generally no longer being produced for the value of their concepts.
Wilson’s targets are three horror films, of varying quality. <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-The first film Wilson reviews is </span></i><span style="font-size: 14pt;">Q,<i> a giant monster on the prowl in New York City film from low-budget
specialist Larry Cohen. Wilson felt that this one should have been killed at
the initial discussion stages. He’s probably correct in this assessment, as the
film was neither monetarily successful nor received with anything approaching
positive critical reception. The film follows a well-worn formula that goes all
the way back to the silent era with </i>The Lost World <i>(1925). Wilson’s assessment: “</i>Q <i>is,
essentially, one of those horror movies made by people who feel superior to
horror movies, and that hardly ever works. The sillier your monster the more
seriously you have to take him, </i>especially <i>if you’re kidding around.”</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-Next, Wilson looks at </span></i><span style="font-size: 14pt;">Halloween III: Season of the
Witch, <i>notable for being the only </i>Halloween
<i>film in the franchise without the masked
murderer Michael Myers. This tale of witchcraft and a crazed maker of Halloween
masks has found a more appreciative audience in recent years but the film was
only moderately successful at the time it was released, and Michael Myers was
brought back for the fourth installment on. Wilson laments the fact that
although the film was initially scripted by Nigel Kneale, the talented
scenarist behind numerous British horror and science fiction films and
television programs, Kneale’s script was heavily rewritten and his contributions
were minimized in the finished film. Wilson’s assessment of the performers:
“The cast is not very good, and the characters they’re trying to play are –
even for a movie of this kind – extremely unconvincing. The villain is played
by the only real actor in sight, Dan O’Herlihy, and while he does manage to
infuse the character with a nice loony chilliness, the creature is so
ill-defined and fuzzy that he’s got almost nothing to work with.”</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-Finally, Wilson looks at </span></i><span style="font-size: 14pt;">Creepshow, <i>the horror anthology film from Stephen King
and George Romero that has already featured in multiple issues of TZ Magazine. The
film was treated to a full-color screen preview in the September, 1982 issue.
For those interested, I wrote about it at length in my post on that issue.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-Although Wilson found the film very much to his
liking, he reiterates the idea that the film was made as a money-grab. He
writes: “This is perhaps one of the most unabashed grabs for cash ever to hit
your local theater, but there’s such innocent greed about it all that it’s hard
to take offense.” This is a strange assessment for a nostalgic, off-beat,
independently produced horror anthology film. In any case, Wilson enjoyed the
film and singled out the penultimate segment of the film, “The Crate,” as his
personal favorite.</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-Wilson concludes the column with a brief
recommendation for </span></i><span style="font-size: 14pt;">Still of the Night,<i> reviewed in
the magazine for the March, 1982 issue under the film’s original title, </i>Stab.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--Other Dimensions: Books by Thomas M. Disch</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-Disch’s column strikes a similar tone to that of
Gahan Wilson’s, in the sense that Disch begins his column by decrying the
amount of low-quality material being published as well as how much of it falls
into the horror genre. Disch quotes Shakespeare’s </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Macbeth <i style="mso-bidi-font-style: normal;">to indicate that too much horror eventually, and inevitably, numbs one
to horror’s intended effects. Disch offers his thoughts on the following books:<o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">-The
Deathstone </span><i style="font-size: 14pt;">by Ken Eulo: “What sinks
Eulo’s book to the rock-bottom of the sophistication spectrum (from sappy to
savvy) is the style of his reenactment, a style that is equal parts soap-opera
mawkish and button-pushing portentous, graduating to dithering hysteria for the
big moments.”</i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">-The Voice of
Our Shadow </span><i style="font-size: 14pt;">by Jonathan Carroll: “Carroll’s
second novel . . . is a preppy ghost story as decorously conventional and
capably tailored as a Brooks Brothers suit.”</i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">-Different
Seasons </span><i style="font-size: 14pt;">by Stephen King: “. . . is a
collection of four quite separate tales, only one of which (and that,
thankfully, the shortest) failed to shiver my timbers perceptibly. The other
three, in ascending order both of length and personal preference, are: ‘Rita Hayworth
and the Shawshank Redemption,’ a quietly paranoid curtain-raiser that persuaded
me </i><span style="font-size: 14pt;">never </span><i style="font-size: 14pt;">to be framed for murder and
sentenced to life imprisonment; ‘The Body,’ a vivid if sometimes
self-consciously ‘serious’ account of the rites of passage practiced by the
aboriginal teenagers of Maine’s lower-middles classes . . . finally, the
hands-down winner of the four and, I think, King’s most accomplished piece of
fiction at any length, ‘Apt Pupil.’”</i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">-Nightflyer </span><i style="font-size: 14pt;">by Christopher Fahy: “. . . is a shamelessly
satisfying fantasy of a twerp who turns into an avenger by achieving
out-of-body flight, zapping all the bullies who’d been kicking sand in his face
and then zapping . . . but that would be telling.”</i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-Disch concludes the column with a look at the
year’s annuals. These include: </span></i><span style="font-size: 14pt;">Fantasy Annual V, <i>ed. Terry Carr, </i>The Year’s Best Fantasy Stories 8, <i>ed. Arthur W. Saha, and </i>The Year’s Best
Horror Stories: Series X, <i>ed. Karl Edward
Wagner. Finally, Disch recommends </i>The Gothic Novel: Plot Summaries and
Index to Motifs <i>by Ann B. Tracy,
concluding his column with a lengthy quote from Tracy on </i>Rosalviva or, The
Demon Dwarf <i>by Grenville Fletcher (1824).</i></span></p>
<div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg47Y4N5hJo7axLwg8GD_VeGj7syeR-7-oyIXplZFhnOI9WXY8K22weJCgarAdVKB-BdDz28VFIcMKNNN0jJH05Wg8Rvf1ucSoNRqW3v_vH1ZXExR7aywWEYnmpmZe0Ajr7CtBnSjHzvPfH/s594/Video.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="594" data-original-width="347" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg47Y4N5hJo7axLwg8GD_VeGj7syeR-7-oyIXplZFhnOI9WXY8K22weJCgarAdVKB-BdDz28VFIcMKNNN0jJH05Wg8Rvf1ucSoNRqW3v_vH1ZXExR7aywWEYnmpmZe0Ajr7CtBnSjHzvPfH/s320/Video.jpg" /></a></i></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--Other Dimensions: Video by Joel A. Samberg<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-This article is an interesting capsule of a time
when home video was in its infancy. Samberg’s goal is to trace the availability
of fantasy and science fiction television on home video. He finds that there is
very little of it available. The only TZ episode then-available was “An
Occurrence at Owl Creek Bridge,” which was not produced on the series but only
featured during the fifth season. Samberg gives no indication about what I was
most curious about, this being whether or not the video included Rod Serling’s
narrations for TZ. <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-The general lack of availability of quality fantasy
films and television on home video resulted in a rise in piracy, with owners using
their VCRs to record programs from local television stations, including fantasy
television programs shown in syndication. Samberg’s article largely becomes a discussion
of this trend toward piracy, detailing the methods used to record programs and
the ways in which pirated copies of films and television shows are bought and
sold in the classified pages of video journals. Samberg interviews a handful of
video dealers and editors of industry publications, providing detailed
addresses for each.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--Other Dimensions: The ‘Heroes and Heavies’ Quiz
Revisited</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Compiled by
Kathleen Murray<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-This quiz presents the heroes and the villains from
a number of fantasy films with the challenge to the reader to match the actors
to each other. The difference in this quiz and the previous ‘Heroes and
Heavies’ quiz is that this one includes the titles of the films to offer a hint
to the reader. The quiz and the answers are below. <o:p></o:p></span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRZSgKY0Mo06_xT60egrCW9BYjI4UUKxEg_L-wLpPMGoJ1O5Yt59BrbR1iALwRO-sFg4V9LyGCFe2xNHAQYhIHfJ4aDsTX_K9BOpbJxjhKHJbl0kY5kOY29rjMxT4oAGAwzwN3M3GrZf1B/s2048/Heroes+and+Heavies+Quiz.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1389" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRZSgKY0Mo06_xT60egrCW9BYjI4UUKxEg_L-wLpPMGoJ1O5Yt59BrbR1iALwRO-sFg4V9LyGCFe2xNHAQYhIHfJ4aDsTX_K9BOpbJxjhKHJbl0kY5kOY29rjMxT4oAGAwzwN3M3GrZf1B/w434-h640/Heroes+and+Heavies+Quiz.jpg" width="434" /></a></i></div><i style="mso-bidi-font-style: normal;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr3i-jai-pMXLnheJ6NYIvJmSXa3y4XlJ9BRHcUJQMz9FwSW1Z_FH4cA00YqKkdTBSqSbWNPAL8k4V3NxBwEjcX3iRPnUX_C2J4h2rc3O01FU2XEPiIkzCFvxg3_AupXs1yJ780ggdpskk/s2048/Heroes+and+Heavies+Answers.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1758" data-original-width="2048" height="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr3i-jai-pMXLnheJ6NYIvJmSXa3y4XlJ9BRHcUJQMz9FwSW1Z_FH4cA00YqKkdTBSqSbWNPAL8k4V3NxBwEjcX3iRPnUX_C2J4h2rc3O01FU2XEPiIkzCFvxg3_AupXs1yJ780ggdpskk/w640-h550/Heroes+and+Heavies+Answers.jpg" width="640" /></a></div><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;"><br /></span></i><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUivJeLoodcwQ_JpK2XHgxBCY0-bQsXzUqWj_pMMXfGfw6pwZNOxvJICCiTkmbQ88T2u6WHZPd_ZDAHkuOkLomA_J_XU840YCuwPuQ0aE5NWKaJFGmHZdbfrOyDtCnyZ_QA2cIZZPULUnx/s561/Etc.jpg" style="clear: right; display: inline; float: right; font-style: italic; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="426" data-original-width="561" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUivJeLoodcwQ_JpK2XHgxBCY0-bQsXzUqWj_pMMXfGfw6pwZNOxvJICCiTkmbQ88T2u6WHZPd_ZDAHkuOkLomA_J_XU840YCuwPuQ0aE5NWKaJFGmHZdbfrOyDtCnyZ_QA2cIZZPULUnx/s320/Etc.jpg" width="320" /></a></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--Other Dimensions: Etc. <o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-The news and notes section of the magazine provides
another update on </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Twilight Zone: The Movie, <i style="mso-bidi-font-style: normal;">detailing
Joe Dante’s remake of “It’s a Good Life” and George Miller’s remake of
“Nightmare at 20,000 Feet.” Cast and crew information, including cameos, are reported
alongside photographs from the set. Next, editor and literary historian Mike
Ashley, who has previously written profiles of classic horror authors for the
magazine, details the sixtieth anniversary of </i>Weird Tales, <i style="mso-bidi-font-style: normal;">the progenitor of all American fantasy
magazines. Ashley gives a potted history of the magazine and provides details
on the notable stories and authors featured in the magazine’s pages. Ashley
previously compiled a </i>Weird Tales <i style="mso-bidi-font-style: normal;">reprint
anthology for the British market titled </i>Weird Legacies <i style="mso-bidi-font-style: normal;">(1977). <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-As an aside, Ashley repeats a commonly held notion
that the early years of the magazine, under editor Farnsworth Wright, were far
better than the later years of the magazine under editor Dorothy McIlwraith.
This is generally because the “big three” of </span></i><span style="font-size: 14pt;">Weird Tales, <i>H.P. Lovecraft, Robert E. Howard, and Clark Ashton Smith, published
under Wright. This is well and good, but considering the authors who published in
</i>Weird Tales <i>under McIlwraith’s
editorship, Ray Bradbury, Robert Bloch, Richard Matheson, Fritz Leiber, Henry
Kuttner, C.L. Moore, Manly Wade Wellman, Theodore Sturgeon, Joseph Payne
Brennan, Anthony Boucher, Fredric Brown, to name a few, those later issues
certainly should not be dismissed. </i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-The section continues with numerous examples of
newspaper headlines and comic strips featuring the term “Twilight Zone,” as
well as details on an unusual item sent to the TZ offices by a reader of the
magazine. Finally, TZ’s film critic, James Verniere, reports back from a set
visit to David Cronenberg’s </span></i><span style="font-size: 14pt;">Videodrome, <i>sharing
his interview with actor James Woods.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQJZ_nkaBj2JjT7i8Tu7keD-CyajXqlwTBdPnvVkHhatPwE-vsAlSo6lRJoahW4yDPO1Y3JzKR1sCAu31HhBo_d48JrgjrkeEnPTie43sjEkRKaOUl1F2qXIJZ62LZwrvBIosJd5C2RmwO/s510/Colin+Wilson+interview.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="379" data-original-width="510" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQJZ_nkaBj2JjT7i8Tu7keD-CyajXqlwTBdPnvVkHhatPwE-vsAlSo6lRJoahW4yDPO1Y3JzKR1sCAu31HhBo_d48JrgjrkeEnPTie43sjEkRKaOUl1F2qXIJZ62LZwrvBIosJd5C2RmwO/s320/Colin+Wilson+interview.jpg" width="320" /></a></i></div><b><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--TZ Interview: Colin Wilson, conducted by Lisa
Tuttle</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">“The
celebrated author of <i style="mso-bidi-font-style: normal;">The Outsider </i>has
some outsider’s opinions of his own – as his views on ghosts and poltergeists
make clear.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-Interviewer Lisa Tuttle begins with a brief
summation of Colin Wilson’s career. Wilson generally worked in four areas. He
wrote science fiction/horror novels, literary/social criticism, true crime, and
books on paranormal or occult subjects. The two works that Wilson was preparing
at the time give good indication of his interests, a mammoth encyclopedia of
world crime and a book on an American man who claims to be able to access his
unconscious mind.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-Since Wilson’s latest book at the time was </span></i><span style="font-size: 14pt;">Poltergeist, <i>and since he claimed in that book to be
convinced that poltergeists were real and not the product of the human mind,
the interview is largely given over to his views on the subject. Wilson later
opens up about his upbringing and his life before his first great success, </i>The
Outsider, <i>a hugely successful survey of
outsider artists, their thoughts, behaviors, and effect on society. Wilson then
describes his life after the publication of this work, when he went from an
unknown to an “overnight” sensation in literary circles. Wilson details how his
follow-up works failed to live up to the expectations set by </i>The Outsider, <i>how this damaged a reputation he did not wish
to have, and how it ultimately freed him to write the sort of books he desired
to write. Wilson spends a good deal of time on the functions of the mind and
its effects on the self. Wilson admits to never having seen a ghost and gives a
generally negative opinion on the state of science fiction, which he does not
read. Curiously absent are direct comments on Wilson’s novels and other works
of fiction. Although he speaks briefly about his time working in the film
industry writing screenplays, it would have been nice to get his thoughts on
the creation of such interesting works as </i>The Mind Parasites <i>(1967), </i>The Philosopher’s Stone <i>(1969), and </i>The Space Vampires <i>(1976).</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-Overall, Wilson strikes the reader as a cultured,
highly intelligent man who, nevertheless, seemed to be strongly drawn to every
aspect of the paranormal and occult, devoting enormous amounts of energy to its
study. He does not seem to arrive at this from the position of an interested
observer, like Charles Fort, but from a genuine desire to believe such things
as ghosts, poltergeists, telepathy, dual selves, etc.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuPdtfcys3mA-yCLr3Fu5GThrI5gA1o0I3CCaLh9W1wE3xdOxXMOQqLBDCxC5y0XMJpqSVI9evw0F0Eyg6oZOmcxOjiFr7SKoHnbLjQ9M1bgAHJx0YphyphenhyphenyJ2367IaCnKkLp8C29ZBhTiPy/s243/Colin+Wilson+Sampler.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="243" data-original-width="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuPdtfcys3mA-yCLr3Fu5GThrI5gA1o0I3CCaLh9W1wE3xdOxXMOQqLBDCxC5y0XMJpqSVI9evw0F0Eyg6oZOmcxOjiFr7SKoHnbLjQ9M1bgAHJx0YphyphenhyphenyJ2367IaCnKkLp8C29ZBhTiPy/s0/Colin+Wilson+Sampler.jpg" /></a></i></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--A Colin Wilson Sampler by Colin Wilson<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">“Through
nearly three decades of writing, Wilson has explored the frontiers of human
knowledge and the fringes of human behavior, searching for the awesome powers
locked within our skulls.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-This is an engrossing, fast-paced survey of Colin
Wilson’s literary output, presented in the form of thematic extracts from
Wilson’s works. The commentary is taken from a number of Wilson’s books and
covers such subjects as poltergeists, human ancestors, H.P. Lovecraft, the
tyranny of the present (as a state of mind), optimism, the vision of “the
outsider,” the identity of “the outsider,” the success of the book </span></i><span style="font-size: 14pt;">The Outsider, The Lord of
the Rings, <i>telepathy in infants, and the
appeal of the occult and the forbidden. Although the reader is likely to disagree
with a number of Wilson’s viewpoints, it still makes for absorbing, fascinating
reading. It is no wonder Wilson sold as many books as he did during his
lifetime, and why he is still highly regarded in some literary circles to this
day.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--Presenting the Winners from Our Second Annual
Short Story Contest</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-Chosen by the editors of </span></i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">The Twilight Zone Magazine; <i style="mso-bidi-font-style: normal;">stories illustrated by Yvonne Buchanan <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">“A trio of
prizewinners – and a bonus short-short – showcasing four exceptional new
talents.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjZ4U1H61N50torwGP3pJ-vM177SdlN2_lFzTY2ToPTNuYINQqR1mw-kxMituhnE7846Qc3lXvHU7Ezsx3cewbiWIWIZw25LbcgMmpfzmfpUbLLX2oTa0YaUa4Rgy20sdYG5eP_ZMV8UG0/s250/The+Journey.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="250" data-original-width="245" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjZ4U1H61N50torwGP3pJ-vM177SdlN2_lFzTY2ToPTNuYINQqR1mw-kxMituhnE7846Qc3lXvHU7Ezsx3cewbiWIWIZw25LbcgMmpfzmfpUbLLX2oTa0YaUa4Rgy20sdYG5eP_ZMV8UG0/w196-h200/The+Journey.jpg" width="196" /></a></i></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">“The Journey” by Abbie Herrick<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-A family (father, mother, daughter) live out of
their car, a 1956 Cadillac Fleetwood, and seem to be on an endless road
journey, coming from nowhere and headed toward nowhere. The car represents
something different to each member of the family. For the father, it is a
status symbol, the last sliver of his dwindling pride. For the mother, it is a
prison and a constant reminder of their lot in life. For the perpetually
carsick young girl it is a monster, carrying them away to strange new lands. <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_jJNy9NkJb6ZqxTVmyaz6dPAIYwN90qgw6lVWKwe8Y25mWs4HkvNIM_UgfGpbNDz9ShAyGLWG6EisNUeXmtfmBoA3_DNm9AOuplszkSxEwGMm2gT3JEvmnr-mUiDe4dLlu3JOd-HHB6Sg/s248/The+Critique.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="248" data-original-width="242" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_jJNy9NkJb6ZqxTVmyaz6dPAIYwN90qgw6lVWKwe8Y25mWs4HkvNIM_UgfGpbNDz9ShAyGLWG6EisNUeXmtfmBoA3_DNm9AOuplszkSxEwGMm2gT3JEvmnr-mUiDe4dLlu3JOd-HHB6Sg/w195-h200/The+Critique.jpg" width="195" /></a></i></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">“Critique” by Brian Ferguson<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-Students bring objects to a classroom for
show-and-tell. John brings a dove. Other students “critique” the bird by
mutilating it with sharp implements. Then it is another student’s turn to show
what they have brought to class. It is a tiny chipmunk. John smiles and readies
his switchblade. <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBvAfl-NiE6Yp99giTZKl_Lv0EC52R8A8gmrDEZcQu_5R32xM5kTZTzd5-nnFDnwJrMP3eTTNlcnpID98vKbF9g7xLslvOSEq-mbr_wtfu_G0KgggNGCf3XGAKbYI4a0CycA4VpKW2QA-A/s252/Evening+in+the+Park.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="252" data-original-width="246" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBvAfl-NiE6Yp99giTZKl_Lv0EC52R8A8gmrDEZcQu_5R32xM5kTZTzd5-nnFDnwJrMP3eTTNlcnpID98vKbF9g7xLslvOSEq-mbr_wtfu_G0KgggNGCf3XGAKbYI4a0CycA4VpKW2QA-A/w195-h200/Evening+in+the+Park.jpg" width="195" /></a></i></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">“Evening in the Park” by Susan Rooke<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-A young woman in a loveless marriage leaves her
house after an argument with her husband and heads to the local park. It is
after dark and the woman believes she is alone in the park. She is therefore
surprised to discover an old woman sitting close by that she did not notice
before. The young woman does not realize that the old woman is a fairy and able
to grant wishes. The young woman wastes her wishes on common things (light, a
television, etc.) when she could have wished for an entirely new life. The
young woman heads back home, never to see the fairy again. <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7OciII2sKD5idtHcaNMgQP0v1zyMdKjKohIEckocog-3m31dh-o9LreCVrTOdtV-0r6s41rmaBgowiKEkClCxFvKZ_r_paEiS7HSh2GBbpEU1Tll_TnT7UZuDasdHpBBOlvM9eUrHpTRe/s248/Say+Goodbye+to+Judy.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="248" data-original-width="246" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7OciII2sKD5idtHcaNMgQP0v1zyMdKjKohIEckocog-3m31dh-o9LreCVrTOdtV-0r6s41rmaBgowiKEkClCxFvKZ_r_paEiS7HSh2GBbpEU1Tll_TnT7UZuDasdHpBBOlvM9eUrHpTRe/w198-h200/Say+Goodbye+to+Judy.jpg" width="198" /></a></i></div><i style="mso-bidi-font-style: normal;"><br /></i><b><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">“Say Goodbye to Judy” by William B. Barfield</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-The narrator describes a woman he has always loved,
the titular Judy, in a way that suggests that Judy fell in love with another
man and then died in a car crash. Turns out, the narrator is not attending
Judy’s funeral but rather her wedding, and he is losing her not to death but to
marriage. <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUz9pmWhPNfiv-1ECTay7a5Xn2ZhB35kzmvfdzFWC4xH7O8M-JokdDVYr7qT3n5nCI7oPc4ABhyphenhyphenLW3ljp6ijnfaoOxNS414ze_Xe1YYFwIxrolxrPnS49alGGM0JPGFotDK3bQPsB_KPQK/s389/Fifth+Dimension.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="389" data-original-width="387" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUz9pmWhPNfiv-1ECTay7a5Xn2ZhB35kzmvfdzFWC4xH7O8M-JokdDVYr7qT3n5nCI7oPc4ABhyphenhyphenLW3ljp6ijnfaoOxNS414ze_Xe1YYFwIxrolxrPnS49alGGM0JPGFotDK3bQPsB_KPQK/w199-h200/Fifth+Dimension.jpg" width="199" /></a></i></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--“5<sup>th</sup> Dimension” by Scott Edelman<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Illustrated by
E.T. Steadman<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">“The old TV
had extraordinarily good reception – it reached all the way to The Twilight
Zone.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-Scott Edelman, a reader of TZ Magazine, writes to
the editor, T.E.D. Klein, complaining that Marc Scott Zicree’s show-by-show
guide to The Twilight Zone neglected to included several TZ episodes that he
has recently watched on his television. Klein writes off to Zicree, who has no knowledge
of the episodes Edelman is referring to. Klein receives some very convincing
photographs from Edelman. Finally, Klein writes off to Carol Serling,
indicating that Edelman is receiving new episodes of The Twilight Zone straight
from the afterlife.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-This was a fun and clever imagining of what sort of
episodes Rod Serling would have created for The Twilight Zone had the show been
given a sixth season, or beyond. Scott Edelman has enjoyed a long career as a
fan, writer, and editor in the fields of comics, television, fantasy, science
fiction, and horror. Edelman currently hosts the podcast, </span></i><span style="font-size: 14pt;">Eating the Fantastic, <i>in which he shares a meal with a notable
figure from comics, science fiction, fantasy, or horror, and records their
conversation. “5<sup>th</sup> Dimension” was collected in </i>These Words Are
Haunted <i>(2001).</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0shnE8594kdNB6C-xSZ7K8cEcD0liH__xBBaerq5ezTPagnerLDiPP_Gsapzc6aAQwRuVrWCN9979GqGa1PKkp4HGso93DTGLw_9AAMzpgMPUYAhO5CaPBsC9eU3GXLcB0QHtUa4kc0yr/s431/Nightbears.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="431" data-original-width="411" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0shnE8594kdNB6C-xSZ7K8cEcD0liH__xBBaerq5ezTPagnerLDiPP_Gsapzc6aAQwRuVrWCN9979GqGa1PKkp4HGso93DTGLw_9AAMzpgMPUYAhO5CaPBsC9eU3GXLcB0QHtUa4kc0yr/s320/Nightbears.jpg" /></a></i></div><b><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--“Nightbears” by Juleen Brantingham</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Illustrated by
Steve Stankiewicz<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">“Just beyond
the door lay a world of death and horror – and the hardest part was keeping it
out of his home.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-John works at a facility that uses criminals to
test experimental drugs. At home, he struggles to keep the horrors of the outside world from entering the lives of his family, especially his
young son. Food is scare, disease is rampant, war is imminent. John’s son has
taken to having vivid nightmares, including one in which bears come in the
night to eat him. John begins to buckle under the stress of his job, his life at
home, and the world outside. He brings home “jelly beans” to share with his
son. It turns out these “jelly beans” are from the facility where John works and
they cause a horrible, deadly reaction in the boy.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-This was a highly ambiguous tale, almost a
mood-piece, but still very effective. The world it describes, one of war,
societal conflict, disease, and governmental corruption feels awfully familiar.
Juleen Brantingham returns to the pages of TZ after appearing in the November,
1981 issue with “The Old Man’s Room.” Brantingham also appeared in the Carol
Serling-edited anthology, </span></i><span style="font-size: 14pt;">Adventures in the Twilight Zone <i>(1995)
with “The House at the Edge of the World.”</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFS1SASLkVuCXAXBlD_AJ_-Fs-4cqmVBESSu69WGq2tcnp3czFuQim_XUJzN_473gM23Blp3cXc43EKd2XY_ERAuGoDXai9rcYWld-d-jEiRR6SZ4QIfnF4BBqFPktWKDRVjTvPSXEUlX1/s505/The+Hunger.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="391" data-original-width="505" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFS1SASLkVuCXAXBlD_AJ_-Fs-4cqmVBESSu69WGq2tcnp3czFuQim_XUJzN_473gM23Blp3cXc43EKd2XY_ERAuGoDXai9rcYWld-d-jEiRR6SZ4QIfnF4BBqFPktWKDRVjTvPSXEUlX1/s320/The+Hunger.jpg" width="320" /></a></i></div><b><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--TZ Screen Preview: <i>The Hunger </i>by James Verniere</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">“Can a
three-hundred-year-old man find happiness with a six-thousand-year-old woman?
David Bowie and Catherine Deneuve are about to reveal the answer. James
Verniere reports.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-The (don’t call it a) vampire film </span></i><span style="font-size: 14pt;">The Hunger <i>gets the full-color treatment in this issue.
James Verniere gives the rundown on the premise, the performers, the
differences between the film and other vampire films, the work of debut feature
director Tony Scott, and the challenges the film faces by insisting it is not a
horror, nor even a vampire, film. Verniere draws a comparison in this respect
to another film recently profiled in the magazine, Paul Schrader’s </i>Cat
People.<i> </i>The Hunger<i> is put into context against the entire
history of the vampire film. A sidebar feature chronicles notable examples of
cinema vampires from the silent </i>Nosferatu <i>through Lugosi, Lee, Polanski’s </i>The Fearless Vampire Killers, <i>and modern remakes of </i>Nosferatu <i>and </i>Dracula. <i>What is not discussed in any detail is the source material or its
author, as Whitley Strieber and his novel are only mentioned in passing.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSqjrNuS95skuO2ASQSoK57B1ju2gMQB3ut2aZGPlaQihvwGU5juzDCevi8IP8Hgcd7U9PmNkp_FiMnkVe9igwDCAyC1BLUy8pZ8tlB4SUVron6IP8sGLsScEOIcHXdZT845RnSlAX4Hxk/s390/Notes+for+a+Twilight+Zone+Movie.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="390" data-original-width="346" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSqjrNuS95skuO2ASQSoK57B1ju2gMQB3ut2aZGPlaQihvwGU5juzDCevi8IP8Hgcd7U9PmNkp_FiMnkVe9igwDCAyC1BLUy8pZ8tlB4SUVron6IP8sGLsScEOIcHXdZT845RnSlAX4Hxk/s320/Notes+for+a+Twilight+Zone+Movie.jpg" /></a></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--TZ Discovery: Notes for a “Twilight Zone”<i style="mso-bidi-font-style: normal;"> </i>Movie by Rod Serling<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">“With the
Spielberg-Landis co-production nearing release, here’s a never-before-published
look at the <i style="mso-bidi-font-style: normal;">Twilight Zone </i>film that
Serling himself might have made.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-Rod Serling began working on a possible Twilight
Zone film even while the television series was in its prime run. Serling seemed
always to envision a moment in time when the show would make the leap to the
big screen. Unfortunately, he did not live to see </span></i><span style="font-size: 14pt;">Twilight Zone: The Movie. <i>Nevertheless, Serling worked intermittingly
on a TZ movie for several years, even after the show had ended and gone into
syndication. Serling took a shot at drafting a treatment or outline for a TZ
movie a few times, and the format was typically the same. It would be an
anthology film with a varying number of segments, typically three or four, each
hosted by Serling. In essence, the TZ movie would be three or four original episodes
strung together to form a feature, presumably with higher production values.
Some of the ideas in Serling’s early drafts for a TZ movie gained life in other
ways. His first treatment contained two stories, one about a blind woman given
sight for a short time, a second about a fugitive Nazi on the run, which later appeared
as “Eyes” and “The Escape Route,” respectively, in Serling’s 1967 book
collection, </i>A Season to Be Wary. <i>Serling
later adapted these stories for the </i>Night Gallery <i>pilot film. Two stories from the treatment presented here also later
saw life on the small screen.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-Carol Serling provides a brief preface to Serling’s
treatment, and Serling’s prefatory comments are included as well. The format of
the film is an anthology with three segments, with Serling as the host. The
first segment concerns the fantasies of a hotdog vendor in a baseball park who
dreams of being an all-star player who garners everyone’s admiration. The
second story concerns a doctor who calls on a very old family in a very old house
and discovers that the matriarch is a witch who saps the life from a young
relative in order to extend her own unnatural life. The third and final story
segment concerns a woman who watches in horror as her life unfolds on a movie
screen each night, leading to her death.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-The second story was later adapted by J. Michael
Straczynski for the third season of the first revival Twilight Zone series
under the title, “Our Selena Is Dying.” It was broadcast on November 12, 1988.
The third story was adapted by Richard Matheson as “The Theatre” for the first
segment of the 1994 television anthology film </span></i><span style="font-size: 14pt;">Twilight Zone: Rod Serling’s
Lost Classics.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzPlWSwD7avCwmc7HDzIYw3LwCiFxFDGDjh6yh1YngKLfAg6ER8HbPAk9N69xM6V3pxXen_080hN7OuwKVR0wWtb0xpVuwKU7Ve6_ovGbdugVvCodyBP8LMylKbh6fX8Q7jHAJpJGh41Jb/s1423/The+Last+Adam+and+Eve+Story.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="582" data-original-width="1423" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzPlWSwD7avCwmc7HDzIYw3LwCiFxFDGDjh6yh1YngKLfAg6ER8HbPAk9N69xM6V3pxXen_080hN7OuwKVR0wWtb0xpVuwKU7Ve6_ovGbdugVvCodyBP8LMylKbh6fX8Q7jHAJpJGh41Jb/s320/The+Last+Adam+and+Eve+Story.jpg" width="320" /></a></div><b><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--“The Last Adam & Eve Story” by Bruce J.
Balfour</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Illustrated by
Richard Basil Mock<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">“Look out,
world, here they come – fantasy’s favorite couple, together again for (thank
God) for the last time!”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-Adam and Eve are space travelers on a journey to
find a new home. Their computer GOD leads them to a planet and informs them
that it is fit for human habitation. As a jest, Adam and Eve name the planet
Earth. They land and emerge from the spaceship, only to die horribly because
the atmosphere is poisonous to them. GOD is satisfied, since that will put an
end to all those Adam and Eve stories.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-Bruce J. Balfour previously appeared in the pages
of TZ for the June, 1982 issue with his story, “Some Days Are Like That.”</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNvc1l019oJmI3_SoZ7XdxI9F3k86MxPqiMZ9rmwmKFwGqwit_wynxYkTq6T1DygpIIR-_YGA0DAhSjj7Xk0w2iaoWBOQaAMt6h2cOZdydb0rAhePs8G2VjblI2Lg88jGlmEDE0NTiW_h9/s692/Dakota+Safari.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="544" data-original-width="692" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNvc1l019oJmI3_SoZ7XdxI9F3k86MxPqiMZ9rmwmKFwGqwit_wynxYkTq6T1DygpIIR-_YGA0DAhSjj7Xk0w2iaoWBOQaAMt6h2cOZdydb0rAhePs8G2VjblI2Lg88jGlmEDE0NTiW_h9/s320/Dakota+Safari.jpg" width="320" /></a></i></div><b><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--“Dakota Safari” by Gene O’Neill</span></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Illustrated by
Peter de Seve<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">“Join Jomo K.
Mbabwe and O.K. Jones on a spine-tingling expedition through the wilds of
America, where the Cougars, Mustangs, and Rabbits roam free – at least until
they run out of gas.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-A seasoned outdoorsman guides a government
ambassador on a trek through the wilds of a futuristic America, in which
automobiles roam free like wild animals, stopping at gas stations instead of
watering holes. The two men become aware of poachers, who shoot and kill the
automobiles in order to collect their parts. The ambassador tries to sabotage
the efforts of the poachers, drawing unwanted attention. The two men are beset
by the poachers and are saved by a small “herd” of Rangers.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-Gene O’Neill previously appeared in TZ for the
October, 1981 issue with his story, “The Burden of Indigo.” “Dakota Safari” was
collected in </span></i><span style="font-size: 14pt;">Ghosts,
Spirits, Computers and World Machines <i>(2000).</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC5c2qK9k-ZJl9Mx3jqqrWD7QKU-d5Agk_0KrFpkOvLVfblhDUFdlIVHD1Q2D0vG8BBpzhMXRpw-rtN6cZcBi99MD1WZlpgMR8MuYIaQSpVdVAxzUcsvTWZTm6zbhn1TLdXjhOE7Flw0Pw/s1405/Murchison%2527s+Dream.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="526" data-original-width="1405" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC5c2qK9k-ZJl9Mx3jqqrWD7QKU-d5Agk_0KrFpkOvLVfblhDUFdlIVHD1Q2D0vG8BBpzhMXRpw-rtN6cZcBi99MD1WZlpgMR8MuYIaQSpVdVAxzUcsvTWZTm6zbhn1TLdXjhOE7Flw0Pw/s320/Murchison%2527s+Dream.jpg" width="320" /></a></i></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--“Murchison’s Dream” by Byron Marshall <o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Illustrated by
Jill Karla Schwarz <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">“Last night
the world had met its doom. Unless it had only been . . .” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;"><o:p>-</o:p></span><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">A man is disturbed by his friend’s dream of the end
of the world, especially since the Earth very recently suffered a scare very
much like that of the dream. The two men take a drive in the country. The man
tries to comfort his friend, who remains convinced that his dream became
reality.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;"><o:p></o:p></span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizbh1AgaDTsVMcvqKMubhzbHdO6AX1AFqDHkyvt21OAB1WXkAP3DAR_EibZFOV-W2b-mldRq69oiqHIHZ-3lHy5xkvDwSOy9XliwwNbLQDEsI2A2RypqZtNC1ExridbPD6TK3sMSCqpDuC/s936/And+Now+I%2527m+Waiting.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="647" data-original-width="936" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizbh1AgaDTsVMcvqKMubhzbHdO6AX1AFqDHkyvt21OAB1WXkAP3DAR_EibZFOV-W2b-mldRq69oiqHIHZ-3lHy5xkvDwSOy9XliwwNbLQDEsI2A2RypqZtNC1ExridbPD6TK3sMSCqpDuC/s320/And+Now+I%2527m+Waiting.jpg" width="320" /></a></b></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--“And Now I’m Waiting” by Richard Matheson<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">Illustrated by
David Klein <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">“The chilling
study of a writer’s satanic imagination – a tale later transformed into <i style="mso-bidi-font-style: normal;">The Twilight Zone </i>comedy ‘A World of His
Own.’” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-David comes to the aid of his sister, Mary. She is
distraught because she believes her husband, Richard, is unfaithful. David
confronts Richard and discovers something wonderful and terrible. Richard, a
writer, possesses the power to make anything he writes or speaks come alive in
reality. Richard has used this power to produce Alice, a lovely woman from his
most recent book. Richard conjures a venomous snake and accidentally kills
Alice instead of Mary, his intended victim. Distraught, Richard sets fire to
the house. David tries to escape until he realizes that he is also one of
Richard’s creations.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-This is the never-before-published story that
Matheson submitted to </span></i><span style="font-size: 14pt;">The Twilight Zone <i>and adapted for
the series as the first season finale, “A World of His Own.” The bones of the
story remain relatively the same and will be recognized by those who have
viewed the episode, but the tone and thematic qualities of the story are vastly
different from its adaptation. In a prefatory note, Matheson indicates that,
when he submitted the story, Rod Serling and Buck Houghton felt the story to be
too melodramatic and requested that Matheson take a different approach with the
adaptation. In response, Matheson went entirely the other way with the
material, turning the story into a lighthearted comedy with a happy ending. The
original story is very bleak, with the power of creation turning the main
character into a psychopath, who uses the power and his physical supremacy to
intimidate his wife and his brother-in-law. It is a satisfyingly grim short
story, and a reminder of how talented Matheson was at the form, but it would
have made for a very dark episode of TZ.</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-“And Now I’m Waiting” was reprinted in the first
issue of TZ’s sister publication, </span></i><span style="font-size: 14pt;">Night Cry <i>(1984)
and collected in </i>Off Beat: Uncollected Stories <i>(2003).</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq-j5YjTB25oE-OouSop_MeqVmi28fI-1ZX8bszlrNR0d5pp5Z16uFwPyNuqeaIwjfqqYyfhxveKcj5dDss3KcOHfkA8y89qGjMEpjJ_ZT5j6XWXlhId49Bw3_QWfpASbKs_Hmdpxg8O6-/s427/A+World+of+His+Own.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="305" data-original-width="427" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq-j5YjTB25oE-OouSop_MeqVmi28fI-1ZX8bszlrNR0d5pp5Z16uFwPyNuqeaIwjfqqYyfhxveKcj5dDss3KcOHfkA8y89qGjMEpjJ_ZT5j6XWXlhId49Bw3_QWfpASbKs_Hmdpxg8O6-/s320/A+World+of+His+Own.jpg" width="320" /></a></i></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--TZ Classic Teleplay: “A World of His Own” by
Richard Matheson<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-As would be expected, Richard Matheson’s teleplay
for the final episode of the first season is included as a companion piece for
the first publication of “And Now I’m Waiting.” “A World of His Own” first
aired on July 1, 1960, starring Keenan Wynn, Mary LaRoche, and Phyllis Kirk. It
was directed by Ralph Nelson. “A World of His Own” is a very enjoyable episode
and one of the relatively few successful comedic episodes of the series. It is
notable for including Rod Serling’s first appearance onscreen during an episode
(rather that for his preview of next week’s episode) in a memorable sequence in
which Serling is made to disappear. Revisit Brian’s <a href="http://twilightzonevortex.blogspot.com/2012/08/a-world-of-his-own.html"><span style="color: white;">review</span></a> of the episode for
the full story. <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--Show-by-Show Guide: TV’s Twilight Zone, Part Twenty-Three
by Marc Scott Zicree</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">-Zicree is nearing the end of his episode guide. In
this installment, he provides cast and crew credits, Rod Serling’s opening and
closing narrations, and summaries for the fifth season episodes, “Spur of the
Moment,” “An Occurrence at Owl Creek Bridge,” and “Queen of the Nile.” <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;">--In June’s TZ . . .</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKp9be0qpvfrajH7HY9arBESci3kx1DrVcNjND-xq3FEQHLmEMjsCT9kd_aNEW36vHg8cUfQE4OrmSB3NOeHcrgwnKWg6aKsNiz-qkmy0OPtvM4H6QCC9XMg7xot7tfvu2hzFDCL_ZZOaD/s2048/In+the+Next+TZ.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1498" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKp9be0qpvfrajH7HY9arBESci3kx1DrVcNjND-xq3FEQHLmEMjsCT9kd_aNEW36vHg8cUfQE4OrmSB3NOeHcrgwnKWg6aKsNiz-qkmy0OPtvM4H6QCC9XMg7xot7tfvu2hzFDCL_ZZOaD/w468-h640/In+the+Next+TZ.jpg" width="468" /></a></b></div><b style="mso-bidi-font-weight: normal;"><br /></b><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">-JP</span></p>JPhttp://www.blogger.com/profile/14808904189056290207noreply@blogger.com0tag:blogger.com,1999:blog-1318310043864039191.post-18922718344744739272021-03-29T06:00:00.144-05:002021-08-15T16:16:35.011-05:00"In Praise of Pip" <p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicEKAT0NvOtbDICEwwCjpmOjfu9NSkGSSnxZkMnJ8zcHVL9-C3qgIsDO5yqenriVZ5kfXHn3c6Y46oewGSF2pH2Ywt9a81Yjvq8kwC59md_Ml4glPjMu0edRXTih9bC_diDAB-quT68FZv/s933/In+Praise+of+Pip+10.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="696" data-original-width="933" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicEKAT0NvOtbDICEwwCjpmOjfu9NSkGSSnxZkMnJ8zcHVL9-C3qgIsDO5yqenriVZ5kfXHn3c6Y46oewGSF2pH2Ywt9a81Yjvq8kwC59md_Ml4glPjMu0edRXTih9bC_diDAB-quT68FZv/w400-h299/In+Praise+of+Pip+10.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Jack Klugman as Max Phillips and Bill Mumy as Young Pip</b></td></tr></tbody></table><p></p><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">“In Praise of Pip”</span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Season Five, Episode 121<o:p></o:p></span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Original Air Date: </i>September</span><span style="font-size: 14pt;"> 27, 1963<o:p></o:p></span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><b><i><span style="font-size: 14pt;">Cast:<o:p></o:p></span></i></b></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Max Phillips: </span></i><span style="font-size: 14pt;">Jack Klugman<o:p></o:p></span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Mrs. Feeny: </i>Connie Gilchrist</span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Pvt. Pip: </i>Robert Diamond</span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Young Pip: </i>Bill Mumy</span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Moran: </i>S. John Launer </span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>George Reynold: </i>Russell Horton</span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Gunman: </i>Kreg Martin</span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Doctor: </i>Ross Elliott </span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Lieutenant: </i>Gerald Gordon </span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; line-height: normal; margin-bottom: 0in;"><span style="font-size: 18.6667px;"><i>Surgeon: </i>Stuart Nisbet</span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><b><i><span style="font-size: 14pt;">Crew:<o:p></o:p></span></i></b></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Writer: </span></i><span style="font-size: 14pt;">Rod Serling </span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><i style="font-size: 14pt;">Director: </i><span style="font-size: 14pt;">Joseph M. Newman</span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Producer: </i>Bert Granet</span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Director of Photography: </span></i><span style="font-size: 14pt;">George T. Clemens<o:p></o:p></span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Production Manager: </span></i><span style="font-size: 14pt;">Ralph W. Nelson<o:p></o:p></span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Art Direction: </span></i><span style="font-size: 14pt;">George W. Davis & Walter Holscher <o:p></o:p></span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Film Editor: </i>Thomas W. Scott</span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Set Decoration: </span></i><span style="font-size: 14pt;">Henry Grace & Robert R. Benton<o:p></o:p></span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Assistant Director: </i>Charles Bonniwell, Jr. </span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Casting: </i>Patricia Rose</span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Music: </i></span><span style="background-color: transparent; font-size: 18.6667px;">René Garriguenc (composer), Lud Gluskin (conductor)</span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Sound: </span></i><span style="font-size: 14pt;">Franklin Milton & Philip N. Mitchell <o:p></o:p></span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><i><span style="font-size: 14pt;">Mr. Serling’s Wardrobe: </span></i><span style="font-size: 14pt;">Eagle Clothes<o:p></o:p></span></div><div class="MsoNormal" style="background-color: #bebebe; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><i>Filmed at MGM Studios</i></span></div><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQoh7zCQUFdZfawBYCFtJEA7uq7df0luEjJr96CaK4cQdKtE5jssYjjRnfiSQ3DlWV4pL0LVeKzLqVuKeEQYeNjuC6sSKuNTOtqxjJC3hTsAwcEndra3o9zyA7Qdg3GET2JLw0nuZRafOw/s936/In+Praise+of+Pip+3.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="710" data-original-width="936" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQoh7zCQUFdZfawBYCFtJEA7uq7df0luEjJr96CaK4cQdKtE5jssYjjRnfiSQ3DlWV4pL0LVeKzLqVuKeEQYeNjuC6sSKuNTOtqxjJC3hTsAwcEndra3o9zyA7Qdg3GET2JLw0nuZRafOw/s320/In+Praise+of+Pip+3.jpg" width="320" /></a></i></div><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Rod Serling’s Opening Narration:<o:p></o:p></span></i></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">“Submitted
for your approval, one Max Phillips, a slightly-the-worse-for-wear maker of
book, whose life has been as drab and undistinguished as a bundle of dirty clothes.
And, though it’s very late in his day, he has an errant wish that the rest of
his life might be sent out to a laundry to come back shiny and clean, this to
be a gift of love to a son named Pip. Mr. Max Phillips, </span></i><span style="font-size: 14pt;">Homo sapiens, <i style="mso-bidi-font-style: normal;">who
is soon to discover that man is not as wise as he thinks – said lesson to be
learned in the Twilight Zone.”</i></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;"><o:p></o:p></span></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFPaUzXVCnK5MMDGJYLFtcUJUp6DUwccu7G45LmWBnG8_vHZh-jNQirccvPh9jVacz60zodxo8zzuDVibSswC3LLcymjrSGBJNQJqYXOW9ICxAXhUXt44vP0J4ZYypWayxpf99zISr-bwF/s939/In+Praise+of+Pip+2.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="704" data-original-width="939" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFPaUzXVCnK5MMDGJYLFtcUJUp6DUwccu7G45LmWBnG8_vHZh-jNQirccvPh9jVacz60zodxo8zzuDVibSswC3LLcymjrSGBJNQJqYXOW9ICxAXhUXt44vP0J4ZYypWayxpf99zISr-bwF/w200-h150/In+Praise+of+Pip+2.jpg" width="200" /></a></i></div><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt;">Summary:<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Vietnam.
A wounded young soldier is carried in on a stretcher. He needs to be moved to a better facility if he hopes to survive his
injuries. The soldier’s identification tag reads: Phillips, Pip. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Thousands
of miles away, Max Phillips awakens with a scream. He is in a cheap, one-room
apartment. He smiles ruefully at the man in the mirror and takes a drink from a
bottle of bourbon kept concealed in a drawer. Max’s landlady, Mrs. Feeny,
enters to tidy up the room. She scolds Max on his habits, especially his
drinking. Max inquires if a letter arrived in the mail. Mrs. Freeny tells him
that nothing arrived that day. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Max
receives a visitor. It is a young man named George, who placed a losing bet on
a horserace using money stolen from his place of employment. Max is a bookie
and George has come to beg off paying up in fear he will be jailed if he doesn’t return the money. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Later
that night, Max pays a visit to Moran, who employs Max. Moran
mentions that Max has been avoiding him, and that Max failed to collect
three-hundred dollars from George. Now, Moran tells him, someone will have to
go out and bring George back. Max drops an envelope of money on the table and
lights a cigarette. Moran’s gunman brings in George, who has been beaten up.</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS5A8ub0UzYXNAi5yiPWhcfGs4EyM9oolONm5DEP0UGony2LS0SYxN-5qng0xQ81i81nRDEo30C_pBXGfv3q2eJilKNQqEzJPO4h7VOQId3vXlaBvaWMxJhapn787MaVz1e2M4XjLTbV50/s931/In+Praise+of+Pip+4.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="706" data-original-width="931" height="152" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS5A8ub0UzYXNAi5yiPWhcfGs4EyM9oolONm5DEP0UGony2LS0SYxN-5qng0xQ81i81nRDEo30C_pBXGfv3q2eJilKNQqEzJPO4h7VOQId3vXlaBvaWMxJhapn787MaVz1e2M4XjLTbV50/w200-h152/In+Praise+of+Pip+4.jpg" width="200" /></a></div> <o:p></o:p><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Max
takes a phone call from Mrs. Feeny. She informs him that a telegram arrived
from the Army stating that his son, Pip, is seriously wounded and dying in
Vietnam. Max is stunned. He walks to the window and looks out onto an amusement
park where he used to take Pip. Max is filled with regret for a lifetime of
drinking and conning and hustling, when he should have spent more time with his
son. It appears as though they’ll never have time together again, and Max will
never have the chance to make-up for all the times he left Pip waiting. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Regret
turns to rage. Max picks up the envelope of money and tosses it to George. Max
tells George to get out of there, return the money, and keep his nose clean
from now on. Moran’s gunman won’t allow George to leave. Max pulls out a knife.
The gunman takes a shot and wounds Max, but Max charges and drives the knife
into the gunman’s belly. Then Max turns and knocks down Moran. Max and George
rush out.</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaDCPUy-6GEWWzN3k_96uMkqY-EDGdRkPaDQlLcYE-PC3wzP0nqFwkVPnSR2KI0Vavnindz3fhUHXNbgcNg4qddOfc0O_0dY4kR_4gTWit-dT-keAFLQani3PWhKXaTc9rLPURCVdqCL1s/s916/In+Praise+of+Pip+6.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="706" data-original-width="916" height="154" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaDCPUy-6GEWWzN3k_96uMkqY-EDGdRkPaDQlLcYE-PC3wzP0nqFwkVPnSR2KI0Vavnindz3fhUHXNbgcNg4qddOfc0O_0dY4kR_4gTWit-dT-keAFLQani3PWhKXaTc9rLPURCVdqCL1s/w200-h154/In+Praise+of+Pip+6.jpg" width="200" /></a></div> <o:p></o:p><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Max
stumbles, wounded, to the gates of the amusement park. The park is closed for
the night, dark and deserted. He begs God to let him see Pip one last time. Max
slips through the gates and into the amusement park. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Max
sees a boy in the distance. It looks like Pip as a young boy. Max can’t believe
his eyes. He follows the boy around the corner. Miraculously, incredibly, it
really is Pip, as he was at ten years old. Max hugs and kisses his son but
doesn’t understand how Pip could be there or how Pip could be ten years old
again. It doesn’t matter, Pip tells him, they have time together and they have
the park to themselves. They should make the best of it.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt; mso-tab-count: 1;"> </span><span style="font-size: 14pt;">The
amusement park lights up. The rides lumber into motion. Cotton candy and
popcorn appear at the concession stands. Max has forgotten about the wound in
his side. He and Pip dash off to ride the rides, eat the food, play the games,
and enjoy one another’s company.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>An
hour passes when, suddenly, Pip runs away. Max, confused and upset, follows Pip
into the House of Mirrors. Max chases the boy but cannot catch him in the maze.
Max’s wound flares up again and he collapses, exhausted. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Pip
appears in the mirror. Max pours his heart out and tells Pip all the things he
regrets about their relationship. Max promises to change his ways, to be a
better father, to give up the drinking and the bookmaking so they can spend
time together. Pip tells him that their time is almost up. Pip has to leave
because he is dying.</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT1oIMdbubcXVJck_aKej0jFMTcZKlxm0KkH2fdSuRBITAW7np9fIxKQBVqYxHn9VnovIlvMOhRYqn6ixraADTuW5hyMP9hV0hnX91FQYpICRBDXlCg-K5bc6-iU_a2PjY_qgYWIQ8-VBX/s942/In+Praise+of+Pip+9.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="709" data-original-width="942" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT1oIMdbubcXVJck_aKej0jFMTcZKlxm0KkH2fdSuRBITAW7np9fIxKQBVqYxHn9VnovIlvMOhRYqn6ixraADTuW5hyMP9hV0hnX91FQYpICRBDXlCg-K5bc6-iU_a2PjY_qgYWIQ8-VBX/w200-h151/In+Praise+of+Pip+9.jpg" width="200" /></a></div> <o:p></o:p><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Pip
rushes from the House of Mirrors and disappears. Max follows, the wound in his
side draining him of life. The amusement park is dark and silent again. Max
leans against a post and offers up a bargain to God. Max will gladly give up his
life if it means that Pip can live. Max stumbles forward and collapses to the
ground, dead. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>On
a sunny afternoon sometime later, Pip arrives at the amusement park in the
company of Mrs. Feeny and her granddaughter. Pip is limping and using a cane
but looks to be on the road to a full recovery. Pip wanders around the crowded
park and remembers the good times he had with his father.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Rod Serling’s Closing Narration:<o:p></o:p></span></i></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">“Very
little comment here, save for this small aside: that the ties of flesh are deep
and strong, that the capacity to love is a vital, rich, and all-consuming
function of the human animal, and that you can find nobility and sacrifice and
love wherever you may seek it out; down the block, in the heart, or in the
Twilight Zone.”</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"></i></p><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXStCw4noUKbci6IFyWnBbptMGMG73I_IGoL3cWTcAPLzWXffJuqrOvMPBToho-eQMgCRhYbpOlj6pmg5EWVREwSBautWIEjSvRxmM7HBCxv-9lrrNhn_5dccL_r5SZNq-iuXFLeFON6rz/s932/In+Praise+of+Pip+7.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="711" data-original-width="932" height="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXStCw4noUKbci6IFyWnBbptMGMG73I_IGoL3cWTcAPLzWXffJuqrOvMPBToho-eQMgCRhYbpOlj6pmg5EWVREwSBautWIEjSvRxmM7HBCxv-9lrrNhn_5dccL_r5SZNq-iuXFLeFON6rz/w200-h153/In+Praise+of+Pip+7.jpg" width="200" /></a></i></div><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt;">Commentary:<o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>“In
Praise of Pip” begins the fifth and final season of <i style="mso-bidi-font-style: normal;">Twilight Zone </i>on a particularly high note. It features some of Rod Serling’s
strongest writing on the series and reunites viewers with two of the show’s
most recognizable and enjoyable performers.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;"><span style="mso-spacerun: yes;"> </span>At this late point in the series, writing was often
a struggle for Serling, not because he had lost any of his considerable ability,
but because the responsibility of producing a high quantity of high quality
material took a creative toll on his output. This was a pressure consistently placed
on Serling since the first season, when he was contractually obligated to
produce eighty percent of the scripts for the series. Although this production arrangement
did not extend beyond the first season, Serling continued to produce the vast
majority of material for the series. Serling wrote sixteen of the thirty-five
scripts for the fifth season.</span><span style="font-size: 10pt;">*</span><span style="font-size: 14pt;"> As comparison, the second-most productive writer of
the fifth season, Earl Hamner, Jr., contributed five scripts. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">By his own admission,
Serling felt creatively and physically exhausted, and it affected the quality
of his scripts as well as his ability to distinguish good work from bad. Serling
composed his scripts via dictation, not only in an effort to capture the
natural cadences of conversation, but also to speed up production. The results, apparent in several episodes of the fifth season, were scripts heavily weighed
down by dialogue and largely devoid of substantial dramatic action. In some
instances, Serling was able to circumvent this recurring characteristic and
produce engaging drama, such as “The Masks” or “The Jeopardy Room.” Other times,
the results were less successful, as in “Uncle Simon” or “The Fear.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>How,
then, did Serling create one of his finest scripts, and perhaps the finest
episode of the fifth season? The simplest answer is that, creatively exhausted
or not, Serling was still a hugely talented writer capable of producing high
quality material. If we dig a little deeper, however, we can see the method by
which Serling went back to a creative well that produced material earlier in
his career, as well as earlier in the series.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>On
April 8, 1953, <i style="mso-bidi-font-style: normal;">Kraft Television Theatre </i>presented
“Next of Kin” by Rod Serling. The contemporary drama concerned the conflict of
the Korean War and explored the effect of three missing soldiers on their
families and friends back home. The story of a missing soldier named Tommy
Phillips is told through the perspective of his father, Max, an alcoholic
bookie who recites an oft-repeated promise to his landlady, Mrs. Feeny. Max
promises to clean up, to stop drinking, and to leave bookmaking behind in order
to spend time with his son once Tommy returns from the war. Max tells Mrs.
Feeny that he plans to meet Tommy at the boat. His love for his son pushes Max
to spare a young man who cannot pay up on a bet. This lands Max in trouble
with Moran, the local crime boss, who is less forgiving of such transgressions.
It is while visiting Moran that Max receives a telephone call from Mrs. Feeny.
A telegram arrived from the Army reporting Tommy missing in action. Max is
stunned. He looks out of the window onto a carnival where he used to take
Tommy. Facing the possibility of never seeing his son again, Max is filled with
regret for not being a better father.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>If
this sounds familiar to viewers of “In Praise of Pip,” it is because Serling
recycled this dramatic act, almost verbatim, from his earlier script. It also
explains why the fantasy element in “In Praise of Pip” does not appear until halfway through the episode. As it is, the fantasy element is
so subtle, and achieved with such a minimum of effects, that one could plausibly suggest that Max is already dead at the time he enters the deserted amusement park.
The park then serves as a sort of purgatory in which Max must wrestle with his own mortality, and the mortality of his neglected son, in order to make the
necessary sacrifice that will grant him redemption and save Pip. The telltale
clue to this possibility is the waxing and waning of the effect of Max’s
gunshot wound. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Serling
did not recycle an earlier script simply to take a shortcut or to speed
up production. He recognized the dramatic power in the earlier work and decided
to take another shot at it a decade later on <i style="mso-bidi-font-style: normal;">Twilight Zone. </i>From this earlier springboard, Serling added a
second act and a requisite element of fantasy. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>The
second act also calls back to earlier Serling scripts, although in a more indirect
manner. “In Praise of Pip” contains a number of thematic and symbolic echoes from
earlier episodes of <i style="mso-bidi-font-style: normal;">Twilight Zone. </i>In
some ways, the episode plays out like the inverse of Serling’s early masterpiece,
“Walking Distance.” In that first season episode, a man magically returns to a
moment in his childhood and receives a new perspective on his unhappy life,
largely through the wisdom of a father who, though deceased in the reality of
the present, is young and alive in this fantasy past. For purposes of comparison, "Walking Distance" can roughly be summarized as concerning a father who encounters an adult version of his son from the future, whereas "In Praise of Pip" concerns a father encountering a child version of his son from the past. "In Praise of Pip" also contains, albeit briefly, a sequence with a carousel, which may remind viewers of "Walking Distance."<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>“In
Praise of Pip” also features an ambiguous deal with God. In many of his
scripts, Serling writes about God, Death, or the afterlife as someone or
something with which one can directly communicate and bargain. This was
established as early as the first season episode, “One for the Angels,” in
which an old man gives his life for a young girl hovering, much like Pip,
between life and death. Jack Klugman’s first appearance on <i style="mso-bidi-font-style: normal;">Twilight Zone </i>was in “A Passage for Trumpet,” which concerns a man,
guided by an angel, who must contend with his own personal worth as he walks a
purgatorial path between life and death. Bill Mumy, young Pip in “In Praise of
Pip,” made his first appearance on the series in an episode concerned with much
of the same material. “Long Distance Call,” written by Charles Beaumont and
William Idelson, sees a father directly call out to the other side in order to
save his young son, played by Mumy, from a tragic early death.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>There
are also recurring symbols tenuously connecting “In Praise of Pip” to earlier
episodes of the series. The mirror as a symbol for interior self-reflection was
a key component in two earlier Serling scripts, “Nervous Man in a Four Dollar
Room” and “The Mirror.” It was also used as a simple vehicle for suspense in “The
Hitch-Hiker” and “Mirror Image.” Serling also recreated the memorable scene of
a character crashing into a mirror from the pilot episode, “Where Is
Everybody?” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>“In
Praise of Pip” feels akin to several <i style="mso-bidi-font-style: normal;">film
noir</i>-influenced offerings on the series, as well, many of which date from
the first season. The grimy, hopeless, and doom-laden atmosphere of the first
act is heightened in the second act by the atmospheric setting of the deserted
amusement park and by Max’s bleak, but ultimately redemptive, death. These
elements are greatly enhanced by George Clemens’s wonderfully expressionistic
photography and, especially, by the melancholy, jazz-inflected score from René
Garriguenc. Director Joseph M. Newman was no stranger to film noir and related
crime dramas. Although he is perhaps best remembered as the director of the
science fiction classic, <i style="mso-bidi-font-style: normal;">This Island
Earth </i>(1955), he also directed such films as <i style="mso-bidi-font-style: normal;">711 Ocean Drive </i>(1950), <i style="mso-bidi-font-style: normal;">Lucky
Nick Cain </i>(1951), <i style="mso-bidi-font-style: normal;">Dangerous Crossing </i>(1953),
and <i style="mso-bidi-font-style: normal;">The Human Jungle </i>(1954). Newman
brought his talent for crime and suspense subjects to <i style="mso-bidi-font-style: normal;">The Alfred Hitchcock Hour </i>at roughly the same time he arrived on
the fifth season of <i style="mso-bidi-font-style: normal;">Twilight Zone. <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>None
of the preceding is to suggest that “In Praise of Pip” is simply a patchwork
quilt of earlier material, but Serling was at his strongest as a dramatist when
retracing a narrative path over certain themes and symbols that clearly held
personal, rather than artificial, importance to his work.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>The
most recognizable aspects from earlier episodes of <i style="mso-bidi-font-style: normal;">Twilight Zone</i> are the two central performers in “In Praise of Pip,”
Jack Klugman and Bill Mumy. The role of Max Phillips was originally offered to
Art Carney, star of the second season episode, “The Night of the Meek.” Carney
was unable to accept the role so it went instead to Jack Klugman, a familiar
face on <i style="mso-bidi-font-style: normal;">Twilight Zone </i>and one of only
two actors, the other being Burgess Meredith, to headline four episodes. Both
Carney and Klugman date their creative relationships with Rod Serling to the <i style="mso-bidi-font-style: normal;">Playhouse 90 </i>drama “The Velvet Alley” (1959).
Serling enjoyed working with these actors due to their ability to take Serling’s
poetic, expressive dialogue and ground it in the gritty realism of the drama. Klugman,
in particular, possessed an almost uncanny ability to elicit genuine pathos
from dialogue and situations that, in the hands of a lesser performer, might
play as unrealistic, if not ludicrous. The most obvious example in “In Praise
of Pip” is the final sequence in which Max strikes a bargain with God to give his life in order to spare Pip. As a contemporary <i style="mso-bidi-font-style: normal;">Variety </i>review opined, in an otherwise unfavorable view, Klugman
made the material better than it deserved to be. This may be too strong of a
take, since it is excellent writing from Serling, but the point remains that
Klugman possessed a unique ability to elevate or ground the drama as necessary.</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiejZk7r0n1ixceW5ITtDiMCd9O4a8Ob3pRsvdcuzp_ARjbmLjPx3Rhb2D85uab0hm9WK5tFzjr7R_UrrCU4uSKwVGp5jhLCosNreIoTl0Z8YhDxSOSO0vjzPyXKVpMo5MLwTzgO4IOYw3X/s926/In+Praise+of+Pip+5.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="703" data-original-width="926" height="152" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiejZk7r0n1ixceW5ITtDiMCd9O4a8Ob3pRsvdcuzp_ARjbmLjPx3Rhb2D85uab0hm9WK5tFzjr7R_UrrCU4uSKwVGp5jhLCosNreIoTl0Z8YhDxSOSO0vjzPyXKVpMo5MLwTzgO4IOYw3X/w200-h152/In+Praise+of+Pip+5.jpg" width="200" /></a></div>
<o:p></o:p><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Klugman
also brought a streetwise toughness to the role. Klugman, the son of Russian-Jewish immigrants, grew up in a tough Philadelphia
neighborhood and his formative experiences likely played a role in his ability
to portray a rough, violent character like Max Phillips. The scene in which Max
violently confronts Moran and his gunman is completely believable and serves as
a stark transition point for the character and the episode. Before this scene,
Max virtually sleepwalked through the drama, lazing about on his bed or the
sofa in Moran’s hotel room, seemingly indifferent to what went on around him.
From the moment he gets the call informing him that Pip is dying, he becomes an
open wound of emotion, and Klugman perfectly steers Max’s progression from rage
to joy to regret and finally to the raw anguish of death. It is altogether a masterful
performance, and perhaps Klugman’s finest moment on the series.</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR7JzfQyhUeqGVwpjrJaCEY_8a-SKn4w2ru2MXUCF_XKEzKEf2cqf2ycdmDgXbBsGKqhvx4sycq0F2dq539P6eCsE5Doi_H2FHYz4fGIIKuHEVb1_Ek3bFG84zCt5Tef1ytd8lvZmS1T7n/s896/In+Praise+of+Pip+8.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="714" data-original-width="896" height="159" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR7JzfQyhUeqGVwpjrJaCEY_8a-SKn4w2ru2MXUCF_XKEzKEf2cqf2ycdmDgXbBsGKqhvx4sycq0F2dq539P6eCsE5Doi_H2FHYz4fGIIKuHEVb1_Ek3bFG84zCt5Tef1ytd8lvZmS1T7n/w200-h159/In+Praise+of+Pip+8.jpg" width="200" /></a></div> <o:p></o:p><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>The
anchoring presence opposite Jack Klugman is Bill Mumy as Young Pip. Mumy is
also a memorable repeat performer from the series, primarily remembered for his
role as the God-like child Anthony Fremont in the brilliant and disturbing third season
episode, “It’s a Good Life.” Here, Mumy assumes a role more in line with
his first appearance on the series in the second season episode, “Long Distance
Call.” In both episodes, Mumy expertly embodies the vulnerable innocence of
youth confronted with the reality of death. Mumy worked exceptionally well with Jack Klugman, allowing Klugman to pick him up, spin him around, and kiss and hug on him, all in a highly naturalistic manner that made the father/son relationship immediately believable. Mumy tells a sweet and touching story in interviews relating that Klugman came up to Mumy and his parents before filming began in order to prepare them for the highly affectionate way in which Klugman prepared to perform the scene with Mumy. </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: 14pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWDzhsFC_d9zPdOA1VNIDbmo3IYmC715gAguwSLt4Ty7cC5GbZBN7ZewUoNgdOLUQMtGKZovroCY9QbU8UFmMaDDSYX4C8k-M1bv4_MGYZ9bPA-PBuZR_qf07LU1B-P7HpE-R1F9PoWZpk/s1051/1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="792" data-original-width="1051" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWDzhsFC_d9zPdOA1VNIDbmo3IYmC715gAguwSLt4Ty7cC5GbZBN7ZewUoNgdOLUQMtGKZovroCY9QbU8UFmMaDDSYX4C8k-M1bv4_MGYZ9bPA-PBuZR_qf07LU1B-P7HpE-R1F9PoWZpk/w200-h151/1.jpg" width="200" /></a></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="font-size: 14pt;"> The standout performance from the supporting
cast in “In Praise of Pip” is that of veteran character actress Connie
Gilchrist as Mrs. Feeny, Max’s empathetic landlady who provides a refreshing, motherly aspect to the heavily male drama, and further magnifies the absence of any mention of Pip's mother. The Brooklyn-born Gilchrist
(1895-1985) was a versatile performer whose career on screen dates back to
1940. Of particular interest to Vortex readers are Gilchrist’s appearances on </span><i style="font-size: 14pt;">The Alfred Hitchcock Hour. </i><span style="font-size: 14pt;">Gilchrist appeared
in the Charles Beaumont-scripted first season episode, “The Long Silence,”
based on the novel </span><i style="font-size: 14pt;">Composition for Four
Hands </i><span style="font-size: 14pt;">by Hilda Lawrence, as well as in the unforgettable second season
opener, “A Home Away from Home,” scripted by Robert Bloch and based on his
short story from </span><i style="font-size: 14pt;">Alfred Hitchcock’s
Mystery Magazine. </i><span style="font-size: 14pt;">Gilchrist earlier appeared on </span><i style="font-size: 14pt;">Alfred Hitchcock Presents </i><span style="font-size: 14pt;">in the seventh season episode, “The Door
without a Key.”</span> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> I</span>nteriors for “In Praise of Pip” were constructed at MGM and seamlessly blended with the results of external location filming at Pacific Ocean Park in Santa Monica, California. Production secured access for filming at Pacific Ocean Park for two
consecutive nights after closing hours. Pacific Ocean Park, an amusement park along the Santa Monica Pier, replaced the earlier attractions of Ocean Park Pier and was designed as a direct competitor to Disneyland in nearby Anaheim. POP opened in July
of 1958 and closed in October of 1967, left to fall into disrepair for years afterwards. </span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"> The House of Mirrors is one of the more memorable and impressive sets created for the series. Bill Mumy recalled the method by which the actors were able to navigate through the mirror maze. Tape was placed on the floor, marking the correct turnings to quickly get through the maze. The viewer can see Mumy glance down to the floor as Young Pip rushes out of the House of Mirrors to disappear into the night. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Bill
Mumy also recalled the eeriness of filming in the deserted park after hours. Mumy,
who resided nearby at the time, was a frequent visitor to the park and found the
juxtaposition of the normally crowded park with the dark, deserted atmosphere
to be strange and unnerving. This jarring juxtaposition is perfectly captured
in the episode in the transition from Max’s nighttime death, lying on the
pavement with refuse blowing across his body, to the bright sunshine and the
afternoon crowds on a following day.</span><span style="font-size: 14pt;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoPLGW7rg0QCJ2iLI0Zlc8f-lqkc34Mo6Ix3M31lvkwr3htsSaYWcEplT2pFHetEIEMBL57FKERwOvk0_cqsCqfwPejEtH_pOuX09W3Qr7GV9mlEvMd-Iv75-AJxEzJ5RizNxmDiEFywC9/s938/In+Praise+of+Pip+1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="733" data-original-width="938" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoPLGW7rg0QCJ2iLI0Zlc8f-lqkc34Mo6Ix3M31lvkwr3htsSaYWcEplT2pFHetEIEMBL57FKERwOvk0_cqsCqfwPejEtH_pOuX09W3Qr7GV9mlEvMd-Iv75-AJxEzJ5RizNxmDiEFywC9/w200-h156/In+Praise+of+Pip+1.jpg" width="200" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Finally,
it would be remiss not to mention the episode’s approach to the military conflict
in Vietnam. “In Praise of Pip” is very likely the first depiction of American military
casualties in Vietnam on a network television broadcast of a dramatic series. As
such, it is an important part of the show’s cultural legacy of confronting contemporary
social and political issues, as well as a continued example of Rod Serling’s
use of military conflicts to explore broader concerns of the human condition. Thematically
related episodes such as “The Purple Testament,” “The Passersby,” and “A
Quality of Mercy” retain much of their dramatic power due to their universal
theme of human suffering. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Rod Serling, a WWII veteran,
became a vocal opponent of the Vietnam War as the United States grew deeply
entrenched in that conflict and the war became a mass media event. However,
Vietnam was not the location Serling originally chose for the military
sequences in “In Praise of Pip.” Originally, Serling chose Laos and wrote the
teleplay as such. When Serling submitted the teleplay to script readers at de Forest Research to
check against errors and inaccuracies, it was reported back that the
International Agreement on the Neutrality of Laos, signed in Geneva in 1962,
precluded the presence of the United States military in Laos outside of their
station at the American Embassy. In other words, it would be highly inaccurate
to suggest a contemporary military conflict in Laos. It was recommended Serling
change the setting to South Vietnam, where U.S. forces were fighting in an
advisory capacity. Serling made the necessary change. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Although
Serling later became an outspoken critic of America’s involvement in Vietnam,
“In Praise of Pip” is not a direct comment on that conflict in the way, for
example, that “The Mirror” is a direct comment on the Cuban Revolution. Serling
simply needed a believable military situation in order to place Pip in peril. Regardless,
it serves as an eerily prophetic work, as U.S. involvement in the region grew
into a seemingly endless military engagement that costs thousands of American
lives, a price primarily paid by young men like Pip.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>“In
Praise of Pip” signaled a remarkably strong beginning to the fifth and final
season, setting a standard which, despite occasional peaks of excellence, the
increasingly tottering series could not maintain. The episode serves as a
reminder that Rod Serling at the pinnacle of his talents was capable of
producing work leagues beyond most network television drama, if not much of
what was shown in movie theaters. At his best, and he’s near his best with “In
Praise of Pip,” Serling could say in twenty-four minutes what many films
struggled to say in ninety, and most of the time Serling said it better. Throughout
Serling’s career, there were lightning strikes of brilliance, works that
perfectly illuminated the vagaries of human experience through flashes of
robust drama spoken in Serling’s terse, poetic voice. “In Praise of Pip” earns
its place in this long line of triumphs. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">In many ways, “In
Praise of Pip” is also a refreshing callback to the vintage Serling episodes
that established the high standard and unique qualities of the series. It is a
wonderful showcase for the talents of two of the most consistently brilliant
performers on the series, Jack Klugman and Bill Mumy. Klugman, in particular,
has never been better on the series. In “In Praise of Pip,” he carries the
weight of the drama on his shoulders, and his performance is a testament to the
endurance of the series and its continued ability to fascinate and entrance viewers
sixty years later. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 14pt;">Although he produced
other excellent material for the final season, nothing to emerge from Serling’s
Dictaphone again reached the emotional heights of “In Praise of Pip.” Consider it a
final, brilliant, and lasting gift from the creator of the series.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt;">Grade:
A</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 10pt;">*The thirty-sixth episode, “An
Occurrence at Owl Creek Bridge,” is a 1961 (released in 1962) Academy Award-winning French short
film, broadcast on <i style="mso-bidi-font-style: normal;">Twilight Zone </i>as
both a showcase for the film and as a cost-saving measure.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">Grateful acknowledgement to:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-The
Twilight Zone Companion </span></i><span style="font-size: 14pt;">by Marc Scott
Zicree (2<sup>nd</sup> ed., Silman-James, 1989)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">-Commentary by Marc Scott Zicree and
Neil Gaiman <i style="mso-bidi-font-style: normal;">(The Twilight Zone: The 5<sup>th</sup>
Dimension </i>(DVD Box Set), Image Entertainment, 2014)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">-Commentary by Bill Mumy <i style="mso-bidi-font-style: normal;">(The Twilight Zone: The 5<sup>th</sup>
Dimension </i>(DVD Box Set), Image Entertainment, 2014)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-Rod
Serling: His Life, Work, and Imagination </span></i><span style="font-size: 14pt;">by Nicholas Parisi (University Press of Mississippi, 2018)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-The
Twilight Zone: Unlocking the Door to a Television Classic </span></i><span style="font-size: 14pt;">by Martin Grams, Jr. (OTR, 2008)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;">-The Internet Movie Database (imdb.com)</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrE9UBhyp2r0cWQg79JS5PVN4SWDbu3yMJpqTp4NfZ8_aDHcMrvRJ4jI50i8qJD4Mk18iDPqQWQIoaeaLOFGlBReDgDARnHjl1wWE1uqSx-RJfloRxKhrYpeB-Cuix9029V4E3tu9tMIhP/s938/In+Praise+of+Pip+11.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="712" data-original-width="938" height="152" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrE9UBhyp2r0cWQg79JS5PVN4SWDbu3yMJpqTp4NfZ8_aDHcMrvRJ4jI50i8qJD4Mk18iDPqQWQIoaeaLOFGlBReDgDARnHjl1wWE1uqSx-RJfloRxKhrYpeB-Cuix9029V4E3tu9tMIhP/w200-h152/In+Praise+of+Pip+11.jpg" width="200" /></a></div><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Notes:<o:p></o:p></span></i></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-Jack
Klugman also appeared in “A Passage for Trumpet,” “A Game of Pool,” and “Death
Ship.” <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-Bill
Mumy also appeared in “Long Distance Call” and “It’s a Good Life.” Mumy later
appeared in a cameo role in Twilight Zone: The Movie (1983), and in “It’s Still
a Good Life” on the second revival Twilight Zone series.<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-S.
John Launer also appeared in “And When the Sky Was Opened” and “The Purple
Testament.” His voice can be heard in “Third from the Sun.” <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-Russell
Horton also appeared in “The Changing of the Guard.” <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-Ross
Elliott also appeared in “Death Ship.” <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-Joseph
M. Newman directed three additional episodes of the fifth season, “The Last
Night of a Jockey,” “Black Leather Jackets,” and the final broadcast episode,
“The Bewitchin’ Pool.” <o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-“In
Praise of Pip” was adapted as a </span></i><span style="font-size: 14pt;">Twilight
Zone Radio Drama <i style="mso-bidi-font-style: normal;">starring Fred Willard.<o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-Rod
Serling’s teleplay for “In Praise of Pip” was printed in the October, 1982
issue of </span></i><span style="font-size: 14pt;">Rod Serling’s The Twilight
Zone Magazine. <i>The printed script contains Serling's original setting of Laos instead of Vietnam. </i><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p> </o:p></span><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt;">-JP</span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><o:p> </o:p></span></p>JPhttp://www.blogger.com/profile/14808904189056290207noreply@blogger.com2tag:blogger.com,1999:blog-1318310043864039191.post-50059404980343169812021-03-24T18:39:00.003-05:002021-03-25T09:55:58.106-05:00Season Five (1963-1964) <p><span style="font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJKILVMXWaTqdmyY77b9Bvq7VvcF6tpyJrE-_6fGzowxuLXLQo6t9gowV6WZLw0mZm7ezUfNzx_8UyH1RJSstzEiZ53K9tyIw4eidWi-vxohqvOXMHqCA2DPipbnQoYVti1ejR7FbwiF2T/s939/Bumper+Image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="711" data-original-width="939" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJKILVMXWaTqdmyY77b9Bvq7VvcF6tpyJrE-_6fGzowxuLXLQo6t9gowV6WZLw0mZm7ezUfNzx_8UyH1RJSstzEiZ53K9tyIw4eidWi-vxohqvOXMHqCA2DPipbnQoYVti1ejR7FbwiF2T/w640-h484/Bumper+Image.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><i><p><i><span style="font-size: large;">"You unlock this door with the key of imagination. Beyond it is another dimension, a dimension of sound, a dimension of sight, a dimension of mind. You're moving into a land of both shadow and substance, of things and ideas. You've just crossed over into . . . The Twilight Zone." </span></i></p></i><p></p><p><span style="font-size: large;">When CBS renewed <i>Twilight Zone</i> for a fifth season in 1963, the first order of business was to return the series to a half-hour format. The hour-long experiment of the fourth season was roundly considered a failure by those involved, as well as by many viewers. The series hoped to find stability by reverting to the format that worked so well before. </span></p><p><span style="font-size: large;">Unfortunately, instability defined the fifth season as much as transition had defined the fourth. The result was the most uneven season in terms of quality, containing some of the finest episodes as well as many of the absolute worst, including a dreadful five-episode run to conclude the season, and the series, with a whimper, not with a bang. </span></p><p><span style="font-size: large;">A number of factors worked against the series during the fifth season. Series creator Rod Serling was, by his own admission, burned-out and creatively exhausted, judging himself unable even to distinguish good work from bad. Serling tended to be his own harshest critic, however, and his comments proved too severe in retrospect, as he produced some fine work for the fifth season. “In Praise of Pip,” “The Masks,” and “The Jeopardy Room,” in particular, stand with much of the best from prior seasons. </span></p><p><span style="font-size: large;">The show’s next most prolific writer, Charles Beaumont, suffered from a mysterious, mentally and physically debilitating illness that made writing increasingly difficult, and finally impossible. Beaumont managed to write only a single script for the fifth season, and this ultimately went unproduced. “Gentlemen, Be Seated” was adapted from Beaumont’s 1960 story, but the script was shelved by the show’s final producer, William Froug.<br /></span></p><p></p><span style="font-size: large;">Science fiction novelist and scriptwriter Jerry Sohl, a close friend to Beaumont, stepped in during the fourth season to write “The New Exhibit” under Beaumont’s name. Sohl continued in this capacity during the fifth season for the episodes “Living Doll” and “Queen of the Nile.” Sohl produced two additional scripts for the fifth season, “Pattern for Doomsday,” from a story developed with Beaumont, and “Who Am I?” which was set to be Sohl’s first on-screen credit on the series. Alas, both scripts went unproduced after they were also shelved by the show’s final producer. </span><p></p><p><span style="font-size: large;">Another among Charles Beaumont’s close friends and collaborators was novelist and scriptwriter John Tomerlin, who adapted Beaumont’s 1952 story, “The Beautiful People,” for the excellent fifth season episode, “Number 12 Looks Just Like You.” Not at all discounting the fact that he was suffering from the effects of a horrific disease that took his life in 1967 at the young age of 38, it is nice to see Charles Beaumont, an important part of the show's success, represented during the fifth season through the efforts of his friends and collaborators.</span></p><p><span style="font-size: large;">The unstable nature of the fifth season was reflected in the work of the show’s other writers, as well. George Clayton Johnson saw his fifth season script, “Tick of Time,” adapted from his story, “The Grandfather Clock,” heavily tampered with by producer William Froug. Froug brought in another writer, Richard De Roy, to rewrite the script. De Roy made numerous changes, retitled the work “Ninety Years without Slumbering,” and left Johnson with only a story credit, which Johnson accepted using a pseudonym to indicate the degree to which the work had been altered. Johnson, who provided so many memorable moments on the series, effectively walked away from the series following this debacle concerning his final script. </span></p><p><span style="font-size: large;">Earl Hamner, Jr. penned five episodes for the fifth season, his highest single-season output, including the unforgettable “Stopover in a Quiet Town” and the final broadcast episode, “The Bewitchin’ Pool.” Richard Matheson enjoyed arguably his finest season of work, adapting his short stories for such memorable episodes as “Steel,” “Night Call,” and “Nightmare at 20,000 Feet.” Unfortunately, Matheson also saw one of his scripts, “The Doll,” shelved by the show’s final producer. </span></p><p><span style="font-size: large;">A pleasant addition to the writing roster was Henry Slesar, whose stories were adapted for the fifth season episodes, “The Old Man in the Cave” and “The Self-Improvement of Salvadore Ross.” Slesar was a prolific author of science fiction and mystery stories known for his association with <i>Alfred Hitchcock Presents</i> and <i>The Alfred Hitchcock Hour. </i></span></p><p><span style="font-size: large;">The largest seismic shift during the fifth season resulted from the departure of producer Bert Granet midway through production. At the time of his exit, Granet completed production on thirteen episodes of the fifth season, with several more in development. Granet’s replacement was William Froug, a scriptwriter and producer remembered today as a producer on <i>Gilligan’s Island</i> and <i>Bewitched.</i> </span></p><p><span style="font-size: large;"></span></p><span style="font-size: large;">Although the genial Froug got along well with Rod Serling, and always fondly remembered his time on <i>Twilight Zone,</i> the series suffered under his watch and experienced a downturn in quality. The largest contributing factor to this was that Froug, wishing to begin fresh on the series, discarded several of the scripts that Bert Granet had in development at the time of his leaving. This meant that scripts by Richard Matheson, Charles Beaumont, Jerry Sohl, and, most intriguingly, Arch Oboler went unproduced on the series. Compounding the problem was that Froug brought in outside writers who, to put it mildly, did not produce work as compelling as that of the show’s core writers. </span><div><p><span style="font-size: large;">Fortunately, the fifth season was graced with a diverse array of talents behind the camera. Ida Lupino, director of Rod Serling’s “The Masks,” became the only female director of an episode, as well as the only person to appear in one episode (“The Sixteen-Millimeter Shrine”) and direct another. Veteran film director Jacques Tourneur, a master of atmospheric horror and film noir, turned Richard Matheson’s “Night Call” into one of the most understated and exceptional episodes of the season, if not the series. The fifth season saw talented directors new to the series, such as Don Siegel and Richard Donner, alongside several veterans from the series, some of whom went all the way back to the first season, bringing the series around full-circle.</span></p><p><span style="font-size: large;">The fifth season proved to be the final run for Rod Serling’s groundbreaking fantasy series. It is a season highlighted by Robby the Robot, Mickey Rooney, Talky Tina, Mardi Gras masks, spy games, an Academy Award-winning French short film, and memorable final appearances from such familiar faces as Jack Klugman, Gladys Cooper, Martin Landau, John Anderson, Bill Mumy, Ed Wynn, Lee Marvin, John Dehner, Don Gordon, William Shatner, and several more. </span></p><p><span style="font-size: large;">So, let us take that first step on a final journey into that wondrous land whose boundaries are that of imagination. It begins just up ahead, with a vintage offering from Rod Serling. </span></p><p><span style="font-size: large;">-JP </span></p><p><span style="font-size: 14pt;">-Grateful acknowledgement to <i>The Twilight Zone Companion </i>by Marc Scott Zicree (Silman-James, 1989; second ed.) </span></p></div>JPhttp://www.blogger.com/profile/14808904189056290207noreply@blogger.com0tag:blogger.com,1999:blog-1318310043864039191.post-60129564671477300872020-06-08T06:00:00.000-05:002020-06-21T18:34:00.079-05:00"The Bard" <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1deCmYsxQLtsAp5BRmYGzKmsC-uJCLI0IHPufC6VtpVD39N5AQkwJJgeEA8fyywwjDDAoohMkm76sdhlYtlg9HBc4UI5HnkZlRotHXEzETfaVo7dWTdrgQSeJDBmf-j42Bm6q4HkdtLiP/s1600/Header.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="923" data-original-width="1224" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1deCmYsxQLtsAp5BRmYGzKmsC-uJCLI0IHPufC6VtpVD39N5AQkwJJgeEA8fyywwjDDAoohMkm76sdhlYtlg9HBc4UI5HnkZlRotHXEzETfaVo7dWTdrgQSeJDBmf-j42Bm6q4HkdtLiP/s400/Header.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">William Shakespeare (John Williams) is conjured by Julius Moomer (Jack Weston)</td></tr>
</tbody></table>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14pt;">“The Bard”</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Season Four, Episode 120<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Original
Air Date: </span></i><span style="font-size: 14.0pt;">May 23, 1963<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Cast:<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Julius
Moomer: </span></i><span style="font-size: 14.0pt;">Jack Weston<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Mr.
Shannon: </span></i><span style="font-size: 14.0pt;">John McGiver<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Sadie:
</span></i><span style="font-size: 14.0pt;">Doro Merande<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">William
Shakespeare: </span></i><span style="font-size: 14.0pt;">John Williams<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Mr.
Hugo: </span></i><span style="font-size: 14.0pt;">Henry Lascoe<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Dolan:
</span></i><span style="font-size: 14.0pt;">William Lanteau<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Bramhoff:
</span></i><span style="font-size: 14.0pt;">Howard McNear<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Secretary:
</span></i><span style="font-size: 14.0pt;">Marge Redmond<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Bus
Driver: </span></i><span style="font-size: 14.0pt;">Clegg Hoyt<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Cora:
</span></i><span style="font-size: 14.0pt;">Judy Strangis<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Rocky
Rhodes: </span></i><span style="font-size: 14.0pt;">Burt Reynolds<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Crew:<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Writer:
</span></i><span style="font-size: 14.0pt;">Rod Serling (original teleplay)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Director:
</span></i><span style="font-size: 14.0pt;">David Butler<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Producer:
</span></i><span style="font-size: 14.0pt;">Herbert Hirschman<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Director
of Photography: </span></i><span style="font-size: 14.0pt;">George T. Clemens<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Production
Manager: </span></i><span style="font-size: 14.0pt;">Ralph W. Nelson<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Art
Direction: </span></i><span style="font-size: 14.0pt;">George W. Davis &
Edward Carfagno<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Film
Editor: </span></i><span style="font-size: 14.0pt;">Edward Curtiss<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Set
Decoration: </span></i><span style="font-size: 14.0pt;">Henry Grace & Edward
M. Parker<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Assistant
to the Producer: </span></i><span style="font-size: 14.0pt;">John Conwell<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Assistant
Director: </span></i><span style="font-size: 14.0pt;">John Bloss<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Music:
</span></i><span style="font-size: 14.0pt;">Fred Steiner<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Sound:
</span></i><span style="font-size: 14.0pt;">Joe Edmondson & Franklin Milton <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Mr.
Serling’s Wardrobe: </span></i><span style="font-size: 14.0pt;">Eagle Clothes<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Filmed
at MGM Studios <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Rod Serling’s Opening Narration: <o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSCcc5amCaOcm6DYgcC_lwRhSVof_AeV6gP_pzMTrszDvpTWpm7zE7s_XpggP77WlJK2OjVG5DSrzJFApbeP7fruvO8JHmPjTrMnbuL15_PHQaz_tESzF4_Zl2NXr8x_NRXGqxrvTcJX0c/s1600/Serling.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="890" data-original-width="1152" height="154" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSCcc5amCaOcm6DYgcC_lwRhSVof_AeV6gP_pzMTrszDvpTWpm7zE7s_XpggP77WlJK2OjVG5DSrzJFApbeP7fruvO8JHmPjTrMnbuL15_PHQaz_tESzF4_Zl2NXr8x_NRXGqxrvTcJX0c/s200/Serling.jpg" width="200" /></a><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">“You’ve
just witnessed opportunity, if not knocking, at least scratching plaintively on
a closed door. Mr. Julius Moomer, a would-be writer who, if talent came
twenty-five cents a pound, would be worth less than car fare. But, in a moment,
Mr. Moomer, through the offices of some black magic, is about to embark on a
brand-new career. And although he may never get a writing credit on </span></i><span style="font-size: 14.0pt;">The Twilight Zone, <i style="mso-bidi-font-style: normal;">he’s
to become an integral character in it.”<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Summary:<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKYbWfxoGGC3o726CnJQCDAXNB21ZSGo1S-OPvf0Skm47OgUJyfldW3XrDf-BQec0LkMT12dPd1c1tkUKz2wYyZdm2t5VBzy0Iy-SC_SzC58PPOEYyDpYuZe0qFxLXPvRxG6HWg9wb5x2H/s1600/Summary.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="918" data-original-width="1245" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKYbWfxoGGC3o726CnJQCDAXNB21ZSGo1S-OPvf0Skm47OgUJyfldW3XrDf-BQec0LkMT12dPd1c1tkUKz2wYyZdm2t5VBzy0Iy-SC_SzC58PPOEYyDpYuZe0qFxLXPvRxG6HWg9wb5x2H/s320/Summary.jpg" width="320" /></a><span style="font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>Julius
Moomer is an enthusiastic yet untalented aspiring television writer and the
bane of his agent Mr. Hugo. When Mr. Hugo gets wind of a new television series
Julius begs for a chance to write a pilot episode. Mr. Hugo agrees under the
condition that Julius completes the script by Monday morning. The subject of
the new series is black magic. Since Julius knows nothing about black magic he
stops in at a used bookstore hoping to find a volume on the subject. The
eccentric shop owner informs Julius that they haven’t any books on black magic
when a moment later an old book floats off the shelf and drops to the floor.
Julius picks it up and discovers it to be exactly the book he needs. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>Back
home, Julius consults the book and sets about casting a spell for help in
writing a television script. Julius makes convenient substitutes for several of
the spell’s ingredients and predictably does not achieve the desired effects. However,
when Julius speaks the name William Shakespeare the great writer appears in a
cloud of smoke in Julius’ apartment. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>Once
he gets over the shock of the dead man’s presence, Julius sets Shakespeare to
work on the new television script. At a meeting on Monday, television
executives sense the potential of the script, despite its archaic language, and
greenlight the pilot. Julius, who submitted the script under his name, is
turned into an overnight star, making appearances on television shows and
meeting with sponsors and high-ranking executives. Shakespeare, meanwhile, is
prepared to return to the great unknown having completed his task. Julius is
reluctant to let Shakespeare leave, wishing to keep a good thing going and have
Shakespeare write more scripts. Shakespeare agrees to remain on the condition
that when he attends rehearsal the following day he will witness his play being
performed with accuracy and respect. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>To
Shakespeare’s horror, his script has been butchered by rewrites and sponsor demands.
To make matters worse, the lead in the play has been cast with Rocky Rhodes, an
arrogant and contentious method actor. Shakespeare is appalled to the point of
punching out Rhodes and storming out of the rehearsal and out of Julius’ life. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>Julius
has a backup plan, however. When Mr. Hugo gets wind of a new television series
on American history, Julius shows up to the agent’s office with an entourage of
famous figures from American history, having conjured them with his spell book.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Rod Serling’s Closing Narration: <o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">“Mr.
Julius Moomer, a streetcar conductor with delusions of authorship. And if the
tale just told seems a little tall, remember a thing called poetic license, and
another thing called </span></i><span style="font-size: 14.0pt;">The Twilight
Zone.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Commentary:<o:p></o:p></span></b></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHsNDHoFfZh_DJRPzGefGIqo6gnbhUHfZdRU1nXlZnsLyL4K8m6DRyBgMy80MXogA2T7w5NME18GAjXFQ6_TNcEadckhhVrO2siCWqeyWBQ7ifMj55_nZUtaLRA4b0QovGOToqXTPIgz2x/s1600/Commentary.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="918" data-original-width="1240" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHsNDHoFfZh_DJRPzGefGIqo6gnbhUHfZdRU1nXlZnsLyL4K8m6DRyBgMy80MXogA2T7w5NME18GAjXFQ6_TNcEadckhhVrO2siCWqeyWBQ7ifMj55_nZUtaLRA4b0QovGOToqXTPIgz2x/s320/Commentary.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">John Williams (L) with Burt Reynolds (R)</td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span></span></b><span style="font-size: 14.0pt;">It is clear at this point in the series that, for reasons which remain
unclear, Rod Serling and company were intent on regularly featuring broad
comedy on <i style="mso-bidi-font-style: normal;">The Twilight Zone. </i>For a
series which remains notable for its introspective, often dark, fantasies
concerning topical subjects, these comedic episodes strike the viewer as a
jarring juxtaposition to the show’s average fare. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-size: 14.0pt;">Perhaps comedy was
simply a way to create variety in the show’s approach to its chosen subject
matter. The series tried a variety of
different strategies in bringing lighter fare to <i style="mso-bidi-font-style: normal;">The Twilight Zone, </i>from reworking old scripts (“The Mighty Casey”)
to gimmicks such as silent film (“Once Upon a Time”) to featuring notable
comedic performers (“The Mind and the Matter,” “Cavender Is Coming”). Incredibly,
the episodes “Mr. Bevis” and “Cavender Is Coming,” some of the most ineffective
material produced on the series, were initially written to launch television
series. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-size: 14.0pt;">These broadly comedic
episodes, which also include such offerings as “Mr. Bevis,” “Mr. Dingle, the
Strong,” “Hocus-Pocus and Frisby,” and “From Agnes – With Love,” are typically
viewed as among the least successful episodes of the series by all except those
reluctant to criticize any of Rod Serling’s scripts. It could be worth a
writer’s time to explore <i style="mso-bidi-font-style: normal;">why </i>comedy
did not work on the series, especially in light of the talent in front of the
camera, with the likes of Shelly Berman, Buster Keaton, Andy Devine, and Carol
Burnett appearing on the series. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>In
some respects, comedy <i style="mso-bidi-font-style: normal;">was</i> effectively
featured on the series. Several episodes, such as “The Chaser,” “A World of His
Own,” “A Penny for Your Thoughts,” “The Prime Mover,” “Dead Man’s Shoes,” and
“A Kind of Stopwatch,” featured a lightness of touch which, if not outright
comedy, was about as close to farcical as the series could comfortably operate.
Other episodes, such as “The Fever,” “A Most Unusual Camera,” and “A Piano in
the House,” offered dark, and perhaps unintentional, humor. It is apparent that
anything broader in comedic scope than, for example, Dick York struggling to
adjust to his newfound mindreading abilities in “A Penny for Your Thoughts” was
an overabundance.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>“The
Bard” has much in common with earlier comedic episodes, particularly “Mr.
Bevis,” “Mr. Dingle, the Strong,” and “Cavender Is Coming.” Like these earlier
episodes, it features a luckless character who, by chance or magic, is gifted
extraordinary abilities or an entity to perform extraordinary feats on their
behalf. William Shakespeare performs much the same role as the guardian angels
in “Mr. Bevis” and “Cavender Is Coming,” or the aliens in “Mr. Dingle, the
Strong.” He arrives to assist a person whose primary quality is their failure
to successfully launch along the course of life. <o:p></o:p></span></div>
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<span style="font-size: 14.0pt;">“The Bard” subtly
recreates, or recalls, scenes from earlier comedic episodes, as well. The
eccentric bookshop proprietor and her crowded, dusty shop recalls A. Daemon’s
apothecary shop from “The Chaser,” while her baseball obsession recalls “The
Mighty Casey.” “The Bard” includes a scene of mischief on a city bus
reminiscent of a similar scene in “Cavender Is Coming,” complete with finger
writing in the air. “The Bard” also features an element which recurred with regularity
on the series and which perhaps strikes the modern viewer as unusual, this
being the featured relationship between an adult man and a female child. In
“The Bard” it is used for comedic effect as Julius Moomer trades barbs with
Cora, his landlady’s smart-mouthed young daughter. Producer Herbert Hirschman
was particularly wary of the language used in these scenes. In other episodes,
such relationships were used to elicit empathy (“On for the Angels,” “The
Fugitive”) or menace (“Caesar and Me”).<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 14.0pt;">An appealing aspect of
“The Bard” is the biting satire in Rod Serling’s script, a quality not seen in
this quantity since the dismal second season episode “The Whole Truth.” “The
Bard” was hardly the first time Serling approached the dehumanizing aspect of
trying to create art or quality in an essentially commercial endeavor, but
chose to approach the subject this time not with the blunt force of a drama but
with the sharp edge of satirical comedy. This theme pervades much of Serling’s
work, dating back to his first great success as a professional writer, the <i style="mso-bidi-font-style: normal;">Kraft Theatre </i>production of “Patterns”
(1955), in which a new executive is forced to confront his personal morality in
a cutthroat business environment. On <i style="mso-bidi-font-style: normal;">The
Twilight Zone, </i>Serling examined the theme in “Walking Distance” and, most memorably,
“A Stop at Willoughby.” In “The Bard” this quality is played for laughs (Serling
is, after all, using the most revered figure in English literature to
illustrate the plight of the television writer) but it should not be lost on
the viewer that “The Bard” is, in some ways, a culmination of Serling’s
career-long battles with networks and sponsors. If the viewer is versed in
their <i style="mso-bidi-font-style: normal;">Twilight Zone </i>history, they
know that the prevailing narrative concerning the creation of <i style="mso-bidi-font-style: normal;">The Twilight Zone </i>is that Rod Serling
wished to create a series over which he had greater control after repeatedly
seeing his scripts censored at the hands of network executives and sponsors. Serling
also felt that he could approach topical issues with less interference if he
cloaked his stories in the trappings of fantasy and science fiction. This oversimplified
genesis story still contains an essential truth of Serling’s career. As one of
the “angry young men” of television drama, Serling consistently battled for
control over his scripts and their content. <o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">The Twilight Zone, </span></i><span style="font-size: 14.0pt;">however, was still a place where the network and the sponsors exercised a certain amount of censorship and control. One situation on the
series which mirrors the butchering of Shakespeare’s script in “The Bard” is
the aborted production on George Clayton Johnson’s second season episode “Sea
Change.” Johnson’s story, about a man who loses his hand in a boating accident
only to discover that the hand has grown into a full bodied doppelganger intent
on his destruction, was nixed by the show’s sponsor, a food manufacturer, because
it was thought that the grisly subject matter would put the audience off their
appetites. Buck Houghton, then producer on the series, was forced to ask George Clayton Johnson to buy back his story, allowing the writer to move himself
into a bargaining position to write scripts for the series (to that point he had only sold stories to the series). <o:p></o:p></span></div>
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<span style="font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>Ironically,
the satire in “The Bard,” which was aimed squarely at network executives and
sponsors, was enjoyed by the executives at CBS. It was series producer Herbert
Hirschman who battled Serling over the script. Hirshman issued Serling numerous
requests to change content in the script, pushing production on the episode
dangerously close to deadline and forcing Serling to, unsuccessfully, demand a
stop to the requests for changes. It became clear that “The Bard,” though
perhaps not as funny or effective as Hirschman would have liked, was a script
which was important to Serling and a story he was intent on telling. Readers
interested in the particulars of the requested changes are advised to see the
entry on “The Bard” in Martin Grams, Jr.’s <i style="mso-bidi-font-style: normal;">The
Twilight Zone: Unlocking the Door to a Television Classic </i>(2008), an
excellent production history compiled chiefly from scripts, letters, interoffice memorandums, financial documents, contemporary reviews, and interviews.<o:p></o:p></span></div>
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<span style="font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
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<span style="font-size: 14.0pt;"><span style="mso-tab-count: 1;"> Outside of</span> certain inherent qualities in Rod Serling’s script, and despite an overuse of "hip" jargon and Shakespearean quotes, “The Bard” is elevated by
its excellent cast and their commitment to the material. <o:p></o:p></span></div>
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<span style="font-size: 14.0pt;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkwqNt1J5qAtgRrcXAefX292Fqu3QI09Bdwy7o9Gi_prmKuIZQnJ__TwOlMm2lb8Dx_m7HzuBjWK7Zkb-uK7-wTpJQcYMTLCXB3o7OVJOSV_KZEGzcegjByFpIdX7LWpbubrF7H-gA0ruW/s1600/Jack+Weston.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="928" data-original-width="1240" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkwqNt1J5qAtgRrcXAefX292Fqu3QI09Bdwy7o9Gi_prmKuIZQnJ__TwOlMm2lb8Dx_m7HzuBjWK7Zkb-uK7-wTpJQcYMTLCXB3o7OVJOSV_KZEGzcegjByFpIdX7LWpbubrF7H-gA0ruW/s320/Jack+Weston.jpg" width="320" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span></span></b><span style="font-size: 14.0pt;">Jack Weston’s (1924-1996) energetic turn as Julius Moomer largely
prefigures Richard Erdman’s performance as McNulty in the fondly remembered
fifth season episode “A Kind of Stopwatch.” For his part, Weston is remembered as
one of the great villains on <i style="mso-bidi-font-style: normal;">The Twilight
Zone,</i> the antagonistic Charlie Farnsworth in Rod Serling’s “The Monsters
Are Due on Maple Street.” Weston’s two appearances on the series provide a good
view of the parameters of the actor’s versatility. His many film and television
roles ranged from slimy villains to lovable buffoons, typified by appearances
as George Stickle, friend to Don Knott’s <i style="mso-bidi-font-style: normal;">The
Incredible Mr. Limpet </i>(1964),<i style="mso-bidi-font-style: normal;"> </i>and
the conman Carlino in <i style="mso-bidi-font-style: normal;">Wait Until Dark </i>(1967).
<o:p></o:p></span></div>
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<span style="font-size: 14.0pt;">In our sphere of
interest, Weston got his television start on the short-lived, pioneering
science fiction anthology series <i style="mso-bidi-font-style: normal;">Out
There </i>(1951-1952),<i style="mso-bidi-font-style: normal;"> </i>appearing in
an adaptation of John D. MacDonald’s “Susceptibility.” Weston appeared on <i style="mso-bidi-font-style: normal;">Alfred Hitchcock Presents </i>in the fifth
season episode “Forty Detectives Later,” written by Henry Slesar, the prolific
mystery and science fiction writer behind <i style="mso-bidi-font-style: normal;">Twilight
Zone’s </i>“The Self-Improvement of Salvadore Ross” and “The Old Man in the
Cave.” Weston twice appeared on Boris Karloff’s <i style="mso-bidi-font-style: normal;">Thriller, </i>in Robert Bloch’s “The Cheaters,” from the first season,
and the less-successful second season episode “Flowers of Evil,” directed by
John Brahm from a story by Hugh Walpole. <o:p></o:p></span></div>
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<span style="font-size: 14.0pt;">Weston later appeared
in two episodes of the Roald Dahl-hosted anthology series <i style="mso-bidi-font-style: normal;">Tales of the Unexpected: </i>“A Dip in the Pool,” from the first
season, and “Mr. Botibol’s First Love” from the second season. These episodes
have a curious connection as in both Weston portrays a character named Botibol.
The characters are not the same, however, and possess no connection other than
their unusual surname and their kinship as products of Roald Dahl’s imagination.
“Mr. Botibol’s First Love” was adapted from a 1948 story by Dahl while “A Dip
in the Pool” was based on Dahl’s 1952 story from <i style="mso-bidi-font-style: normal;">The New Yorker </i>(collected in <i style="mso-bidi-font-style: normal;">Someone
Like You </i>(1953)).<i style="mso-bidi-font-style: normal;"> </i>Keenan Wynn,
son of Ed Wynn <i style="mso-bidi-font-style: normal;">(Twilight Zone’s </i>“One
for the Angels”) and star of <i style="mso-bidi-font-style: normal;">Twilight Zone’s
</i>“A World of His Own,” previously portrayed Botibol in an <i style="mso-bidi-font-style: normal;">Alfred Hitchcock Presents </i>adaptation of
“A Dip in the Pool.” <o:p></o:p></span></div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr6UIjhQIdKFtugfe_mEfciJRs_Lgo9QYiDvEq2wHTfI62EfvyxRJaRLb615OUYCIF1CzrrHkOpCmbvJvNKtuRk5aEFFwX4l6hf1CSQGxO_7xBhfh4d8JSZVEmkF4BmbJEmP-aGd_irND5/s1600/McGiver.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="919" data-original-width="1221" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr6UIjhQIdKFtugfe_mEfciJRs_Lgo9QYiDvEq2wHTfI62EfvyxRJaRLb615OUYCIF1CzrrHkOpCmbvJvNKtuRk5aEFFwX4l6hf1CSQGxO_7xBhfh4d8JSZVEmkF4BmbJEmP-aGd_irND5/s320/McGiver.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">John McGiver (R) with Howard McNear</td></tr>
</tbody></table>
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<span style="font-size: 14.0pt;">Second-billed is
inimitable character actor John McGiver (1913-1975) as the bored, insensitive television
sponsor Mr. Shannon. McGiver later assumed the lead role in the fifth season
episode “Sounds and Silences,” a lesser-known episode partly due to its many
years of being held out of syndication packages of the series. McGiver got a
relatively late start in professional acting but made up for lost time with a
hugely prolific output. He is remembered today for character roles in such
films as <i style="mso-bidi-font-style: normal;">Breakfast at Tiffany’s </i>(1961),
<i style="mso-bidi-font-style: normal;">The Manchurian Candidate </i>(1962), and <i style="mso-bidi-font-style: normal;">Midnight Cowboy </i>(1969).<o:p></o:p></span></div>
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<span style="font-size: 14.0pt;">McGiver twice appeared
on <i style="mso-bidi-font-style: normal;">Alfred Hitchcock Presents, </i>in the
third season episode “Fatal Figures” and the fourth season episode “Six People,
No Music.” McGiver appeared in a television adaptation of Fritz Leiber’s novel <i style="mso-bidi-font-style: normal;">Conjure Wife </i>on the short-lived
anthology series <i style="mso-bidi-font-style: normal;">Moment of Fear, </i>appearing<i style="mso-bidi-font-style: normal;"> </i>alongside fellow <i style="mso-bidi-font-style: normal;">Twilight Zone </i>performers Larry Blyden (“A Nice Place to Visit,”
“Showdown with Rance McGrew”) and Janice Rule (“Nightmare as a Child”). McGiver
also memorably featured in “The Croaker,” perhaps the most bizarre episode of
the off-beat anthology series <i style="mso-bidi-font-style: normal;">‘Way Out, </i>a
David Susskind-produced, Roald Dahl-hosted series which briefly aired on CBS as
a companion of sorts to <i style="mso-bidi-font-style: normal;">The Twilight Zone
</i>in the spring and summer of 1961. In “The Croaker,” McGiver portrays Mr.
Rand, an eccentric who discovers a way to transform his neighbors into frogs. <o:p></o:p></span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4eUQ1aQr9I0rQCr-GNHacm8JqGes2d1bu0nv7p81ccAWWbKI-3V61Sx0OmKanCaGe8FMAQ4GKMHTE2bmPXiF5KkvnoIke0tPrl7rJ-XPw7LUNkAilbRl5IlGGsl9q6ktAThs-TcKjWQaH/s1600/John+Williams.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="923" data-original-width="1244" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4eUQ1aQr9I0rQCr-GNHacm8JqGes2d1bu0nv7p81ccAWWbKI-3V61Sx0OmKanCaGe8FMAQ4GKMHTE2bmPXiF5KkvnoIke0tPrl7rJ-XPw7LUNkAilbRl5IlGGsl9q6ktAThs-TcKjWQaH/s320/John+Williams.jpg" width="320" /></a><span style="font-size: 14.0pt;">John Williams
(1903-1983), a dryly sarcastic William Shakespeare in a ludicrous bald cap, was best-known for his
appearances in the films of Alfred Hitchcock, especially his portrayal of Chief
Inspector Hubbard, recreated from Broadway, in <i style="mso-bidi-font-style: normal;">Dial M for Murder </i>(1954). Williams recreated the role for a 1958
television adaptation of Frederick Knott’s play. Williams also secured roles in
Hitchcock’s <i style="mso-bidi-font-style: normal;">The Paradine Case </i>(1947)
and <i style="mso-bidi-font-style: normal;">To Catch a Thief </i>(1955). Williams
appeared in an impressive ten episodes of <i style="mso-bidi-font-style: normal;">Alfred
Hitchcock Presents, </i>including the John Collier (<i style="mso-bidi-font-style: normal;">Twilight Zone’s </i>“The Chaser”) episodes “Back for Christmas” and
“Wet Saturday,” both directed by Hitchcock, and the three-part episode “I Killed
the Count,” directed by Robert Stevens, director of <i style="mso-bidi-font-style: normal;">Twilight Zone’s </i>“Where Is Everybody?” and “Walking Distance.” Williams
appeared on Boris Karloff’s <i style="mso-bidi-font-style: normal;">Thriller </i>in
an adaptation of Robert Bloch’s “Yours Truly, Jack the Ripper,” based on
Bloch’s most famous tale before the publication of <i style="mso-bidi-font-style: normal;">Psycho </i>(1959). Williams later appeared in two of the finest
segments of Rod Serling’s <i style="mso-bidi-font-style: normal;">Night Gallery, </i>the
first season episode “The Doll,” based on the story by Algernon Blackwood, and
the second season episode “The Caterpillar,” from the story “Boomerang” by
Oscar Cook. <o:p></o:p></span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUDsxdGFqPC7vmcqs30sys__Pq3cf_h2dryjLCpwfXsJP7xrhgZgifoDOfGlSHOalS2yjqzdX5i4iyKgVuONl7SmCGqRtoiD11wzOzVzvSxvDamkYLuvGcAauXXB5bSxuGO7tnFvMtccF8/s1600/Reynolds.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="916" data-original-width="1247" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUDsxdGFqPC7vmcqs30sys__Pq3cf_h2dryjLCpwfXsJP7xrhgZgifoDOfGlSHOalS2yjqzdX5i4iyKgVuONl7SmCGqRtoiD11wzOzVzvSxvDamkYLuvGcAauXXB5bSxuGO7tnFvMtccF8/s320/Reynolds.jpg" width="320" /></a><span style="font-size: 14.0pt;">The most memorable
performance in “The Bard” is the relatively brief appearance of Burt Reynolds (1936-2018)
as Rocky Rhodes, a highly amusing and spot-on spoof of Marlon Brando and method
acting. His exchanges with the television director, an uncredited Jason
Wingreen <i style="mso-bidi-font-style: normal;">(Twilight Zone’s </i>“A Stop at Willoughby,”
“The Midnight Sun”), and John Williams’ Shakespeare are perhaps the most
effective comedic exchanges on the entire series. It would be interesting to know
what Serling thought of the works of Tennessee Williams as Serling’s script
leans hard into lampooning not only method acting but also the works of
Williams, with particular mention made of <i style="mso-bidi-font-style: normal;">A
Streetcar Named Desire </i>and <i style="mso-bidi-font-style: normal;">Cat on a
Hot Tin Roof. </i>This was likely just a playful jest on Serling’s part as Williams’
work would seem to appeal to Serling’s sensibilities. Burt Reynolds appeared in
the <i style="mso-bidi-font-style: normal;">Playhouse 90 </i>production of
Serling’s “The Velvet Alley” (1959), which also covered much of the thematic
material behind “The Bard.” Reynolds also appeared in the fifth season <i style="mso-bidi-font-style: normal;">Alfred Hitchcock Presents </i>episode
“Escape to Sonoita.” A string of appearances in critically and commercially
successful films, beginning with director John Boorman’s <i style="mso-bidi-font-style: normal;">Deliverance </i>(1972), catapulted the actor to international film
stardom. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 14.0pt;">Director David Butler (1894-1979)
steps behind the camera for his first and only time on <i style="mso-bidi-font-style: normal;">The Twilight Zone </i>for “The Bard.” A native of San Francisco, Butler
began his career as a stage manager in his native city for theater producer
Oliver Morosco. Butler moved into acting in 1910, appearing in films for such
directors as John Ford, D.W. Griffith, and Thomas Ince. Butler enjoyed a
prolific acting career throughout the silent era before turning his attention
to directing in 1927. Over the course of his career, Butler directed some of
the biggest stars at 20<sup>th</sup> Century Fox and Warner Brothers, including
Shirley Temple, Will Rogers, Bob Hope, and Doris Day. Butler did very little
genre work but is notable for having directed (as well as produced and
co-wrote) <i style="mso-bidi-font-style: normal;">You’ll Find Out </i>(1940), a
comedic mystery film from RKO featuring Boris Karloff, Bela Lugosi, and Peter
Lorre. Butler specialized in family films, light comedy, and musicals which
made him a sensible choice to helm a lighter episode like “The Bard.” Butler moved
almost exclusively into directing television in 1955 with an episode of <i style="mso-bidi-font-style: normal;">Studio 57. </i>After “The Bard” Butler spent
an extended time on <i style="mso-bidi-font-style: normal;">Leave It to Beaver. </i>He
retired from directing in 1967. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-size: 14.0pt;">If responses on social media are broadly indicative, “The Bard”
is a fiercely disliked episode. However, “The Bard” is, in my view, the most
enjoyable of the broadly humorous episodes, due to Jack Weston’s energetic
performance, its juxtaposition to John Williams’ sedately sarcastic
Shakespeare, a marvelous cameo from Burt Reynolds, and the satire at the center
of Rod Serling’s script. Despite the (ironic) difficulties Serling faced in
bringing “The Bard” to the series, he clearly relished taking aim at the
television industry and that energy feels infectious among the excellent cast.
“The Bard” is also very well-paced, especially in relation to less successful
fourth season episodes, due not only to Serling’s script but also to the
veteran hand of director David Butler. Nearly all regular viewers of <i style="mso-bidi-font-style: normal;">The Twilight Zone </i>have one or more
episodes which, objectively, they know is not among the show’s best offerings
but which they still enjoy. “The Bard” is one such episode for me.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>“The
Bard” also marks the conclusion of the penultimate season of <i style="mso-bidi-font-style: normal;">The Twilight Zone, </i>a season where the show
emerged from a challenging situation in which it was cancelled, brought back as
a mid-season replacement in a new time slot and with a new time format, with its
longtime producer gone, and its creator geographically separated from the
production. In many ways, the series was irreparably damaged by the chaos of
this rapid death and rebirth. The creative collective which anchored the first
three seasons was eroding, and the final two seasons of the series are
characterized by an inconsistence in quality. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-size: 14.0pt;">Despite facing enormous
odds, the fourth season provided a number of pleasures. Bittersweet among these
was the work of writer Charles Beaumont. Beaumont produced perhaps his best
season of work, and the best work of any writer during the season, shortly
before the effects of early-onset Alzheimer’s robbed him of the ability to
write. Bert Granet and Herbert Hirschman were excellent producers on the
series, capable not only of occupying the vacancy left by the departure of Buck
Houghton but also of managing a production in which Rod Serling was largely
absent. The fourth season also showcased the excellent cinematography of Robert
Pittack, who photographed the late third season episode “Person or Persons
Unknown” before alternating duties on the fourth season with Emmy Award-winning
cinematographer George T. Clemens. Pittack remained on the series into the
fifth season, photographing such memorable episodes as “Nightmare at 20,000
Feet,” “Living Doll,” “Night Call,” and “Stopover in a Quiet Town.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-size: 14.0pt;">The fourth season
featured memorable performances from notable newcomers to the series, such as Dennis
Hopper, Robert Duvall, Dana Andrews, Pat Hingle, James Whitmore, and Burt
Reynolds, as well as a score of familiar faces from the series, highlighted by
George Grizzard in “In His Image,” Jack Klugman and Ross Martin in “Death
Ship,” Anne Francis and James Best in “Jess-Belle,” Burgess Meredith in
“Printer’s Devil,” Martin Balsam in “The New Exhibit,” and the wonderful
collective of “Passage on the Lady Anne.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-size: 14.0pt;">For some viewers, the
fourth season will always remain an anomaly which produced little if any
quality material. For these viewers I suspect the hour-long format is simply
too large a hurdle to clear. A half hour and a twist ending are paramount to
some viewers’ enjoyment of the series. <i style="mso-bidi-font-style: normal;">The
Twilight Zone, </i>however, was far more than a stock formula and its writers
too talented to collapse beneath a change in format. Aided by the steadying
presence of a veteran crew and a bevy of quality performers, the fourth season
remains an underrated gem which showcased the versatility of the series and the
talents of its creators. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Grade:
C<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Grateful acknowledgement to:<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">-The Internet Movie Database (imdb.com)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">-The Internet Speculative Fiction
Database (isfdb.org)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">-Grams, Martin Jr., <i style="mso-bidi-font-style: normal;">The Twilight Zone: Unlocking a Door to a Television Classic </i>(OTR,
2008)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKLY9xZNSCo6dSCGdSV_YbKRlu_fJQYwBUGQmOY42-qrbgpPeV52iRw2b8629oa-vLI3TjfXZ9mrtOgSiA3vtWV6qoleH7C_wW_Hl2nYjdCm5r9MNr7gt81LV1SaDKrmZMgimrwG2tL9v9/s1600/Notes.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="926" data-original-width="1236" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKLY9xZNSCo6dSCGdSV_YbKRlu_fJQYwBUGQmOY42-qrbgpPeV52iRw2b8629oa-vLI3TjfXZ9mrtOgSiA3vtWV6qoleH7C_wW_Hl2nYjdCm5r9MNr7gt81LV1SaDKrmZMgimrwG2tL9v9/s320/Notes.jpg" width="320" /></a><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Notes:<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">--Jack
Weston also appeared in the first season episode “The Monsters Are Due on Maple
Street.” He appears in "The Bard" alongside Marge Redmond, his wife at the time. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">--John
McGiver also appeared in the fifth season episode “Sounds and Silences.” <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">--John
Williams also appeared in two of the most memorable segments of </span></i><span style="font-size: 14.0pt;">Rod Serling’s Night Gallery: <i style="mso-bidi-font-style: normal;">“The Doll” and “The Caterpillar.” <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">--Howard
McNear also appeared in the third season episode “Hocus-Pocus and Frisby.” <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">--Clegg
Hoyt also appeared in the second season episode “Static.” <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">--“The
Bard” was adapted as a </span></i><span style="font-size: 14.0pt;">Twilight Zone
Radio Drama <i style="mso-bidi-font-style: normal;">starring John Ratzenberger
and Stacy Keach, the latter of whom also hosted the series. <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">--The
final sequence in the episode in which Julius arrives at Mr. Hugo’s office with
an entourage of historical figures will perhaps remind some viewers of the 1989
film </span></i><span style="font-size: 14.0pt;">Bill and Ted’s Excellent
Adventure, <i style="mso-bidi-font-style: normal;">in which two high school
losers, who are worshipped like gods in the far future, use a time machine to
gather historical figures in order to pass a history class which will determine
their futures. Several viewers have pointed out that it is odd that Julius
selected historical figures rather than writers from earlier in history to
assist him. As Marc Scott Zicree points out, in </i>The Twilight Zone
Companion, <i style="mso-bidi-font-style: normal;">it is not research but writing
that is Julius’ problem. <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">-JP</span></b></div>
JPhttp://www.blogger.com/profile/14808904189056290207noreply@blogger.com2tag:blogger.com,1999:blog-1318310043864039191.post-60336993418580548582020-05-27T06:00:00.000-05:002020-05-31T11:19:52.710-05:00Wednesday Comics <span style="font-size: large;"><i>The Twilight Zone </i>#16 (July, 1966)</span><br />
<span style="font-size: large;">"Nightmare for an Astronaut"</span><br />
<span style="font-size: large;">Script: Dick Wood</span><br />
<span style="font-size: large;">Pencils & Inks: Joe Orlando </span><br />
<span style="font-size: large;">Letters: Ben Oda</span><br />
<span style="font-size: large;">Cover: George Wilson </span><br />
<span style="font-size: large;"><br /></span>
<br />
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<span style="font-size: large;"><br /></span>JPhttp://www.blogger.com/profile/14808904189056290207noreply@blogger.com2tag:blogger.com,1999:blog-1318310043864039191.post-35307963670077811802020-05-18T06:00:00.004-05:002020-05-18T06:00:02.040-05:00Reading Rod Serling’s The Twilight Zone Magazine, Part 22<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">In
which we take a closer look at each issue. For our capsule history of the
magazine, go <a href="http://twilightzonevortex.blogspot.com/2012/01/rod-serlings-twilight-zone-magazine.html"><span style="color: #f3f3f3;">here. </span></a><o:p></o:p></span></i></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDX3HRxYNf0pSx2osnQm52WNU6Rf6cDHL3kqvJtpHwyFH9i2uN1sFmXRoh-PF0qvZlvx9uhg8wMalXLXz5rm0W_jKsSfAYTfasUfXojZEZfUjlnqEsA60s57nfBDb68TZJiYDCtiONKbAS/s1600/Cover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1178" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDX3HRxYNf0pSx2osnQm52WNU6Rf6cDHL3kqvJtpHwyFH9i2uN1sFmXRoh-PF0qvZlvx9uhg8wMalXLXz5rm0W_jKsSfAYTfasUfXojZEZfUjlnqEsA60s57nfBDb68TZJiYDCtiONKbAS/s400/Cover.jpg" width="292" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Volume
2, Number 11 (January/February, 1983)<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Christmas
issue <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Cover art: Walter Velez <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Note:
</span></i><span style="font-size: 14.0pt;">TZ Magazine moves to a bi-monthly publication
schedule.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">TZ
Publications, Inc. <o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">President
& Chairman: </span></i><span style="font-size: 14.0pt;">S. Edward Orenstein<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Secretary/Treasurer:
</span></i><span style="font-size: 14.0pt;">Sidney Z. Gellman<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Executive
Vice-Presidents: </span></i><span style="font-size: 14.0pt;">Leon Garry, Eric
Protter<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Executive
Publisher: </span></i><span style="font-size: 14.0pt;">S. Edward Orenstein<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Publisher:
</span></i><span style="font-size: 14.0pt;">Eric Protter<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Associate
Publisher and Consulting Editor: </span></i><span style="font-size: 14.0pt;">Carol
Serling<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Editor:
</span></i><span style="font-size: 14.0pt;">T.E.D. Klein<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Managing
Editor: </span></i><span style="font-size: 14.0pt;">Jane Bayer<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Associate
Editor: </span></i><span style="font-size: 14.0pt;">Robert Sabat<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Contributing
Editors: </span></i><span style="font-size: 14.0pt;">Thomas M. Disch, Gahan
Wilson, Marc Scott Zicree<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Design
Director: </span></i><span style="font-size: 14.0pt;">Michael Monte<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Art
Director: </span></i><span style="font-size: 14.0pt;">Pat E. McQueen<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Art
Production: </span></i><span style="font-size: 14.0pt;">Susan Lindeman, Carol Sun<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Typesetting:
</span></i><span style="font-size: 14.0pt;">Marianna Turselli<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Production
Director: </span></i><span style="font-size: 14.0pt;">Stephen J. Fallon<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Controller:
</span></i><span style="font-size: 14.0pt;">Thomas Schiff<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Ass’t
to the Publisher: </span></i><span style="font-size: 14.0pt;">Judy Linden<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Public
Relations Manager: </span></i><span style="font-size: 14.0pt;">Jeffrey Nickora<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Accounting
Mgr.: </span></i><span style="font-size: 14.0pt;">Chris Grossman<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Accounting
Ass’t: </span></i><span style="font-size: 14.0pt;">Annemarie Pistilli<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Office
Ass’t: </span></i><span style="font-size: 14.0pt;">Miriam Wolf<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Circulation
Director: </span></i><span style="font-size: 14.0pt;">William D. Smith<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Circulation
Mgr.: </span></i><span style="font-size: 14.0pt;">Carole A. Harley<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Circulation
Ass’t: </span></i><span style="font-size: 14.0pt;">Karen Martorano<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Newsstand
Sales Manager: </span></i><span style="font-size: 14.0pt;">Karen Marks Goldberg<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Eastern
Circ. Mgr.: </span></i><span style="font-size: 14.0pt;">Hank Rosen<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">West
Coast Circ. Mgr.: </span></i><span style="font-size: 14.0pt;">Gary Judy<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Advertising
Manager: </span></i><span style="font-size: 14.0pt;">Rachel Britapaja<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Adv.
Production Manager: </span></i><span style="font-size: 14.0pt;">Marina Despotakis<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Advertising
Representatives: </span></i><span style="font-size: 14.0pt;">Barney O’Hara &
Associates <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 14.0pt;">Contents:</span></u></b><span style="font-size: 14.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--In the Twilight Zone: “Dahl’s house .
. .” by T.E.D. Klein<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Other Dimensions: Books by Thomas M.
Disch<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Other Dimensions: Screen by Gahan
Wilson<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Other Dimensions: Etc. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Dice-Wielding Warriors by Lawrence
Schick<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“Crossing Over” by Jack McDevitt<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Optoshock! (photomontage) by
Christopher Hoffman<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“Personality Problem” by Joe R.
Lansdale<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“Tommy’s Christmas” by John R. Little<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“Recollections of Annie” by Charles L.
Grant<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“There’s a Man Goin’ Round Takin’
Names” by Robert S. Reiser<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Fantasy Films ’82: A Critical Guide by
TZ Magazine Staff<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“Below Zero” by John Kessel<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“Echoes” by Lawrence C. Connolly<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“A Chance Affair” by Mignon Glass<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--TZ Interview: Roald Dahl by Lisa
Tuttle<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Required Reading: “Royal Jelly” by
Roald Dahl<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Other Dimensions: The ‘So Saying, He
Vanished’ Quiz Revisited by Chet Williamson<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Rod Serling’s Lost ‘Christmas Carol’
by Sam Frank<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Show-By-Show Guide: TV’s Twilight
Zone, Part Twenty-Two by Marc Scott Zicree<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--TZ Classic Teleplay: “One for the
Angels” by Rod Serling<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Looking Ahead: In April’s Anniversary
Issue<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--In
the Twilight Zone: “Dahl’s house . . .” by T.E.D. Klein <o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Klein
highlights the issue’s interview with and story by Roald Dahl by presenting an
excerpt from an article Dahl wrote for </span></i><span style="font-size: 14.0pt;">Architectural
Digest <i style="mso-bidi-font-style: normal;">which illustrates the ways in
which Dahl mines his own life and interests to create his stories. The column
is rounded out in the usual way, with capsule biographical information on the
issue’s contributors along with thumbnail portraits. Klein attaches an addendum
to the column explaining the magazine’s move to a bi-monthly schedule while
also announcing an aggressive, national subscription drive. Klein laments a
further shrinking of the genre fiction market but concludes: “it’s good to look
forward to the expanded circulation, and to know that we’re going to be around
for years to come, doing what we do best: publishing a magazine that’s right
out of the Twilight Zone.” <span style="mso-spacerun: yes;"> </span><o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHYE9wVnlTrO6adH7s9yhqZeSdKyPo5YGe4hyphenhyphenPDmkH6qG3V0h729-9szCFnYOZ_R6lnQ3ofD57wcYenNU58OJFylC_b4IVZo9qwRb8b3hWVlLoUOF-ZEI9aI87_q1RcMnfaMBNHk4D6eQv/s1600/Books.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="840" data-original-width="664" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHYE9wVnlTrO6adH7s9yhqZeSdKyPo5YGe4hyphenhyphenPDmkH6qG3V0h729-9szCFnYOZ_R6lnQ3ofD57wcYenNU58OJFylC_b4IVZo9qwRb8b3hWVlLoUOF-ZEI9aI87_q1RcMnfaMBNHk4D6eQv/s320/Books.jpg" width="252" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Max Ernst</td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Other
Dimensions: Books by Thomas M. Disch<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Thomas
M. Disch returns after a month off to suggest buying books for those on your
Christmas list. Disch begins his column by defining the types of books which
are acceptable to purchase as Christmas gifts and those which are not (such as bestsellers,
remainders, and books which are part of a trilogy). He proceeds to provide a
list of Disch-approved titles with commentary. On Disch’s list are the
following titles:<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">-Poetry Comics: A Cartooniverse of Poems
<i style="mso-bidi-font-style: normal;">by Dave Morice (Disch earlier praised
Morice’s works in the July, 1982 issue of TZ)<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">-A Visit from St. Alphabet <i style="mso-bidi-font-style: normal;">by Dave Morice <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">-A Little Girl Dreams of Taking the Veil
<i style="mso-bidi-font-style: normal;">by Max Ernst<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">-Alice’s Adventures in Wonderland <i style="mso-bidi-font-style: normal;">by Lewis Carroll,</i> <i style="mso-bidi-font-style: normal;">illustrated by Barry Moser <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">-Collected Stories <i style="mso-bidi-font-style: normal;">by Isaac Bashevis Singer (Singer will later be featured in the
February, 1984 issue of TZ Magazine with a profile, interview, and story)<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">-Sixty Stories <i style="mso-bidi-font-style: normal;">by Donald Barthelme <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">-Collected Fantasies <i style="mso-bidi-font-style: normal;">by Avram Davidson<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">-Science Fiction Writers <i style="mso-bidi-font-style: normal;">edited by E.F. Bleiler <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">-World Folktales <i style="mso-bidi-font-style: normal;">by Atelia Clarkson and Gilbert B. Cross<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Disch
points out that someone has to get coal for Christmas so he recommends </span></i><span style="font-size: 14.0pt;">Writing Science Fiction that Sells <i style="mso-bidi-font-style: normal;">by Harvey L. Bilker and Audrey L. Bilker as
the perfect lump of coal for the deserving person on your list. <o:p></o:p></i></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Other
Dimensions: Screen by Gahan Wilson<o:p></o:p></span></b></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhocniQhZsJODJw1PwabU7VRYa3Z5Z96_UllcpSd3jKm9qG6OwgAY7Jz0lkHwcSHz3f3tLC-pO9uZTygkNMLcBpZDl6GxkGpb0aBxe_0repe5gRNg4dBsndjrEgI9fBiM3Yu610B1xN5Hzk/s1600/Films.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="606" data-original-width="681" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhocniQhZsJODJw1PwabU7VRYa3Z5Z96_UllcpSd3jKm9qG6OwgAY7Jz0lkHwcSHz3f3tLC-pO9uZTygkNMLcBpZDl6GxkGpb0aBxe_0repe5gRNg4dBsndjrEgI9fBiM3Yu610B1xN5Hzk/s320/Films.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Metropolis</i></td></tr>
</tbody></table>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Wilson
discusses what he views as the growing trend toward pessimism in science
fiction films, tracing the trend from classic films such as </span></i><span style="font-size: 14.0pt;">Metropolis <i style="mso-bidi-font-style: normal;">and </i>Things
to Come<i style="mso-bidi-font-style: normal;"> through </i>Planet of the Apes,
Alien, Outland, Escape from New York, Blade Runner, <i style="mso-bidi-font-style: normal;">and </i>The Road Warrior, <i style="mso-bidi-font-style: normal;">the
latter four of which were reviewed in the pages of TZ.</i> <i style="mso-bidi-font-style: normal;">Although Wilson acknowledges that science fiction films are generally
highly moralistic and tend to view mankind’s folly through dark lenses, he
finds that modern films are uniformly bleak in their view of the future of the
human race. Still, he admits that this pessimistic view has likely not been
taken as far as it could, predicting that the </i>“Grapes of Wrath <i style="mso-bidi-font-style: normal;">of absolute despair is still to come.”<o:p></o:p></i></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Other
Dimensions: Etc. <o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-The
miscellany column this issue provides a meaty update on </span></i><span style="font-size: 14.0pt;">Twilight Zone: The Movie, <i style="mso-bidi-font-style: normal;">detailing the film’s format, directors, and stories, plus the spate of
TZ cameos slated for director Joe Dante’s version of “It’s a Good Life.” <span style="mso-spacerun: yes;"> </span>The column also looks at the rousing reception
for Steven Spielberg’s </i>E.T. <i style="mso-bidi-font-style: normal;">when the
film was shown at a special U.N. event. <o:p></o:p></i></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Dice-Wielding
Warriors by Lawrence Schick<o:p></o:p></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVnTEahjHBEnvfvfVeEISWAfNLvIMHLg3ly5V5bUztY_AEAPaCXgtWG5lJkMyzT1YI0NjjldYTiS0qpHPXrXEklidADBPBEJ5QrUuLCSaUWQE5xHnHMWbcBJZroIyJitSbcTVWlwF5_qul/s1600/Dice+Wielding+Warriors.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="320" data-original-width="645" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVnTEahjHBEnvfvfVeEISWAfNLvIMHLg3ly5V5bUztY_AEAPaCXgtWG5lJkMyzT1YI0NjjldYTiS0qpHPXrXEklidADBPBEJ5QrUuLCSaUWQE5xHnHMWbcBJZroIyJitSbcTVWlwF5_qul/s320/Dice+Wielding+Warriors.jpg" width="320" /></a><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Lawrence
Schick, a game designer, provides a thorough look at the newly-burgeoning
industry of tabletop role-playing games, focusing primarily on </span></i><span style="font-size: 14.0pt;">Dungeons & Dragons <i style="mso-bidi-font-style: normal;">and </i>Call of Cthulhu <i style="mso-bidi-font-style: normal;">but also
listing, and examining, several additional titles.</i> <i style="mso-bidi-font-style: normal;">Schick begins by providing a detailed, in-game scenario based on </i>Call
of Cthulhu <i style="mso-bidi-font-style: normal;">before moving on to further detailed
information about the history of role-playing games, the functional aspects of
various game elements, and the place of role-playing games in the larger
culture. Schick provides a list of suggested titles based on genre, game-play,
and player experience. Schick also briefly comments on the “Satanic Panic”
movement in the culture, which pulled some role-playing games, particularly </i>Dungeons
& Dragons, <i style="mso-bidi-font-style: normal;">into its sphere and attempted
to depict role-playing games and its players as unhealthy, dangerous, or
outright evil. Schick concludes his article this way: “Will role-playing games
fade, and be remembered only as a college fad of the early ‘80s? I don’t think
so; for those of us who’ve grown adept at them, they’re just too much fun.
Their exact future is anybody’s guess, but my bet is that they’re going to be
with us for a long time.” Schick was correct in his prediction. The popularity
of role-playing games exploded in the years after he wrote this article, successfully
moving into video games, LARPing (live action role-playing), and streaming
movies. The influence of role-playing games can be seen in films, music, art,
and literature. Numerous books have been written on the subject, ranging from
player’s guides to comic books to sociological texts to history to art books to memoirs. <o:p></o:p></i></span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbuYs6pk2ivhTEH6bWr7yvq3Wlv3u0s_dzpSGh6JPI86cGt8QoTxVbmt5-N3IlAQHibX9RLsWnUUcWoBqPqvLLwB1J1vGa3TvhFj0ncYBeA07v-R6WO7qY28CcT3OqevIK-1nJPO6nj0H1/s1600/Crossing+Over.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="815" data-original-width="573" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbuYs6pk2ivhTEH6bWr7yvq3Wlv3u0s_dzpSGh6JPI86cGt8QoTxVbmt5-N3IlAQHibX9RLsWnUUcWoBqPqvLLwB1J1vGa3TvhFj0ncYBeA07v-R6WO7qY28CcT3OqevIK-1nJPO6nj0H1/s320/Crossing+Over.jpg" width="224" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“Crossing
Over” by Jack McDevitt<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by Harry Pincus<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“She was going to remain with him till
the end . . . and beyond. But what if there was nothing on the other side?”<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-A
woman with a gift (curse) for connecting with the minds of others is paid a
large amount of money by a spiritual association to connect with a dying man
and definitively discover whether or not there is life after death. The woman
is left emotionally damaged by the experience but is later allowed to heal when
a tragic accident grants her the opportunity to comfort a close friend at the
point of dying. <o:p></o:p></span></i></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-McDevitt
returns to the pages of TZ after he appeared with his first published story, “The
Emerson Effect,” in the December, 1981 issue. “Crossing Over” is a moody and
emotionally resonant take on a familiar theme which, like McDevitt’s earlier
contribution to the magazine, is rich in character and incident. <o:p></o:p></span></i></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Optoschock!
by Christopher Hoffman <o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdNFjr1KPSYhYO3DMjYSXcjOPbzNSTtKqlql5_rNCpm_cMTA8dQBKE2rcaDgBqjRIjt8g3ouc-l_AhC1JH4VVlFKZwjl3MIaZJBbq8O-lhHxmLWkvDUA8G47xjDGRdPhmQu4U048Vk-O86/s1600/Photo+Montages.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="843" data-original-width="594" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdNFjr1KPSYhYO3DMjYSXcjOPbzNSTtKqlql5_rNCpm_cMTA8dQBKE2rcaDgBqjRIjt8g3ouc-l_AhC1JH4VVlFKZwjl3MIaZJBbq8O-lhHxmLWkvDUA8G47xjDGRdPhmQu4U048Vk-O86/s200/Photo+Montages.jpg" width="140" /></a><span style="font-size: 14.0pt;">“Some have transformed the world with a
sword, some with a pen, one New Yorker has transformed it with scissors, a jar
of glue, and a bunch of photos rescued from the trash can. Some might call the
resulting vision ‘twisted’ or ‘surreal.’ He calls it simply . . .” <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Hoffman
curates a personal journey through his particular art form: grotesque collage
photography. Hoffman gives some personal background on how he came to first
create his unique photographs and provides humorous captions for several
selected images. <o:p></o:p></span></i></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj172T7D6i-OHjFyteDPZIZk7ikq1V2g0KzuX1QDh2Mnpbe-iVRnpZoqhSFDeBjnCPee706ZlNZpnTR1nJOktrHSfcaqqMH-dcYI1bFGSosGl6MVGyQtDupGiqQlve0OYQh9KhBUMvJzeUf/s1600/Personality+Problem.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="792" data-original-width="1025" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj172T7D6i-OHjFyteDPZIZk7ikq1V2g0KzuX1QDh2Mnpbe-iVRnpZoqhSFDeBjnCPee706ZlNZpnTR1nJOktrHSfcaqqMH-dcYI1bFGSosGl6MVGyQtDupGiqQlve0OYQh9KhBUMvJzeUf/s320/Personality+Problem.jpg" width="320" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“Personality
Problem” by Joe R. Lansdale<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by Yvonne Buchanan <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“Just ‘cause a guy’s got bolts in his
neck, don’t mean he ain’t got feelings.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Frankenstein’s
Monster lies on the psychiatrist’s couch for a session in which he explains his
never-ending battle with being misunderstood and attacked by people. The doctor
listens quietly until he interrupts the session to try and light the Monster on
fire. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-This
humorous short-short marks Lansdale’s fourth appearance in the pages of TZ,
preceded by the similarly humorous shorts “The Dump” in the July, 1981 issue,
“The Pasture” in the December, 1981 issue, and “Chompers” in the July, 1982
issue. “Personality Problem” was collected in </span></i><span style="font-size: 14.0pt;">Bumper Crop <i style="mso-bidi-font-style: normal;">(2004).<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“Tommy’s
Christmas” by John R. Little<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by Randy Jones<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1wrg5QOJbTIf3H60k8YVTax81-addIAx4wW-Z59WXIWhpF3KrR3up20vKHAedgw3f4oB_hhLWdT_LkXtM3KKBMoWZC_3EysM_IwT_jihwVbT9EAUj4tvgSzJUSjB-l0P82rcK0CxqDbLc/s1600/Tommy%2527s+Christmas.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="454" data-original-width="1479" height="122" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1wrg5QOJbTIf3H60k8YVTax81-addIAx4wW-Z59WXIWhpF3KrR3up20vKHAedgw3f4oB_hhLWdT_LkXtM3KKBMoWZC_3EysM_IwT_jihwVbT9EAUj4tvgSzJUSjB-l0P82rcK0CxqDbLc/s400/Tommy%2527s+Christmas.jpg" width="400" /></a><span style="font-size: 14.0pt;">“The stranger wasn’t very jolly – and he
stuffed things <i style="mso-bidi-font-style: normal;">in </i>his bad instead of
taking them out.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Santa
Claus is interrupted while robbing a home on Christmas Eve by little Tommy, who
wants to know why Santa is taking things rather than leaving gifts. When
Tommy’s older brother also awakens and enters the room, Santa decides to kidnap
Tommy as an apprentice (he’s getting too old for this job, anyway). He only
hopes Prancer and Vixen get used to the boy. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-This
humorous short Christmas tale was reprinted in </span></i><span style="font-size: 14.0pt;">100 Great Fantasy Short Short Stories <i style="mso-bidi-font-style: normal;">(1984), which reprinted several tales from
the pages of TZ Magazine, including Joe Lansdale’s “Personality Problem” and
Lawrence C. Connolly’s “Echoes” from this issue. “Tommy’s Christmas” was
collected in </i>Little Things <i style="mso-bidi-font-style: normal;">(2010). <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“Recollections
of Annie” by Charles L. Grant<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by David Klein<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“There were two strong women in his life
– and one of them was dead.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOUgwUOWLYtqYFSM_Yi8p0HSHQySDLD1I7nlv4LFB7JQ2E-RjSdqvFM-yEew_sgnZNlFO5_DCSWO-Dl7UQNoW6tqGBI4suLKOC2mzocpsaojFDmKTeIQj_PkScGG7bptRj5SRYZrpdcm5L/s1600/Recollections+of+Annie.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="842" data-original-width="593" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOUgwUOWLYtqYFSM_Yi8p0HSHQySDLD1I7nlv4LFB7JQ2E-RjSdqvFM-yEew_sgnZNlFO5_DCSWO-Dl7UQNoW6tqGBI4suLKOC2mzocpsaojFDmKTeIQj_PkScGG7bptRj5SRYZrpdcm5L/s320/Recollections+of+Annie.jpg" width="225" /></a><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-A
talented carpenter and family man finds himself falling under the spell of his
dead sister, Annie, who was a dominating influence over him when alive. On the
suggestion of his son, he decides to build a snow sculpture of Annie rather
than something more traditional. The closer he comes to finishing the snow
sculpture, the more Annie’s negative influence takes over his life, altering
his behavior and alienating his family. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Charles
L. Grant, a master of the suggestive horror story, returns to the pages of TZ
with this stark, haunting meditation on the influence of the dead. The story is
told in Grant’s typically economical style with a pleasantly downbeat ending. The
story was reprinted in the limited-edition anthology </span></i><span style="font-size: 14.0pt;">Black Wine, <i style="mso-bidi-font-style: normal;">edited
by Douglas E. Winter (Dark Harvest, 1986) and posthumously collected in </i>Scream
Quietly: The Best of Charles L. Grant <i style="mso-bidi-font-style: normal;">(2012).
<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Grant
previously appeared in the pages of TZ with “Silver” in the July, 1981 issue,
and “Essence of Charlotte” in the February, 1982 issue. Grant also interviewed
Stephen King for the April, 1981 issue. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“There’s
a Man Goin’ Round Takin’ Names” by Robert S. Reiser<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by Richard Basil Mock<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“In what was left of Los Angeles, a
census wasn’t <i style="mso-bidi-font-style: normal;">quite </i>the same as a
head-count.”<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicMQhR0DzwSJEd7syMi_bNl2F0cCnDEEnbVYLNFaLQfgRmGK7CLQq7VEEgMAFYBBUo-gorybi-JDWNIfhJaXgCqjEMqJgYkK_USFgaHB5mg5y6mD4b_x_LOVPGuEVS16EcoKAJNz41wob9/s1600/There%2527s+a+Man+Going+Round.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="751" data-original-width="1030" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicMQhR0DzwSJEd7syMi_bNl2F0cCnDEEnbVYLNFaLQfgRmGK7CLQq7VEEgMAFYBBUo-gorybi-JDWNIfhJaXgCqjEMqJgYkK_USFgaHB5mg5y6mD4b_x_LOVPGuEVS16EcoKAJNz41wob9/s320/There%2527s+a+Man+Going+Round.jpg" width="320" /></a><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-A
census taker in the far future travels to a sparsely populated Los Angeles to
try and record an accurate account of the city’s inhabitants. In this
post-nuclear world mutants are the norm and the census taker must also record
all the various mutations in each household. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-This
was a light, enjoyable story with a neat twist in the tale. Reiser is described
by T.E.D. Klein as the “writer of the off-Broadway comedy hit </span></i><span style="font-size: 14.0pt;">El Grande de Coca-Cola <i style="mso-bidi-font-style: normal;">and a contributor to </i>Fridays <i style="mso-bidi-font-style: normal;">and
other tv shows.” <o:p></o:p></i></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Fantasy
Films ’82: A Critical Guide<o:p></o:p></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxeZxD3hb8xehtBmWQRoeM22oHf9ABNTl636quJNj9U3Q1Bp6gyMtl-1paB2I7ffVvIWvr3smkRggcdE47oJTtWEt4z5apMc0EEl6XxzthSKbi5vHRC0JOd59IN68k_MSvPEFjR60c6Q39/s1600/Fantasy+Films+82.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="391" data-original-width="523" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxeZxD3hb8xehtBmWQRoeM22oHf9ABNTl636quJNj9U3Q1Bp6gyMtl-1paB2I7ffVvIWvr3smkRggcdE47oJTtWEt4z5apMc0EEl6XxzthSKbi5vHRC0JOd59IN68k_MSvPEFjR60c6Q39/s320/Fantasy+Films+82.jpg" width="320" /></a><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-The
TZ Magazine staff looks back at the major fantasy films of 1982. Accompanied by
several color photographs from various movies, the feature is presented in two-column
form, with the first column including what the TZ Magazine staff liked about
the film and the accompanying column displaying what they did not like about
the film. The films examined include: </span></i><span style="font-size: 14.0pt;">E.T.,
Star Trek II, Tron, The Thing, Cat People, Blade Runner,<i style="mso-bidi-font-style: normal;"> </i>The Road Warrior, Quest for Fire, The Beast Within, Swamp Thing,
Conan, <i style="mso-bidi-font-style: normal;">and </i>Poltergeist. <i style="mso-bidi-font-style: normal;">Additional films, such as </i>The Dark
Crystal, Creepshow, <i style="mso-bidi-font-style: normal;">and </i>Halloween III
<i style="mso-bidi-font-style: normal;">are given snippet reviews in the color
section. Although the TZ Magazine staff is particularly hard on many of the
films, they were surprisingly down on John Carpenter’s </i>The Thing <i style="mso-bidi-font-style: normal;">and Ridley Scott’s </i>Blade Runner, <i style="mso-bidi-font-style: normal;">two films which were not particularly
successful upon initial release but have since come to be considered classics. Several
of the reviews contradict one another, as well. For instance, </i>The Thing <i style="mso-bidi-font-style: normal;">is criticized for its downbeat ending while </i>Poltergeist
<i style="mso-bidi-font-style: normal;">is criticized for its happy ending. <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“Below
Zero” by John Kessel<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by D.W. Miller<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“The chill was growing worse – and
winter had nothing to do with it.” <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3V13o4XbobGoVAEfG5stQw4g5WvQIRxGVfNHx8DwOGhU79sHq0N2UYYM6GzQ33FOKu0aQzIBZNCmrH4favK_d7eSplvPP6AXAtFnu4_pQ2hRfAycllYRwmPGMWZhJbFmahKJ1VlYWpZgW/s1600/Below+Zero.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="844" data-original-width="591" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3V13o4XbobGoVAEfG5stQw4g5WvQIRxGVfNHx8DwOGhU79sHq0N2UYYM6GzQ33FOKu0aQzIBZNCmrH4favK_d7eSplvPP6AXAtFnu4_pQ2hRfAycllYRwmPGMWZhJbFmahKJ1VlYWpZgW/s320/Below+Zero.jpg" width="224" /></a><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-In
an undisclosed time in the future, the world is extremely cold. Jennifer is a
poor office worker whose life is a constant battle against the cold and the
bureaucracy of her job. Her troubled coworker, Eleanor, arrives uninvited to
Jennifer’s small apartment and complains that the cold she, Eleanor, constantly
feels is not a result of the weather outside but something that follows her
like a shadow. Jennifer gives Eleanor a place to sleep but in the morning finds
that Eleanor has left the apartment and frozen to death in her car. Jennifer
then begins to feel cold all the time, no matter how much she covers herself. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-This
was an enjoyably bleak, downbeat story which reminded me a bit of the ending
sequence in Rod Serling’s “The Midnight Sun.” Kessel does a great job creating the
necessary atmosphere, which begins to creep up on the reader as the story moves
towards its disturbing climax. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoDbs8I5T8WNj95B3_UVHsQLwGRedhR4w2etVl0IjmpKWQfe_IOApdf5uZPrqCmr4Zi0ISOsSItd2OPjRB74TgqNPIe4BDJdBWUCucOJBLrMYLYAglAkcBhFYhrldWryCu9y7ILiOiqqCW/s1600/Echoes.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="724" data-original-width="714" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoDbs8I5T8WNj95B3_UVHsQLwGRedhR4w2etVl0IjmpKWQfe_IOApdf5uZPrqCmr4Zi0ISOsSItd2OPjRB74TgqNPIe4BDJdBWUCucOJBLrMYLYAglAkcBhFYhrldWryCu9y7ILiOiqqCW/s320/Echoes.jpg" width="315" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“Echoes”
by Lawrence C. Connolly<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by E.T. Steadman<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“Billy’s mother understood exactly how
he felt: when you missed someone, you conjured up a ghost and called it real.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-A
mother attempts to cope with her young son’s struggle to accept the death of
his brother. Her husband’s return home from work reveals a larger picture of
life in the house where both sons are revealed to be gone. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-This
twisty short-short was reprinted in </span></i><span style="font-size: 14.0pt;">100
Great Fantasy Short Short Stories <i style="mso-bidi-font-style: normal;">(1984)
as well as in Karl Edward Wagner’s </i>The Year’s Best Horror Stories: Series
XII <i style="mso-bidi-font-style: normal;">(1984). It was collected in </i>Visions:
Short Fantasy & SF <i style="mso-bidi-font-style: normal;">(2009). Connolly
previously appeared in the pages of TZ with “Mrs. Halfbooger’s Basement” in the
June, 1982 issue.<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib1qtqCPm-P_cS31Xm2j1f-mQknwJn-7VZaaWPo_YBhKzjBck1cHw5repOkHnzqdquZy12rOsBtgsttHLnfBturMEJM5kEQQpiIRBEVzGFeCHgkHQQUgrdYN9N7g2HH4ZXMKgajsvpliwa/s1600/A+Chance+Affair.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="700" data-original-width="646" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib1qtqCPm-P_cS31Xm2j1f-mQknwJn-7VZaaWPo_YBhKzjBck1cHw5repOkHnzqdquZy12rOsBtgsttHLnfBturMEJM5kEQQpiIRBEVzGFeCHgkHQQUgrdYN9N7g2HH4ZXMKgajsvpliwa/s320/A+Chance+Affair.jpg" width="295" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“A
Chance Affair” by Mignon Glass<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by Peter Kuper<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“There were only a few things you could
say about him: he was fat, overfriendly . . . and oddly forgettable.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-A
woman is forced to listen to a fat man’s babble in a café in which he subtly reveals
his growing appetite for living things. The man exerts a strange effect on the
woman’s mind, making her forget certain things about their encounter. Later
that night, the woman looks out of her apartment window and sees the fat man
standing in the street looking up at her. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-This
strange, atmospheric story was reprinted in the first issue of </span></i><span style="font-size: 14.0pt;">Night Cry. <i style="mso-bidi-font-style: normal;">Oddly,
no biographical information on Mignon Glass is offered in T.E.D. Klein’s
editorial at the front of the issue. <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--TZ
Interview: Roald Dahl: ‘It’s got to be bloody good!’ by Lisa Tuttle<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">His style is witty, his imagination’s
nasty . . . and he also writes for children.” <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi96kxwUTi8m9yNjpoF8-YyBGFszAdadYz9n7aJ0MMfX736kQEOl6V09XTy6kQAolSrO4A4ZYs9_CSrndplaHfqt64IRK2VWiXKqk5U8n9t79I2pdrhhTVom1DAdUJE-ggyn_M89Ho-LxPJ/s1600/Roald+Dahl.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="697" data-original-width="688" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi96kxwUTi8m9yNjpoF8-YyBGFszAdadYz9n7aJ0MMfX736kQEOl6V09XTy6kQAolSrO4A4ZYs9_CSrndplaHfqt64IRK2VWiXKqk5U8n9t79I2pdrhhTVom1DAdUJE-ggyn_M89Ho-LxPJ/s320/Roald+Dahl.jpg" width="315" /></a><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Lisa
Tuttle, who previously appeared in the pages of TZ with the excellent story “A
Friend in Need” (August, 1981 issue) conducts this interview with the
celebrated short story writer and children’s author Roald Dahl. Tuttle begins
with a concise essay on Dahl’s writing career and the ways in which his
personal life has intersected with his writing. Tuttle focuses much of the
interview on Dahl’s short stories for adults, written over the course of
twenty-five years and mainly published in </span></i><span style="font-size: 14.0pt;">The New Yorker. <i style="mso-bidi-font-style: normal;">These humorous
and macabre stories, such as “The Landlady,” “Lamb to the Slaughter,” “William
and Mary,” and “Man from the South,” were collected in </i>Someone Like You <i style="mso-bidi-font-style: normal;">(1953) and </i>Kiss Kiss <i style="mso-bidi-font-style: normal;">(1960) and have been adapted on such
television programs as </i>Alfred Hitchcock Presents <i style="mso-bidi-font-style: normal;">and the Dahl-hosted </i>‘Way Out <i style="mso-bidi-font-style: normal;">and
</i>Tales of the Unexpected.<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Dahl
discusses his early writing career selling stories about his experiences as an
RAF pilot as well as what prompted him to write short fiction and why he stuck
to short stories for so long. He spends time on some of his favorite writers while
lamenting the current state of the short story in English. Dahl reveals his
level of participation in the television series </span></i><span style="font-size: 14.0pt;">Tales of the Unexpected <i style="mso-bidi-font-style: normal;">(almost none) and his generally unpleasant experiences working on
films, with the exception of the James Bond thriller </i>You Only Live Twice. <i style="mso-bidi-font-style: normal;">Dahl reveals the challenges he faced when
moving from adult fiction to children’s fiction and discusses the challenges he
currently faces putting together a collection of ghost stories, which appeared
as </i>Roald Dahl’s Book of Ghost Stories <i style="mso-bidi-font-style: normal;">in
October, 1983. <span style="mso-spacerun: yes;"> </span><o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAxzk1q4WHqS8HsYW6TFsfwakXLxTY_5un2ChCRAdxZyKuH_VsFXSqCKJqaWZh00HGwMvyNUwmgXXMA9S4ziHp63bi2_WxtaIz7_CauDQoGjtNTRIwy3GFT5QiH5rOZZrZFD_B6-txpk2j/s1600/Royal+Jelly.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="789" data-original-width="561" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAxzk1q4WHqS8HsYW6TFsfwakXLxTY_5un2ChCRAdxZyKuH_VsFXSqCKJqaWZh00HGwMvyNUwmgXXMA9S4ziHp63bi2_WxtaIz7_CauDQoGjtNTRIwy3GFT5QiH5rOZZrZFD_B6-txpk2j/s320/Royal+Jelly.jpg" width="227" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Required
Reading: “Royal Jelly” by Roald Dahl<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by Frances Jetter<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“A classic horror tale about the care
and feeding of infants” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-A
mother worries that her baby is not eating enough. She expresses her fears to
the father, who assures her that he has the solution. He is an avid amateur
entomologist and begins mixing royal jelly from bees in with the baby’s milk. Soon,
the baby and the father, who has been ingesting royal jelly himself, begin to
strangely resemble insects. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-“Royal
Jelly” is one of Dahl’s most oft-reprinted tales and is one of the author’s few
tales which uses strong elements of fantasy. Dahl’s stories for adults typically
feature human cruelty or ironic twists of fate. He seldom used so bold an
element as a father and child transforming into insects. “Royal Jelly” is taken
from Dahl’s 1960 collection </span></i><span style="font-size: 14.0pt;">Kiss
Kiss. <i style="mso-bidi-font-style: normal;">The story has been reprinted in
several anthologies, beginning with Edmund Crispin’s </i>Best Tales of Terror <i style="mso-bidi-font-style: normal;">(1962). It was adapted for television on </i>Tales
of the Unexpected <i style="mso-bidi-font-style: normal;">by writer Robin Chapman
and director Herbert Wise, broadcast March 1, 1980. <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Other
Dimensions: The ‘So Saying, He Vanished’ Quiz Revisited by Chet Williamson<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-This
is a new collection of final lines from notable works of weird fiction, with
the reader challenged to match the final lines with the story title and author. The quiz and answers are below. <o:p></o:p></span></i><br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Rod
Serling’s Lost ‘Christmas Carol’ by Sam Frank<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“Written by Serling for the United
Nations, <i style="mso-bidi-font-style: normal;">Carol for Another Christmas </i>aired
in 1964 amid controversy and outrage, then vanished forever. Now, at last, the
program has been rescued from oblivion – and so has the story behind it.” <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Sam
Frank definitively documents the genesis, production, and reception of Rod
Serling’s television play, “Carol for Another Christmas,” which aired on ABC on
December 28, 1964. The play was a modern take on Charles Dickens’ </span></i><span style="font-size: 14.0pt;">A Christmas Carol, <i style="mso-bidi-font-style: normal;">with
the characters and events updated for the Cold War era. It concerns a militant,
right-wing millionaire played by Sterling Hayden who is visited by three
spirits on Christmas Eve, played by Steve Lawrence, Pat Hingle, and Robert
Shaw, who show the stone-hearted millionaire the devastation wrought by
unchecked military aggression. <o:p></o:p></i></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Sam
Frank details the events which led a newly-created production company, in
partnership with the U.N., to develop television programs aimed at illustrating
the U.N.’s peacekeeping goals. Frank details Rod Serling’s involvement with the
program near the end of </span></i><span style="font-size: 14.0pt;">The Twilight
Zone, <i style="mso-bidi-font-style: normal;">the struggle to find a network
willing to air the plays, the continuous effort to get approval from the U.N., the
trouble caused by far-right groups who wrote thousands of letters in an attempt
to get the network to back out, and describes the production troubles
association with the ambitious project. Frank provides details on the all-star
cast and crews who participated in the project, discusses the other plays
created for the project, examines the critical reception of the play, and gives
an honest and balanced assessment of Serling’s script. Lastly, Frank reports on
the recent finding of a print of “Carol for Another Christmas,” which had not
been seen since its original broadcast. <o:p></o:p></i></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-This
article is a highly detailed account of the creation and reception of “Carol
for Another Christmas” and a brief summation here does not do justice to the
amount of information Sam Frank includes in his article. The article contains
quotes from the play and from interviews with Serling as well as several photographs.
Although it was difficult to view the play for many years, “Carol for Another
Christmas” is now widely available to own on DVD and occasionally appears on
television. It remains a hidden gem in Rod Serling’s career and a testament to
the type of positive social change Serling was constantly striving to create
with his writings. <o:p></o:p></span></i></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Show-By-Show
Guide: TV’s Twilight Zone, Part Twenty-Two by Marc Scott Zicree<o:p></o:p></span></b></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Marc
Scott Zicree, author of </span></i><span style="font-size: 14.0pt;">The Twilight
Zone Companion <i style="mso-bidi-font-style: normal;">(now in a 3<sup>rd</sup>
edition), continues his guide to the original series by including cast and crew
information, a summary, and Rod Serling’s opening and closing narrations for
the fifth season episodes “Black Leather Jackets,” “Night Call,” and “From
Agnes – with Love.” <o:p></o:p></i></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--TZ
Classic Teleplay: “One for the Angels” by Rod Serling<o:p></o:p></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTRs4vCHCLsGliHf7N2FiEuY_KMICBr6vDPlQDXV1yAUo82GmB6Z4DLcQ5IdnxCQ9byG-2UqrRVeIinLPTraJFlU9OvMgm8rD32H3AmhsQWdM-bGo9kt1GqZ9_DT0yQeKXdCo7WZeQBDXN/s1600/One+for+the+Angels.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="327" data-original-width="445" height="146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTRs4vCHCLsGliHf7N2FiEuY_KMICBr6vDPlQDXV1yAUo82GmB6Z4DLcQ5IdnxCQ9byG-2UqrRVeIinLPTraJFlU9OvMgm8rD32H3AmhsQWdM-bGo9kt1GqZ9_DT0yQeKXdCo7WZeQBDXN/s200/One+for+the+Angels.jpg" width="200" /></a><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Presented
here is Rod Serling’s script for the second episode of </span></i><span style="font-size: 14.0pt;">The Twilight Zone, <i style="mso-bidi-font-style: normal;">which
featured Ed Wynn as Lew Bookman, a genial sidewalk salesman who must outwit Mr.
Death (Murray Hamilton) to save the life of a young girl. This heartwarming fan
favorite first aired on October 9, 1959 as the second episode of the first
season. It was directed by Robert Parrish. For more information on the episode,
see our review <a href="https://twilightzonevortex.blogspot.com/2011/04/one-for-angels.html"><span style="color: #f3f3f3;">here. </span></a><o:p></o:p></i></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Looking
Ahead: In April’s Anniversary Issue<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Next
issue marks the second anniversary of the magazine. Behind a Rod Serling cover
lies an issue full of interesting stories and articles. Highlights include Rod
Serling’s notes for a </span></i><span style="font-size: 14.0pt;">Twilight Zone<i style="mso-bidi-font-style: normal;"> movie, an update on </i>Twilight Zone: The
Movie, <i style="mso-bidi-font-style: normal;">the winning stories from the
magazine’s annual story contest, an interview with Colin Wilson, Richard
Matheson’s story which inspired his first season episode “A World of His Own”
(also included), and much more. See you next month! <o:p></o:p></i></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">-JP</span></b></div>
JPhttp://www.blogger.com/profile/14808904189056290207noreply@blogger.com2tag:blogger.com,1999:blog-1318310043864039191.post-41351871201880520962020-05-13T06:00:00.001-05:002020-05-31T11:19:43.506-05:00Wednesday Comics <span style="font-size: large;"><i>The Twilight Zone </i>#44 (July, 1972)</span><br />
<span style="font-size: large;">"The Camera Doesn't Lie"</span><br />
<span style="font-size: large;">Script: unknown</span><br />
<span style="font-size: large;">Art: unknown</span><br />
<span style="font-size: large;">Cover: George Wilson</span><br />
<span style="font-size: large;"><br /></span>
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<span style="font-size: large;"><br /></span>JPhttp://www.blogger.com/profile/14808904189056290207noreply@blogger.com0tag:blogger.com,1999:blog-1318310043864039191.post-90846225076062544402020-05-04T06:00:00.001-05:002021-09-17T00:11:34.268-05:00"Passage on the Lady Anne"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjog-jOJ9XOEbWlfH9GvqwxsGE-UO2UbI-wu3XZLkUyodRhc6JBORVu2zU02PSXhuwl572CqxOkdi2_2BXrXDhQDdDm9wmVskKquZopdxSMvaB0Dq-oI8D0Mm40Qu4v9peVvZnyjLRXgQwB/s1600/Header.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="876" data-original-width="1097" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjog-jOJ9XOEbWlfH9GvqwxsGE-UO2UbI-wu3XZLkUyodRhc6JBORVu2zU02PSXhuwl572CqxOkdi2_2BXrXDhQDdDm9wmVskKquZopdxSMvaB0Dq-oI8D0Mm40Qu4v9peVvZnyjLRXgQwB/s400/Header.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">L to R: Wilfrid Hyde-White, Gladys Cooper, Lee Philips, Joyce Van Patten</td></tr>
</tbody></table>
<br />
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<span style="font-size: 14pt;">“Passage on the Lady Anne”</span></div>
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<span style="font-size: 14pt;">Season Four, Episode 119<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Original
Air Date: </span></i><span style="font-size: 14pt;">May 9, 1963<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Cast: </span></i></b><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;"><o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">(In
alphabetical order)<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Millie
McKenzie: </span></i><span style="font-size: 14pt;">Gladys Cooper<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Toby
McKenzie: </span></i><span style="font-size: 14pt;">Wilfrid Hyde-White<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Ian
Burgess: </span></i><span style="font-size: 14pt;">Cecil Kellaway<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Alan
Ransome: </span></i><span style="font-size: 14pt;">Lee Philips<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Eileen
Ransome: </span></i><span style="font-size: 14pt;">Joyce Van Patten<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">(With)<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Captain
Protheroe: </span></i><span style="font-size: 14pt;">Alan Napier<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Officers:
</span></i><span style="font-size: 14pt;">Cyril Delevanti, Jack Raine<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Addicott:
</span></i><span style="font-size: 14pt;">Colin Campbell<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Spierto:
</span></i><span style="font-size: 14pt;">Don Keefer<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Crew:<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Writer:
</span></i><span style="font-size: 14pt;">Charles Beaumont (based on his story
“Song for a Lady”)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Director:
</span></i><span style="font-size: 14pt;">Lamont Johnson<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Producer:
</span></i><span style="font-size: 14pt;">Bert Granet<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Director
of Photography: </span></i><span style="font-size: 14pt;">Robert Pittack<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Production
Manager: </span></i><span style="font-size: 14pt;">Ralph W. Nelson<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Art
Direction: </span></i><span style="font-size: 14pt;">George W. Davis, Paul
Groesse<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Film
Editor: </span></i><span style="font-size: 14pt;">Everett Dodd<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Set
Decoration: </span></i><span style="font-size: 14pt;">Henry Grace, Frank R.
McKelvy<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Assistant
to the Producer: </span></i><span style="font-size: 14pt;">John Conwell<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Assistant
Director: </span></i><span style="font-size: 14pt;">Ray De Camp<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Music
(composer): </span></i><span style="font-size: 14pt;">René Garriguenc <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Music
(conductor): </span></i><span style="font-size: 14pt;">Lud Gluskin<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Sound:
</span></i><span style="font-size: 14pt;">Franklin Milton, Joe Edmondson<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Mr.
Serling’s Wardrobe: </span></i><span style="font-size: 14pt;">Eagle Clothes<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Filmed
at MGM Studios <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">And Now, Mr. Serling:<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">“Next
on Twilight Zone: an exercise from the typewriter of Charles Beaumont, a sea
voyage into the darker regions of the Zone. Our stars in alphabetical order:
Gladys Cooper, Wilfrid Hyde-White, Cecil Kellaway, Lee Philips, and Joyce Van
Patten.”<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Rod Serling’s Opening Narration:<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisiw6_zWXSYgXdFEH1VPDjatIILIEeWzlYTf3UNhCZRVjsfRitR0wVmgnO0NnwBNxm_s_MhUdSxKS5QdvVECUvBQNTx2xqK1wb7Itfb6rkBTl8DqMUtnySBH7lojcLnsPnAs4YCxkZdqXR/s1600/Serling.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="858" data-original-width="1106" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisiw6_zWXSYgXdFEH1VPDjatIILIEeWzlYTf3UNhCZRVjsfRitR0wVmgnO0NnwBNxm_s_MhUdSxKS5QdvVECUvBQNTx2xqK1wb7Itfb6rkBTl8DqMUtnySBH7lojcLnsPnAs4YCxkZdqXR/s200/Serling.jpg" width="200" /></a><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">“Portrait
of a honeymoon couple getting ready for a journey, with a difference. These
newlyweds have been married for six years and they’re not taking this honeymoon
to start their life but rather to save it, or so Eileen Ransome thinks. She
doesn’t know why she insisted on a ship for this voyage except that it would
give them some time and she’d never been on one before, certainly never one
like the Lady Anne. The tickets read ‘New York to Southampton,’ but this old
liner is going somewhere else. Its destination: The Twilight Zone.” <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt;">Summary:<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxZb0AHpPZhqO0ls0gQh1SZMATPFSEnWleunyXHx-AZ0MxTODkzW-hQnFnaZeMEopHoBbmFNOkKNA2h9ag9ZmATA6z89DFoiKiDYctkzl5KoQUmivdq5IbWbWhcFvgsx-EYjhsZgTAKDKw/s1600/Summary+1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="855" data-original-width="1089" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxZb0AHpPZhqO0ls0gQh1SZMATPFSEnWleunyXHx-AZ0MxTODkzW-hQnFnaZeMEopHoBbmFNOkKNA2h9ag9ZmATA6z89DFoiKiDYctkzl5KoQUmivdq5IbWbWhcFvgsx-EYjhsZgTAKDKw/s320/Summary+1.jpg" width="320" /></a><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Eileen
Ransome convinces her workaholic husband Alan to allow her to accompany him on
a business trip to London. Furthermore, Eileen is to decide their mode of
transportation. She decides on travel by sea. She figures this will allow them
to spend more time together. They have been married for six years and the overbearing
strain on their marriage brought about by Alan’s dedication to business has
reached a breaking point. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">Mr. Spierto, the travel
agent, regrettably informs the Ransomes that, as it is the off-season, most of
the ships are not running their regular schedules. Upon viewing a list of
available ships, Eileen selects the <i style="mso-bidi-font-style: normal;">Lady
Anne,</i> an aging vessel embarking, unbeknownst to them, upon its final
voyage. Against the strong protestations of Alan and Mr. Spierto, Eileen books
two tickets for the <i style="mso-bidi-font-style: normal;">Lady Anne.</i> <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">The <i style="mso-bidi-font-style: normal;">Lady Anne</i> is a beautiful old ship and
Eileen is excited to travel. Alan is gloomy and seems only grudgingly going
along because he made a promise to Eileen. Shortly before boarding, the Ransomes
encounter an elderly English gentleman named McKenzie who seems incredulous
that the Ransomes have secured passage on the <i style="mso-bidi-font-style: normal;">Lady Anne</i> and insists that a mistake has been made. Alan shows
their tickets and considers the matter settled. The Ransomes are confronted
again, however, shortly before departure by McKenzie and his friend Burgess,
who go so far as to offer the couple ten thousand dollars to leave the ship. The
elderly men refer to the journey as a private cruise and insist they want to
help the Ransomes by discouraging them from travelling along. The Ransomes remain
adamant about their intention to stay on the ship.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">Alan and Eileen make a
startling discovery once the ship has departed. Everyone on board besides
themselves is very old. Being the only young people draws attention to the
Ransomes. This particularly works against them when they have a very public
argument centered on Alan’s displeasure at being stuck on an old, slow ship
filled with elderly people, as well as the damage his obsession with business
is doing to their marriage. It appears as though the Ransomes have finally
crossed the breaking point in their troubled relationship. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">Eileen and Alan agree to
a chilly truce to save face and endure the remaining journey to London.
Although Alan does not desire to do so, Eileen accepts an invitation to tea for
both of them from McKenzie and his wife. McKenzie invited the couple to tea in
order to apologize for his earlier behavior and to ensure the couple that they
will not have to leave the ship. Mrs. McKenzie informs the Ransomes that they
won’t have to die after all. Alan and Eileen are understandably confused by this
statement but McKenzie ensures them that it is only a figure of speech. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">McKenzie further explains
that the <i style="mso-bidi-font-style: normal;">Lady Anne</i> has not had any
new passengers in several years and this journey is a gathering of all the
people who have spent time on the <i style="mso-bidi-font-style: normal;">Lady
Anne</i> in the past. The people on board consider their prior time on the <i style="mso-bidi-font-style: normal;">Lady Anne</i> to be among the happiest, most
important times in their lives. Mrs. McKenzie speaks of the ship as an
enchanted vessel and reveals that the <i style="mso-bidi-font-style: normal;">Lady
Anne</i> is being retired. Those on board decided to take this final two-way
journey with her, from London to New York and back again. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">Eileen becomes upset
over the conversation and Alan takes her outside to get some fresh air. Alan
notices that the ship is headed north rather than in the eastward direction
they should be travelling. Alan looks out to sea and when he turns again he
finds that Eileen has vanished. He frantically searches the ship but cannot
find his wife anywhere. No one else seems concerned over Eileen’s disappearance.
Hours pass and Alan is in a panic, fearful that Eileen may have fallen
overboard. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">McKenzie takes Alan to
the bar for a drink in order to ease Alan’s mind, ensuring the younger man that
Eileen has not really gone but that Alan has only missed her. Burgess, slightly
drunk, joins the men to deliver a rant on the demise of the <i style="mso-bidi-font-style: normal;">Lady Anne,</i> blaming the modern condition
of hurry and impatience for wanting to scrap the old ship, a symbol of the past.
<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNtTtXHYgvbod11JTyzKxz96xnChkfUeKrK3WbC7NAchQloo1r2zSFF5733IzHV5qdxV83mxWw4n244xD-sDWW2wrKJQPuAKvaR2auyCULLlRyY2VFDGgu0qRgMNRIle6Vnx4KURiKog58/s1600/Summary+2.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="860" data-original-width="1108" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNtTtXHYgvbod11JTyzKxz96xnChkfUeKrK3WbC7NAchQloo1r2zSFF5733IzHV5qdxV83mxWw4n244xD-sDWW2wrKJQPuAKvaR2auyCULLlRyY2VFDGgu0qRgMNRIle6Vnx4KURiKog58/s320/Summary+2.jpg" width="320" /></a><span style="font-size: 14pt;">Alan returns to their
room and, incredibly, finds Eileen in bed waiting for him. Eileen has no memory
of having disappeared. In that moment Alan realizes how much he loves his wife
and vows never to forget the torment of losing her for even so brief a time. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">The Ransomes are
enjoying their newfound happiness the following night at a party with the rest
of the passengers when Alan notices that the ship’s engines have stopped. A
nasty surprise arrives with Captain Protheroe a short time later. The crew has
gathered the Ransomes’ things and the couple are being put off the ship. Alan
refuses, believing it to be a joke, prompting the First Officer to produce a
gun to ensure the Ransomes that this is a serious affair. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">Alan and Eileen are
placed in a lifeboat along with their belongings, supplies, and the assurance
that the authorities have been contacted and the Ransomes will be retrieved
shortly. Alan and Eileen begin to understand why they were removed from the <i style="mso-bidi-font-style: normal;">Lady Anne</i> as they watch the old ship
sail away and slowly disappear into the fog. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Rod Serling’s Closing Narration: <o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">“The
Lady Anne never reached port. After they were picked up by a cutter a few hours
later, as Captain Protheroe had promised, the Ransomes searched the newspapers
for news, but there wasn’t any news. The Lady Anne, with all her crew and all
her passengers, vanished without a trace. But the Ransomes knew what had
happened. They knew that the ship had sailed off to a better port, a placed
called The Twilight Zone.”<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt;">Commentary:<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWry1Wdv-JW280s3eIdvLP7L_zMvYXKA7tIEKfNFNm3PjGMUuTxPL0WevILmTbVFxobk_DoCGzxLxhzkkvllWx4XZ1zKkBa4-FKQRyzMvtcmqGjlqhQ9vLDtJolZmjXdmrAtBctbSa_1he/s1600/Commentary.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="846" data-original-width="1110" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWry1Wdv-JW280s3eIdvLP7L_zMvYXKA7tIEKfNFNm3PjGMUuTxPL0WevILmTbVFxobk_DoCGzxLxhzkkvllWx4XZ1zKkBa4-FKQRyzMvtcmqGjlqhQ9vLDtJolZmjXdmrAtBctbSa_1he/s320/Commentary.jpg" width="320" /></a><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Charles
Beaumont, to my mind, was the finest writer on the series during the fourth
season. This is not to say the show’s other writers did not produce quality
material for the much-derided hour-long format. Richard Matheson’s “Death
Ship,” Earl Hamner’s “Jess-Belle,” and Rod Serling’s “On Thursday We Leave for
Home” are episodes I feel stand with the best of the series. Charles Beaumont’s
work on the fourth season, however, was consistently good from beginning to
end, from the season premiere, “In His Image,” through to his midseason
masterpiece, “Miniature,” and the moving and affecting penultimate episode,
“Passage on the Lady Anne.” This trilogy of episodes represents a notable shift
in Beaumont’s output from the potently effective introspective nightmares of
the half-hour episodes to richer, more optimistic fare which still retained
many of Beaumont’s familiar thematic traits. Beaumont also produced a fine
satirical episode, “Printer’s Devil,” and provided the story for “The New
Exhibit,” an episode ghost-written by Jerry Sohl and one which many viewers consider
a highlight of the season. Beaumont’s single misstep was the ambitious but ultimately
unsuccessful “Valley of the Shadow.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>The
six episodes (including “The New Exhibit”) Beaumont contributed during the
fourth season constitute a greater output from the writer than on any other
season. This feels significant when one considers that Beaumont, due to sudden
and debilitating health issues previously discussed on this blog, wrote no
additional episodes after “Passage on the Lady Anne.” Another Beaumont
teleplay, “Gentlemen, Be Seated,” an adaptation of Beaumont’s 1960 story about
a near future society in which laughter has been eliminated and a clandestine
group of office workers who nightly celebrate politically incorrect humor, was
completed and scheduled for the fifth season but was ultimately left unproduced
by series end. The episodes credited to Beaumont during this final season were
written by Jerry Sohl or John Tomerlin based on Beaumont’s ideas and stories. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">The bitter irony which should
not be lost on the viewer is that “Passage on the Lady Anne,” the final episode
in this late outburst from Beaumont, figuratively mirrors the very real struggle
which descended on him at this time. Generally speaking, “Passage on the Lady
Anne” is about taking that final journey on one’s own terms, to see the journey
through to the end by returning to a place of happiness and success. For
Charles Beaumont, <i style="mso-bidi-font-style: normal;">The Twilight Zone </i>is
the <i style="mso-bidi-font-style: normal;">Lady Anne,</i> and although his final
passing was far less romantic than that portrayed in the episode, posterity has
shown <i style="mso-bidi-font-style: normal;">The Twilight Zone </i>to be that
which has done the most to keep Beaumont’s flame burning. His work on the
series has come to be considered career defining. Fortunately, the world is not
yet ready to scrap the old-fashioned television show the way in which the world
is ready to scrap the old ship in “Passage on the Lady Anne.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEuMvUTVVVzPH6QV6lM8f_Gz9ML_vTvKKdzU1s5ZYmE2Zsik0OJxN_n75xBhknRB7MhDb6zcUE8A0gllm4VrQGNQGZ3fbfGYX_O4iw0vrNMXSxgRw-2-HHVCYFFBtpQ7rovy8z99TMY2wW/s1600/Night+Ride+cover.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="743" data-original-width="446" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEuMvUTVVVzPH6QV6lM8f_Gz9ML_vTvKKdzU1s5ZYmE2Zsik0OJxN_n75xBhknRB7MhDb6zcUE8A0gllm4VrQGNQGZ3fbfGYX_O4iw0vrNMXSxgRw-2-HHVCYFFBtpQ7rovy8z99TMY2wW/s320/Night+Ride+cover.jpg" width="191" /></a><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>“Passage
on the Lady Anne” is Beaumont’s adaptation of his story “Song for a Lady,” a
title indicating the final journey at the center of the story. It first
appeared in Beaumont’s 1960 collection from Bantam Books, <i style="mso-bidi-font-style: normal;">Night Ride and Other Journeys, </i>which also contained <i style="mso-bidi-font-style: normal;">The Twilight Zone </i>stories “Perchance to
Dream” and “The Howling Man.” Although the story structure remained essentially
the same in its adaptation to television, Beaumont changed a number of internal
story elements in addition to the more prosaic story title. The first differing
element which jumps out at the reader is the situation of the two central
characters, Alan and Eileen Ransome, who, in “Song for a Lady,” are truly
newlyweds rather than the struggling married couple in “Passage on the Lady
Anne.” In the story, the Ransomes book passage on the <i style="mso-bidi-font-style: normal;">Lady Anne</i> before they are married. Due to this essential change in
the characters, there is no troubled marriage at the center of the story, which
became an important element in the television episode. The story is narrated in
the first person by Alan and the focus is less on the Ransomes than on the
elderly passengers and their relationships to the <i style="mso-bidi-font-style: normal;">Lady Anne.</i> Alan and Eileen function primarily as a lens through which
the reader views these relationships between the old people and the old ship
taking them to their final rest. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Another
noticeable change from story to screen is in the condition of the <i style="mso-bidi-font-style: normal;">Lady Anne.</i> In the television episode,
the Ransomes dread that the <i style="mso-bidi-font-style: normal;">Lady Anne</i>
will be an old wreck, hardly capable of staying on the water, when in fact it
reveals itself to be an old but beautiful pearl of a vessel, ornate and elegant
in an old-fashioned style. In the original story the ship truly is a wreck, or
close to it. Although the Ransomes believe the ship to be beautiful from afar,
contrary to “descriptions of the ship had led us to expect something between a
kayak and The Flying Dutchman,”</span>*<span style="font-size: 14pt;"> it is soon
seen this way from Alan’s viewpoint: “Then we got a little closer. And the <i style="mso-bidi-font-style: normal;">Lady Anne </i>turned into one of those
well-dressed women who look so fine a block away and then disintegrate as you
approach them. The orange on the hull was bright, but it wasn’t paint. It was
rust. Rust, like fungus, infecting every inch, trailing down from every port
hole. Eating through the iron.”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Other
changes are largely superficial and generally concern minor incidents of
character and dialogue. Jack McKenzie in the story becomes Toby McKenzie in the
episode. Eileen, rather than Alan, speaks many of the confrontational lines to
McKenzie and Burgess in the story. Burgess is also given a wife in the tale, Cynthia,
whereas the element of his being a widower is given particular focus in the
episode. Beaumont retains large amounts of dialogue from his story, much of it
Alan’s internal dialogue, though the speaker often changes in the adaptation.
Burgess’s memorable, drunken rant on the wretched state of modern society is,
in the story, delivered by a character named Van Vlyman. This scene is powerful
in both the story and the episode due largely to Beaumont’s spirited writing.
The message behind the rant was likely close to Beaumont’s own thoughts on the
issue as he, in collaboration with friends, wrote a number of nostalgic essays,
collected in <i style="mso-bidi-font-style: normal;">Remember? Remember? </i>(1963),
many of which lament the same sort of problems modern society creates for the
lover of old things and the older ways of doing things. <o:p></o:p></span><br />
<span style="font-size: 14pt;"> Beaumont seems to have much to say about the way in which modern society treats the elderly. The <i>Lady Anne, </i>and its passengers, are referred to as "relics" and "antiques." As Serling informs us in the closing monologue, the disappearance of the ship and its elderly passengers is not reported in any newspaper, suggesting that the old go largely unnoticed in the culture as they have outlived their usefulness. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">The ending of the story
is also quite different from the episode. In the story, Alan and Eileen are placed
in the lifeboat and observe as, in the distance, the <i style="mso-bidi-font-style: normal;">Lady Anne </i>first catches fire and then sinks into the water. This
fiery ending was wisely changed to the more atmospheric ending seen in the
episode, with the informative coda of Rod Serling’s closing narration to
alleviate any ambiguity. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Overall,
the reader comes away from the story with a sense of speed and compression,
especially compared to the measured pacing of the episode. The story moves very
quickly with little of the nuances in character and incident which make the
episode memorable and enjoyable. Beaumont likely selected this story from among
his published tales for adaptation because he felt as though he could improve
on the tale if given another run at it. He had a good idea in the original
story but had not given the tale the attention to character and conflict which
it warranted. Beaumont was given a wider canvas than normal and expertly
utilized the hour-long format to deliver an episode which vastly improves upon
the original story by retaining the essential hook but imbuing the tale with
greater elements of conflict, wit, heartbreak, and redemption. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Though
it is easy to be charmed by displays of more demonstrative elements of fantasy,
such as grotesque monsters, time travel, aliens, killer dolls, and the like, <i style="mso-bidi-font-style: normal;">The Twilight Zone </i>is somewhat
underappreciated as a remarkably effective platform for powerful drama. This is
largely due to its creator’s journeyman years in the dramatic anthology
programs of the previous decade but also owes something to the writers Rod
Serling surrounded himself with, writers such as Charles Beaumont, Richard
Matheson, Ray Bradbury, Henry Slesar, Damon Knight, and Jerome Bixby who,
alongside others, spearheaded a change in American science fiction and fantasy
literature which injected the form with real people facing relatable problems
in real situations. “Passage on the Lady Anne” is a very quiet fantasy but a
very potent drama which contains further meditations on the recurring themes of
Beaumont’s fiction (death and dying, memory and dreams, the fantastic intruding
upon a normal course of events) and a powerful strain of conflict and resolve
in relationships. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>A
number of the scenes and incidents which remain in one’s memory after viewing
the episode were created for the adaptation. Primary among these is the
relationship between Alan and Eileen Ransome. The perspective lens is shifted
from the passengers on the <i style="mso-bidi-font-style: normal;">Lady Anne</i>
in the story to the troubled couple who find their way on board a death ship in
the episode. Lee Philips as the quietly angry and stubbornly unhappy Alan
Ransome and Joyce Van Patten as the vulnerable yet defiant Eileen Ransome are
excellent in their sole appearances on <i style="mso-bidi-font-style: normal;">The
Twilight Zone.</i> Alan is easy to dislike through most of the episode though
not to the degree that the viewer does not empathize with his immense relief at
finding Eileen after the vulnerability of her character manifests itself in a
literal disappearance. This incident could have been the hook for a separate and
very different <i style="mso-bidi-font-style: normal;">Twilight Zone </i>episode,
but Beaumont uses it here for a brief sequence to bring together two characters
we have previously watched growing apart.<o:p></o:p></span><br />
<span style="font-size: 14pt;"> Depending on how one views Eileen's disappearance, "Passage on the Lady Anne" contains hardly any fantasy element at all. There is the vague notion that the <i>Lady Anne </i>possesses some supernatural aspect given the mythical status assigned to the ship by its aging crew and passengers. While several times Beaumont hints at the supernatural, particularly with the disappearance of the <i>Lady Anne </i>at the end of the episode, the writer never directly shows us anything supernatural. There are no aliens, no ghosts, no talking dolls, nor anything else fantastical. The hint of fantasy becomes, in Beaumont's hands, a way to give the audience a metaphor for Alan's relationship with Eileen. This aspect is particularly apparent when McKenzie tells Alan: "She hasn't gone anywhere. You've just missed her," and in the scene in which Alan recovers his vanished wife in their suite. He says to her: "Where have you been? I've been looking everywhere for you," to which she replies: "I've been here, Alan," the implication being that their relationship has always been there, waiting for him to discover it. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">The chemistry of Lee Philip’s and Joyce Van Patten’s performances, both during the period in which they
are waging a silent war and in their later, redemptive moments, is the finest
on the series since that of William Shatner and Patricia Breslin in Richard
Matheson’s “Nick of Time.” Their argument in the Imperial Lounge is one of the
most expertly written, authentically performed scenes in the entire series. It
is genuinely uncomfortable for the viewer and Beaumont gives the scene a number
of effective touches, such as Alan speaking less and in a lower voice the more
Eileen speaks in an animated voice. He also writes Eileen destroying the
cigarette package to end the sequence, as Eileen asking Alan for a cigarette
had been shown as a petty annoyance to Alan in prior scenes. The episode liberally
uses juxtaposition to define its conflicts and resolutions, from the young
couple and the elderly passengers to specific scenes, such as the party in the Imperial Lounge and the sudden intrusion of the Captain with a demand for the Ransomes to be put off the ship. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>The
episode is filled with small touches which are not in the original story and
would likely have been left out or edited from a twenty-four minute episode. A
scene not focused on Alan and Eileen, such as the brief sequence in which Millie
McKenzie throws Toby’s old letters overboard, would surely not have made the
cut of a half-hour episode. Viewers may see such scenes as needless padding but
some stories benefit from a richer tapestry of character and incident.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB9Han7FNWnkTeZEz778UlHqIEex1h7XAPy0aOIV_cE1xGJvW_LG9xCx3sgrhI-wP2PsVaTbjQZIm2rCDvD19eZHpPNu_zQK9oJv-d5kIUl1xZ7CEMLp38u-chHt63KJob20SsV1twhCPe/s1600/British+Cast+1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="868" data-original-width="1117" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB9Han7FNWnkTeZEz778UlHqIEex1h7XAPy0aOIV_cE1xGJvW_LG9xCx3sgrhI-wP2PsVaTbjQZIm2rCDvD19eZHpPNu_zQK9oJv-d5kIUl1xZ7CEMLp38u-chHt63KJob20SsV1twhCPe/s320/British+Cast+1.jpg" width="320" /></a><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>The
supporting cast is a highlight of the episode. The episode gathers a charming
collection of talented and familiar English performers to populate the <i style="mso-bidi-font-style: normal;">Lady Anne,</i> many of whom are making
repeat performances on the series. The newcomers include genial Wilfrid
Hyde-White as Toby McKenzie, who takes the Ransomes under his wing to educate
them on the history and significance of the <i style="mso-bidi-font-style: normal;">Lady
Anne</i> and its final voyage, and Alan Napier, best known as Alfred on
television’s <i style="mso-bidi-font-style: normal;">Batman, </i>who makes a
brief but effective appearance as the stony Captain Protheroe. The remainder of
the supporting cast will likely be familiar to regular viewers of the series.
Gladys Cooper, as Millie McKenzie, makes the second of three appearances on the
series, sandwiched between outstanding performances in “Nothing in the Dark”
and “Night Call.” Though Cooper did not work with Rod Serling’s material on the
series, she elevated three very good scripts from the show’s other principal
writers, George Clayton Johnson, Charles Beaumont, and Richard Matheson. Cecil
Kellaway returns to the series as Burgess after his unforgettable appearance as
the wily and dangerous Jeremy Wickwire in Charles Beaumont’s first season
episode, “Elegy.” Cyril Delevanti gets to hold the gun in “Passage on the Lady
Anne,” his fourth and final appearance on the series. Delevanti memorably
portrayed the old man Smithers who dreams of robbing a bank in “A Penny for
Your Thoughts,” and, unforgettable, as the stone-faced servant who hides a
manic inner life in “A Piano in the House.” Finally, Don Keefer makes the
second of his three appearances on the series as the smug travel agent Mr.
Spierto. Keefer memorably portrayed Dan Hollis, whose bad thoughts get him
transformed into a jack-in-the-box by little Anthony in “It’s a Good Life.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>The
episode also marks the return of director Lamont Johnson to the series. Johnson
last sat behind the camera for the third season episode “Hocus-Pocus and
Frisby,” and previously directed some of the finest episodes of the series,
including “The Shelter,” “Five Characters In Search of an Exit,” and “Kick the
Can.” Johnson’s presence on “Passage on the Lady Anne” may have been a draw for
Gladys Cooper to appear in the episode as the two previously collaborated on
the excellent third season episode, “Nothing in the Dark.” The atmospheric
cinematography of Robert W. Pittack deserves mention, as well. Pittack arrived
on <i style="mso-bidi-font-style: normal;">The Twilight Zone </i>late in the
third season to photograph Charles Beaumont’s “Person or Persons Unknown.” He
remained on the series through the fourth season to alternate with regular
cinematographer George T. Clemens, due to the increased shooting time per episode
for the hour-long format. Pittack’s talent was readily apparent and he was
retained for the fifth season, photographing such memorable episodes as “Nightmare
at 20,000 Feet,” “Living Doll,” and “Night Call.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Although
“Passage on the Lady Anne” lacks that truly memorable element (a fantastic
display, a clever ending, etc.) which might lift it among the company of the
best episodes, it remains a powerful drama graced by outstanding lead
performances, a charming collection of supporting players, the return of one of
the finest directors on the series, and an eerie atmosphere complemented by
excellent photography and a memorable musical score. It is a fine final episode
from the typewriter of Charles Beaumont and comes recommended. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
*“Passage on the Lady Anne” was one of several <i style="mso-bidi-font-style: normal;">Twilight Zone </i>episodes which directly or indirectly referenced or
took inspiration from the legend of The Flying Dutchman, a ghostly vessel often
portrayed as a portent of doom, aligning the episode with others such as “Judgment
Night,” “King Nine Will Not Return,” “The Odyssey of Flight 33,” “The Arrival,”
and “The Thirty-Fathom Grave.”<o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt;">Grade:
B<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;">Grateful acknowledgement to: <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-Night
Ride and Other Journeys </span></i><span style="font-size: 14pt;">by Charles
Beaumont (Bantam, 1960)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;">-The Internet Speculative Fiction
Database (isfdb.org)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;">-The Internet Movie Database (imdb.com)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJvL7AoSGrUol49aCz_9OscKeEH5IK9Qbz8zm01xoIYdYrOTPAm65TDanhr-HogR4KBg3pScFz6lLEjez6O9-PGqIGmdBREEI2mdHDCxvQEAsS21AX-XfAYbVFvVKtE_Cfk5FijWu5O7hT/s1600/Notes.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="854" data-original-width="1105" height="154" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJvL7AoSGrUol49aCz_9OscKeEH5IK9Qbz8zm01xoIYdYrOTPAm65TDanhr-HogR4KBg3pScFz6lLEjez6O9-PGqIGmdBREEI2mdHDCxvQEAsS21AX-XfAYbVFvVKtE_Cfk5FijWu5O7hT/s200/Notes.jpg" width="200" /></a></b></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Notes:<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">--Charles
Beaumont’s story, “Song for a Lady,” was first published in </span></i><span style="font-size: 14pt;">Night Ride and Other Journeys <i style="mso-bidi-font-style: normal;">(Bantam, 1960). Beaumont’s final, unproduced episode for </i>The
Twilight Zone,<i style="mso-bidi-font-style: normal;"> “Gentlemen, Be Seated,”
was published in the limited edition volume </i>The Twilight Zone Scripts of
Charles Beaumont, Volume One, <i style="mso-bidi-font-style: normal;">ed. Roger
Anker (Gauntlet Press, 2004). Volume two never appeared. Beaumont’s original
story, “Gentlemen, Be Seated,” was first published in the April, 1960 issue of </i>Rogue
<i style="mso-bidi-font-style: normal;">and collected in </i>Charles Beaumont:
Selected Stories, <i style="mso-bidi-font-style: normal;">ed. Roger Anker (Dark
Harvest, 1988).<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">--Lamont
Johnson directed seven additional episodes of the series, including “The
Shelter,” “Five Characters in Search of an Exit,” “Nothing in the Dark,” “One
More Pallbearer,” “Kick the Can,” “Four O’Clock,” and “Hocus-Pocus and Frisby.”
<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">--Composer
René Garriguenc also provided the scores for “The Monsters Are Due on Maple
Street,” “In Praise of Pip,” and “Spur of the Moment,” as well as stock music
pieces for several additional episodes. Garriguenc worked closely with the head
of the CBS music department, Lud Gluskin, who conducted all of Garriguenc’s
scores for the series. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">--Gladys
Cooper also appeared in “Nothing in the Dark” and “Night Call.” <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">--Cecil
Kellaway also appeared in “Elegy.”<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">--Lee
Philips also appeared in “Queen of the Nile.”<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">--Alan
Napier was a regular performer on </span></i><span style="font-size: 14pt;">Rod
Serling’s Night Gallery, <i style="mso-bidi-font-style: normal;">appearing in the
episode segments “House – with Ghost,” “The Sins of the Fathers,” and “Fright
Night.”<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">--Cyril
Delevanti also appeared in “A Penny for Your Thoughts,” “The Silence,” and “A
Piano in the House.”<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">--Jack
Raine appeared in an uncredited role in “Spur of the Moment.” <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">--Don
Keefer also appeared in “It’s a Good Life” and “From Agnes – with Love.” <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><i>--Joyce
Van Patten was divorced from fellow </i>Twilight Zone <i>performer Martin Balsam shortly before she appeared in this episode</i></span><span style="font-size: 14pt;"><i style="mso-bidi-font-style: normal;">, which may have given the relationship at the center of “Passage on
the Lady Anne” extra resonance for the actress. <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">--“Passage
on the Lady Anne” was adapted as a Twilight Zone Radio Drama starring Martin
Jarvis and Rosalind Ayres. <o:p></o:p></span></i></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt;">-JP & BD </span></b></div>
JPhttp://www.blogger.com/profile/14808904189056290207noreply@blogger.com3tag:blogger.com,1999:blog-1318310043864039191.post-81823309074008937862020-04-29T06:00:00.001-05:002020-05-31T11:19:33.394-05:00Wednesday Comics <span style="font-size: large;"><i>The Twilight Zone </i>#3 (May, 1963)</span><br />
<span style="font-size: large;">"The Last Battle"</span><br />
<span style="font-size: large;">Script: unknown</span><br />
<span style="font-size: large;">Pencils: Mike Sekowsky</span><br />
<span style="font-size: large;">Inks: Mike Peppe</span><br />
<span style="font-size: large;">Letters: Ben Oda </span><br />
<span style="font-size: large;">Cover: George Wilson </span><br />
<span style="font-size: large;"><br /></span>
<br />
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<span style="font-size: large;"><br /></span>JPhttp://www.blogger.com/profile/14808904189056290207noreply@blogger.com0tag:blogger.com,1999:blog-1318310043864039191.post-66546143837498284032020-04-20T06:00:00.000-05:002020-04-28T19:44:05.147-05:00Reading Rod Serling’s The Twilight Zone Magazine, Part 21<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">In which we take a closer look at each issue. For our capsule history of the magazine, go <a href="http://twilightzonevortex.blogspot.com/2012/01/rod-serlings-twilight-zone-magazine.html?m=0"><span style="color: #f3f3f3;">here.</span></a> </span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;"><br /></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Great
Stories from Rod Serling’s The Twilight Zone Magazine </span></i><span style="font-size: 14.0pt;">(1982)<o:p></o:p></span></div>
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<span style="font-size: 14.0pt;">Edited by T.E.D. Klein <o:p></o:p></span></div>
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<span style="font-size: 14.0pt;">Cover art: Terrance Lindall <o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 14.0pt;">The only annual volume of <i style="mso-bidi-font-style: normal;">Rod Serling’s The Twilight Zone Magazine </i>appeared
in October, 1982. The annual, although not numbered as such in the publication,
assumes the place of volume 2, number 9 in the magazine’s internal numbering,
placing it between the cover-dated November (volume 2, number 8) and December
(volume 2, number 10), 1982 issues. The annual was not sent to subscribers and consists
primarily of reprints from previous issues of the magazine. <o:p></o:p></span></div>
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<br /></div>
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<u><span style="font-size: 14.0pt;">Contents:</span></u><span style="font-size: 14.0pt;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--A Note from the Publisher by Carol
Serling <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--In <i style="mso-bidi-font-style: normal;">The
Twilight Zone: </i>“Refresher course . . .” by T.E.D. Klein <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Rod Serling: First Citizen of <i style="mso-bidi-font-style: normal;">The Twilight Zone</i> by Carol Serling &
Marc Scott Zicree (profile) <i style="mso-bidi-font-style: normal;">(from the
April, 1981 issue)</i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“Playing the Game” by Jack Dann &
Gardner Dozois <i style="mso-bidi-font-style: normal;">(from the Feb, 1982 issue)</i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“The Rose Wall” by Joyce Carol Oates <i style="mso-bidi-font-style: normal;">(from the April, 1981 issue)</i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“The Jaunt” by Stephen King <i style="mso-bidi-font-style: normal;">(from the June, 1981 issue)</i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“Remembering Melody” by George R.R.
Martin <i style="mso-bidi-font-style: normal;">(from the April, 1981 issue)</i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“The Dump” by Joe R. Lansdale <i style="mso-bidi-font-style: normal;">(from the July, 1981 issue)</i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“My Most Memorable Christmas” by Rod
Serling (memoir) <i style="mso-bidi-font-style: normal;">(from the Jan, 1982
issue)<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“The Night of the Meek” by Rod Serling <i style="mso-bidi-font-style: normal;">(from </i>New Stories from The Twilight Zone, <i>1962)</i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“Sea Change” by George Clayton Johnson
<i style="mso-bidi-font-style: normal;">(from the Oct, 1981 issue)</i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--The Gargoyles of Gotham by Stephen
DiLauro & Don Hamerman (photo-essay) <i style="mso-bidi-font-style: normal;">(from
the Feb, 1982 issue)</i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“Carousel” by Thomas M. Disch <i style="mso-bidi-font-style: normal;">(from the Nov, 1981 issue)</i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“Grail” by Harlan Ellison <i style="mso-bidi-font-style: normal;">(from the April, 1981 issue)</i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“Groucho” by Ron Goulart <i style="mso-bidi-font-style: normal;">(from the April, 1981 issue)<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“The Father of the Bride” by Connie
Willis <i style="mso-bidi-font-style: normal;">(from the May, 1982 issue)</i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“The River Styx Runs Upstream” by Dan
Simmons <i style="mso-bidi-font-style: normal;">(from the April, 1982 issue)</i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“I’ll Be Seeing You” by W.G. Norris <i style="mso-bidi-font-style: normal;">(from the April, 1982 issue)</i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--The Story Behind Richard Matheson’s
“The Doll” by Marc Scott Zicree (essay) <i style="mso-bidi-font-style: normal;">(from
the June, 1982 issue)</i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“The Doll” by Richard Matheson
(teleplay) <i style="mso-bidi-font-style: normal;">(from the June, 1982 issue)</i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Rod Serling: The Facts of Life by
Linda Brevelle (interview) <i style="mso-bidi-font-style: normal;">(from the
April, 1982 issue)</i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“The Swamp” by Robert Sheckley <i style="mso-bidi-font-style: normal;">(from the July, 1981 issue)</i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“Again” by Ramsey Campbell <i style="mso-bidi-font-style: normal;">(from the Nov, 1981 issue)</i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“Not Our Brother” by Robert Silverberg
<i style="mso-bidi-font-style: normal;">(from the July, 1982 issue)<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;"><i style="mso-bidi-font-style: normal;"><br /></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;"><i style="mso-bidi-font-style: normal;"><br /></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk_5sjrXf_Tu6fc1Q-tgREbI2Q5jl4s2-UzLxyc7L9xKaCrLJsf0QGhGCtndltt0ezlYj3X0qYucOjjqmJG-MTIefh0Fd8Q_t9USgEQlhitaJyjeRX6Ms81M73pTugPuun4voY-FRGIv32/s1600/Cover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="815" data-original-width="591" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk_5sjrXf_Tu6fc1Q-tgREbI2Q5jl4s2-UzLxyc7L9xKaCrLJsf0QGhGCtndltt0ezlYj3X0qYucOjjqmJG-MTIefh0Fd8Q_t9USgEQlhitaJyjeRX6Ms81M73pTugPuun4voY-FRGIv32/s400/Cover.jpg" width="290" /></a><b><span style="font-size: 14.0pt;">Volume
2, Number 10 (December, 1982)</span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Cover art: David Christiana (for "Living Doll")<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">TZ
Publications, Inc.<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">President
& Chairman: </span></i><span style="font-size: 14.0pt;">S. Edward Orenstein<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Secretary/Treasurer:
</span></i><span style="font-size: 14.0pt;">Sidney Z. Gellman<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Executive
Vice-Presidents: </span></i><span style="font-size: 14.0pt;">Leon Garry, Eric
Protter<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Executive
Publisher: </span></i><span style="font-size: 14.0pt;">S. Edward Orenstein<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Publisher:
</span></i><span style="font-size: 14.0pt;">Leon Garry<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Associate
Publisher and Consulting Editor: </span></i><span style="font-size: 14.0pt;">Carol
Serling<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Editorial
Director: </span></i><span style="font-size: 14.0pt;">Eric Protter<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Editor:
</span></i><span style="font-size: 14.0pt;">T.E.D. Klein<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Managing
Editor: </span></i><span style="font-size: 14.0pt;">Jane Bayer<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Assistant
Editor: </span></i><span style="font-size: 14.0pt;">Robert Sabat<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Editorial
Assistant: </span></i><span style="font-size: 14.0pt;">Judy Linden<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Contributing
Editors: </span></i><span style="font-size: 14.0pt;">Thomas M. Disch, Gahan
Wilson, Marc Scott Zicree<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Design
Director: </span></i><span style="font-size: 14.0pt;">Michael Monte<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Art
Director: </span></i><span style="font-size: 14.0pt;">Wendy Mansfield<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Art
Production: </span></i><span style="font-size: 14.0pt;">Susan Lindeman, Carol
Sun, Lori Hollander, Pat E. Queen<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Typesetting:
</span></i><span style="font-size: 14.0pt;">Marianna Turselli<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Production
Director: </span></i><span style="font-size: 14.0pt;">Stephen J. Fallon<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Controller:
</span></i><span style="font-size: 14.0pt;">Thomas Schiff<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Ass’t
to the Publisher: </span></i><span style="font-size: 14.0pt;">Penny Layne<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Public
Relations Mgr.: </span></i><span style="font-size: 14.0pt;">Jeffrey Nickora<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Accounting
Mgr.: </span></i><span style="font-size: 14.0pt;">Chris Grossman<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Accounting
Ass’t: </span></i><span style="font-size: 14.0pt;">Annemarie Pistilli<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Office
Ass’t: </span></i><span style="font-size: 14.0pt;">Miriam Wolf<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Circulation
Director: </span></i><span style="font-size: 14.0pt;">William D. Smith<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Circulation
Mgr.: </span></i><span style="font-size: 14.0pt;">Carole A. Harley<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Circulation
Ass’t: </span></i><span style="font-size: 14.0pt;">Karen Martorano<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Newsstand
Sales Manager: </span></i><span style="font-size: 14.0pt;">Karen Marks Goldberg<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Eastern
Circ. Mgr.: </span></i><span style="font-size: 14.0pt;">Hank Rosen<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">West
Coast Circ. Mgr.: </span></i><span style="font-size: 14.0pt;">Gary Judy<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Advertising
Manager: </span></i><span style="font-size: 14.0pt;">Rachel Britapaja<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Adv.
Production Manager: </span></i><span style="font-size: 14.0pt;">Marina Despotakis<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Advertising
Representatives: </span></i><span style="font-size: 14.0pt;">Barney O’Hara &
Associates<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 14.0pt;">Contents:<o:p></o:p></span></u></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--In the Twilight Zone: “The first time
. . .” by T.E.D. Klein<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Other Dimensions: Screen by Gahan
Wilson<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Other Dimensions: Books by T.E.D.
Klein<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Other Dimensions: The ‘Unhappy Is He’
Quiz Revisited by William Fulwiler<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Other Dimensions: Etc. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--TZ Interview: Ridley Scott interviewed
by James Verniere<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“The Shrine” by Pamela Sargent<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“Altenmoor, Where the Dogs Dance” by
Mort Castle<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Comic: “Vertigoat” by Tony Galloway<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“Jockeying for Time” by David Shifren<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Magic for Sale (photo feature) by
Mathew Kovary<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“The Translator” by John David Sidley<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--TZ Screen Preview: <i style="mso-bidi-font-style: normal;">Xtro </i>by James Verniere<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--The Essential Writers: L.P. Hartley by
Jack Sullivan<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“W.S.” by L.P. Hartley<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“Three Timely Tales” by Rick Norwood<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“What Really Happened to Uncle
Chuckles?” by Ron Wolfe<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“Creative Writing” by Sandré
Charbonneau<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“Pulpmeister” by David J. Schow <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Show-by-Show Guide: TV’s <i style="mso-bidi-font-style: normal;">Twilight Zone: </i>Part Twenty-One by Marc
Scott Zicree<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--TZ Classic Teleplay: “Living Doll” by
Charles Beaumont (and Jerry Sohl)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Looking Ahead: In January’s TZ <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--In
the Twilight Zone: “The first time . . .” by T.E.D. Klein<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Klein’s
editorial examines the effect of the first sale on a writer while touting TZ
Magazine’s practice of publishing new and previously unpublished writers. Biographical
information on the issue’s contributors follows the preamble and includes
acknowledgement of the important contributions of writer Jerry Sohl to </span></i><span style="font-size: 14.0pt;">The Twilight Zone <i style="mso-bidi-font-style: normal;">and,
specifically, to the teleplay for “Living Doll,” included in the issue and
attributed solely to Charles Beaumont. Marc Scott Zicree’s recently published
book, </i>The Twilight Zone Companion, <i style="mso-bidi-font-style: normal;">presented
the startling revelation that Jerry Sohl ghost-wrote three teleplays during the
fourth and fifth seasons for an ailing Charles Beaumont. One of these teleplays
was the fan-favorite episode “Living Doll,” written solely by Jerry Sohl from
an idea by Beaumont. Find out more about Sohl and his contributions to </i>The
Twilight Zone <i style="mso-bidi-font-style: normal;"><a href="https://twilightzonevortex.blogspot.com/2019/11/lost-in-fifth-dimension-jerry-sohls.html"><span style="color: #f3f3f3;">here. </span></a><o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Other
Dimensions: Screen by Gahan Wilson<o:p></o:p></span></b></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDiAoPBNmgco7288kj9dsjcRT2LlyAC6-oqPrwS3nqAUcRgzo11IC7WT6VxX-HsfKMgEQEsLfWFwjRkE8XSsPE7dZ9nxn1hM9wsa3vxHPKY88UHVlrU6iJH2g1WArFt8EGYhs7kvHdc5Xs/s1600/Screen.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="302" data-original-width="680" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDiAoPBNmgco7288kj9dsjcRT2LlyAC6-oqPrwS3nqAUcRgzo11IC7WT6VxX-HsfKMgEQEsLfWFwjRkE8XSsPE7dZ9nxn1hM9wsa3vxHPKY88UHVlrU6iJH2g1WArFt8EGYhs7kvHdc5Xs/s400/Screen.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jeff Bridges in <i>Tron</i></td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-This
month Gahan Wilson looks at </span></i><span style="font-size: 14.0pt;">Tron <i style="mso-bidi-font-style: normal;">(1982), the Walt Disney Company’s ambitious
attempt to create an adventure film primarily composed of computer-generated
imagery at a time when CGI was in its infancy. The film was a commercial
success and a mild critical success but had its detractors, which apparently included
Gahan Wilson. Wilson enjoyed the look of the film and the innovative production
design but faulted the film in nearly every other respect, finding the acting,
direction, and script unsatisfactory. </i>Tron<i style="mso-bidi-font-style: normal;"> developed a cult following after its initial release and a sequel, </i>Tron:
Legacy, <i style="mso-bidi-font-style: normal;">eventually appeared in 2010. An
animated series, </i>Tron: Uprising, <i style="mso-bidi-font-style: normal;">appeared
in 2012. Marvel Comics published a two-issue prequel to </i>Tron: Legacy <i style="mso-bidi-font-style: normal;">titled </i>Tron: Betrayal. <i style="mso-bidi-font-style: normal;">SLG (Slave Labor Graphics) published six
issues of a </i>Tron <i style="mso-bidi-font-style: normal;">comic in 2006-2008.<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Other
Dimensions: Books by T.E.D. Klein<o:p></o:p></span></b></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidbmnj1uPYzV9JJdLocQST3I5FbcLczWkR6QVR2rHz3ulk4cqY-v2pY0MX760OSmMKDSKI52_jqgpWIik08u3ZYBeX9Bw5NF_ALvxDEnVC7BkFEP-nLWLvV1zZ8HkufiA9HZsTveM-sIZX/s1600/Books.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="834" data-original-width="679" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidbmnj1uPYzV9JJdLocQST3I5FbcLczWkR6QVR2rHz3ulk4cqY-v2pY0MX760OSmMKDSKI52_jqgpWIik08u3ZYBeX9Bw5NF_ALvxDEnVC7BkFEP-nLWLvV1zZ8HkufiA9HZsTveM-sIZX/s320/Books.jpg" width="260" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Illustration by Tim Kirk for <i>A Dreamer's Tales</i></td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Regular
books reviewer Thomas M. Disch is taking the month off so Klein steps in to
offer snippet reviews of several current books. The two best things about Klein
reviewing books is the many, and varied, titles he reviews and his generous use
of illustrations. Klein provides samples from several illustrated volumes,
including two which are not reviewed in the column outside of the captions
beneath the illustrations. Here are the books upon which Klein offers his
thoughts: <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">-The Complete Directory to Prime Time
Network TV Shows <i style="mso-bidi-font-style: normal;">by Tim Brooks and Earle
Marsh (Ballantine Books)<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">-Saturday Morning TV <i style="mso-bidi-font-style: normal;">by Gary H. Grossman (Dell)<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">-Durandal <i style="mso-bidi-font-style: normal;">by Harold Lamb (Donald M. Grant)<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">-Lord of the Dead <i style="mso-bidi-font-style: normal;">by Robert E. Howard (Donald M. Grant)<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">-Scarlet Dreams <i style="mso-bidi-font-style: normal;">by C.L. Moore (Donald M. Grant). Moore co-wrote the story “What You
Need” with her husband Henry Kuttner. Rod Serling adapted the story for the
first season of </i>The Twilight Zone. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">-The Wonderful Lips of Thibong Linh <i style="mso-bidi-font-style: normal;">by Theodore Roscoe (Donald M. Grant)<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">-The Hand of Zei <i style="mso-bidi-font-style: normal;">by L. Sprague de Camp (Owlswick Press)<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">-A Dreamer’s Tales <i style="mso-bidi-font-style: normal;">by Lord Dunsany (Owlswick Press)<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">-England Have My Bones <i style="mso-bidi-font-style: normal;">by T.H. White (Putnam)<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Klein
presents illustrations from two volumes which are not reviewed in the column
but are given informative captions: </span></i><span style="font-size: 14.0pt;">Mr.
Monster’s Movie Gold <i style="mso-bidi-font-style: normal;">by Forrest J.
Ackerman (Donning) and </i>True Tiny Tales of Terror <i style="mso-bidi-font-style: normal;">by Ann Hodgson with illustrations by Derek Pell (Perigee Books). <o:p></o:p></i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN4k4L0ye0Qi9JYDixiXzIvqaCUeSUE0ORaiZWLfeQXTaWdWf8covuA5p3EvE49My9QeKkLJXe1p_ZnWGOdmhWK72EIHxmmS6M50hTxzhz9e5d4iqbAglx2uIKrUzSLiu1CCytu8aswOm4/s1600/The+Unhappy+Is+He+Quiz+1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="511" data-original-width="372" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN4k4L0ye0Qi9JYDixiXzIvqaCUeSUE0ORaiZWLfeQXTaWdWf8covuA5p3EvE49My9QeKkLJXe1p_ZnWGOdmhWK72EIHxmmS6M50hTxzhz9e5d4iqbAglx2uIKrUzSLiu1CCytu8aswOm4/s200/The+Unhappy+Is+He+Quiz+1.jpg" width="145" /></a></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Other
Dimensions: The ‘Unhappy Is He’ Quiz Revisited by William Fulwiler<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-This
is an alternative redux of the quiz first presented by Fulwiler in the
September, 1982 issue. Readers are challenged to match the first lines of
notable weird tales with the title and author of the tale. </span></i><span style="font-size: 14.0pt;">Twilight Zone <i style="mso-bidi-font-style: normal;">fans
should get at least one answer correct, as the title of #16 should be obvious.
The quiz and the answers are posted below for those who wish to test their
knowledge.<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;"><i style="mso-bidi-font-style: normal;"><br /></i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUM474dCZa_sIOl2Q2CIj-N888YLvD2vALZTkWwWLA_9QIbYWQT_bf5PPOPqDsXKxXIOzmh1pweimZDcHIdNzBIvNR5lJ3i2Dbb1_VO5kWcvfwLsXbyZHWVRJfJDVZhIqfUxmXDO3_Tl0X/s1600/The+Unhappy+Is+He+Quiz.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1330" data-original-width="1600" height="532" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUM474dCZa_sIOl2Q2CIj-N888YLvD2vALZTkWwWLA_9QIbYWQT_bf5PPOPqDsXKxXIOzmh1pweimZDcHIdNzBIvNR5lJ3i2Dbb1_VO5kWcvfwLsXbyZHWVRJfJDVZhIqfUxmXDO3_Tl0X/s640/The+Unhappy+Is+He+Quiz.jpg" width="640" /></a></div>
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<span style="font-size: 14.0pt;"><i style="mso-bidi-font-style: normal;"><br /></i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsb5ozfeoGBlpc7u4V3wbBhIx7K03dbdfxFVLzKDUJ99_OFLTWHrQy1twS3_3u4ld7vYlrZBSpeIdoGSQ0Kt4ObCKoNlodZ2PJ8chkN7b8EIVLkd4COMbeOIWOKT4L1AT1hZF50CW3kvND/s1600/The+Unhappy+Is+He+Quiz+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="567" data-original-width="1600" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsb5ozfeoGBlpc7u4V3wbBhIx7K03dbdfxFVLzKDUJ99_OFLTWHrQy1twS3_3u4ld7vYlrZBSpeIdoGSQ0Kt4ObCKoNlodZ2PJ8chkN7b8EIVLkd4COMbeOIWOKT4L1AT1hZF50CW3kvND/s640/The+Unhappy+Is+He+Quiz+2.jpg" width="640" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;"><i style="mso-bidi-font-style: normal;"><br /></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b><span style="font-size: 14.0pt;">--Other
Dimensions: Etc.</span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-The
miscellany feature this issue includes several examples from the unusually high
number of newspaper stories about baseball which feature the use of “Twilight
Zone,” a quote from </span></i><span style="font-size: 14.0pt;">Domesticated
Animals from Early Times <i style="mso-bidi-font-style: normal;">by Juliet Clutton-Brock
(1981) on how dogs learned to smile, a quote from </i>The Black Book of Clark
Ashton Smith <i style="mso-bidi-font-style: normal;">(Arkham House, 1979), and a
cartoon from Peter Kuper. <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJnjCSjfRdbiD3FP0ytoCrX_XYuuiEW-qJwAGEnbs73OWSkrMUEojMRgV5x5i-jxgSH1J6ANTTWiM2Gz6Gdz6rMdGYL9cpN_PhPwX8DEo0nrBWlNCs_FZf9BN_EMDdcem2zTTl35q7YBeU/s1600/Ridley+Scott.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="778" data-original-width="453" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJnjCSjfRdbiD3FP0ytoCrX_XYuuiEW-qJwAGEnbs73OWSkrMUEojMRgV5x5i-jxgSH1J6ANTTWiM2Gz6Gdz6rMdGYL9cpN_PhPwX8DEo0nrBWlNCs_FZf9BN_EMDdcem2zTTl35q7YBeU/s320/Ridley+Scott.jpg" width="186" /></a></i></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--TZ
Interview: Ridley Scott, ‘A Visual Person,’ by James Verniere<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“About to embark on a ‘mythological’
fantasy, the artist-turned-director talks about the secret sounds in <i style="mso-bidi-font-style: normal;">Alien </i>and the vision behind <i style="mso-bidi-font-style: normal;">Blade Runner.” </i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-James
Verniere provides a succinct yet detailed biographical profile in which Ridley
Scott’s young but fruitful career as a film director is examined, largely focusing
on Scott’s two great successes: </span></i><span style="font-size: 14.0pt;">Alien
<i style="mso-bidi-font-style: normal;">(1979) and </i>Blade Runner <i style="mso-bidi-font-style: normal;">(1982). The majority of the interview is
taken up with Scott’s thoughts on these two films. </i>Blade Runner <i style="mso-bidi-font-style: normal;">was previously the subject of a </i>TZ
Screen Preview <i style="mso-bidi-font-style: normal;">in the June, 1982 issue,
which also featured an interview with author Philip K. Dick, whose novel </i>Do
Androids Dream of Electric Sheep? <i style="mso-bidi-font-style: normal;">was
adapted for the film. Concerning </i>Alien <i style="mso-bidi-font-style: normal;">and
</i>Blade Runner, <i style="mso-bidi-font-style: normal;">Scott discusses source
materials, including his interactions with Philip K. Dick, conceptual materials,
issues of characterization, and the memorable production designs of the two
films, focusing on Swiss artist H.R. Giger’s designs for </i>Alien <i style="mso-bidi-font-style: normal;">and American industrial designer Syd Mead’s
contributions to </i>Blade Runner.<i style="mso-bidi-font-style: normal;"> Scott
discusses his pathway to film direction through art school and, soon after, the
creation of a production company specializing in commercials and television productions
in England. Scott’s first film, the commercially unsuccessful </i>The
Duellists, <i style="mso-bidi-font-style: normal;">is briefly discussed, as is
his next project, a fantasy film tentatively titled </i>Legend of Darkness. <i style="mso-bidi-font-style: normal;">This latter film was released as </i>Legend <i style="mso-bidi-font-style: normal;">in 1985, starring Tom Cruise, Mia Sara, and
Tim Curry, with memorable special makeup effects from Rob Bottin.<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3IGfCf00guadOk2o0cpMSAiiznA88XT6GDFHmQKmDUGMG1byWRLYgqcwO04KtlPGKGlSKr-ELsV8NkwL7lN3Jkgwtgr7-unx_0OvqqwaZ9Kmm5j9LmV1HSETwDA2F9TdTP4JPQzWEqwDC/s1600/The+Shrine.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="800" data-original-width="566" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3IGfCf00guadOk2o0cpMSAiiznA88XT6GDFHmQKmDUGMG1byWRLYgqcwO04KtlPGKGlSKr-ELsV8NkwL7lN3Jkgwtgr7-unx_0OvqqwaZ9Kmm5j9LmV1HSETwDA2F9TdTP4JPQzWEqwDC/s400/The+Shrine.jpg" width="282" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“The
Shrine” by Pamela Sargent<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by Frances Jetter<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“She had lost everything. Now she was
even losing her childhood.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-A
woman who has not lived up to the promise of her youth struggles to reconnect
with her mother, who maintains her daughter’s childhood bedroom as though it
were a shrine. Soon, the shrine attracts the attention of a dangerous entity
which takes the form of the woman as a child. This child has come to take the
mother away to a place where she won’t be disappointed by the spoiled promise
of her daughter’s youth, but the child will also leave something, or someone,
behind in its wake which will change the course of the woman’s life. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-This
excellent story from Pamela Sargent (b. 1948) perfectly captures the essence of
</span></i><span style="font-size: 14.0pt;">The Twilight Zone, <i style="mso-bidi-font-style: normal;">that place where a startling, intimate
supernatural event intrudes upon the reality of a conflicted individual. It
reminded me a bit of Lisa Tuttle’s earlier tale, “A Friend in Need,” from the
August, 1981 issue of TZ as both stories deal with the theme of unresolved
childhood issues and the feelings of loneliness and regret one often
experiences beyond young adulthood. Sargent previously appeared in the pages of
TZ with “Out of Place” in the October, 1981 issue and “The Broken Hoop” in the
June, 1982 issue. “The Shrine” was collected in </i>The Best of Pamela Sargent <i style="mso-bidi-font-style: normal;">(1987) and was adapted for the second season
of </i>Tales from the Darkside, <i style="mso-bidi-font-style: normal;">from a
script by Jule Selbo, directed by Christopher T. Welch, broadcast February 9,
1986. <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-It
is interesting to note that we are less than two years into TZ Magazine’s run
and already seven (!) stories from the magazine have been adapted
for the </span></i><span style="font-size: 14.0pt;">Tales from the Darkside <i>television series.</i> <i style="mso-bidi-font-style: normal;">“The Shrine” joins the company of the
previously published stories “The New Man” by Barbara Owens, “Anniversary Dinner” by D.J. Pass, “Slippage” Michael P. Kube-McDowell, “The Tear Collector” by Donald Olson, "Djinn, No Chaser” by Harlan Ellison, and “All a Clone by the Telephone” by Haskell Barkin. An
eighth story adapted for </i>Darkside<i style="mso-bidi-font-style: normal;">,
“Levitation” by Joseph Payne Brennan, was reprinted in TZ prior to its appearance on the series. <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;"><i style="mso-bidi-font-style: normal;"><br /></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i><span style="font-size: 14.0pt;">-A
final note: Terrance Lindall’s cover for </span></i><span style="font-size: 14.0pt;">Great Stories from Rod Serling’s The Twilight Zone Magazine, <i>at the top of this post, is a variant of his
original cover for Pamela Sargent’s 1980 novel </i>Watchstar.<i><o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM_eBM8S4rWh5ZP6jSj1TQFWL1JH53Qdq55tFU-YAyzocUa3rgr9mvKjAP59Pk5A6LZ_tnt4_wAH9c1gBbAJYYZeDfNI15_sHODlueSReX_Nj9_J2wUfmWaiojXySeExOfdSJyfFiRCTz-/s1600/Altenmoor.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="607" data-original-width="697" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM_eBM8S4rWh5ZP6jSj1TQFWL1JH53Qdq55tFU-YAyzocUa3rgr9mvKjAP59Pk5A6LZ_tnt4_wAH9c1gBbAJYYZeDfNI15_sHODlueSReX_Nj9_J2wUfmWaiojXySeExOfdSJyfFiRCTz-/s320/Altenmoor.jpg" width="320" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“Altenmoor,
Where the Dogs Dance” by Mort Castle<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by Bruce Waldman<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“It’s out there, all right – just like
Pellucidar and Wonderland and Oz . . .” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-A
boy learns to cope with the deaths of his dog and his elderly grandfather by
imagining the afterlife as Altenmoor, a fantasy land from the children’s books
written by his grandfather. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-This
is a slight yet touching story from Mort Castle (b. 1946), a prolific writer of
virtually every type of fiction who found success in the waning days of popular
magazine fiction. Castle is a prolific short story writer, mostly in the horror
and speculative fields, whose novel, </span></i><span style="font-size: 14.0pt;">Cursed Be the Child <i style="mso-bidi-font-style: normal;">(1990), has
become a notable horror paperback of the era. Additional information from the author: "</i></span><span style="font-size: 14pt;">There are
six other novels, including the near impossible to find ESP ATTACK, and the
easily found THE STRANGERS, currently in print from Overlook Connection Press
and in audio format from RADIO ARCHIVES. A film of THE STRANGERS is in
development by New Zealand's Light at the End Productions. An early novel, THE
DEADLY ELECTION, has a new edition coming from Clover Press this summer."</span><br />
<div class="MsoNormal">
<span style="font-size: 14.0pt; line-height: 115%;"><o:p></o:p></span></div>
<br />
<span style="font-size: 14.0pt;"><i style="mso-bidi-font-style: normal;">-Castle's work as an editor includes two volumes on writing horror
fiction, </i>Writing Horror <i style="mso-bidi-font-style: normal;">(1997) and </i>On
Writing Horror <i style="mso-bidi-font-style: normal;">(2007), and two
short-lived magazines, </i>Horror: The Illustrated Book of Fears <i style="mso-bidi-font-style: normal;">and </i>Doorways Magazine. <i style="mso-bidi-font-style: normal;">“Altenmoor, Where the Dogs Dance” was
collected in </i>Moon on the Water <i style="mso-bidi-font-style: normal;">(2000).
<o:p></o:p></i></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“Vertigoat”
(comic) by Tony Galloway<o:p></o:p></span></b></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6NLhFOSgm0meSkGxkv0O0hiyQnQoGS0TNh3j1VVjI6FZoJW7RiMsqFAF_bgnJoZ4JjbjLMGOlocYe9sGPv2YKw79t9fk-pG-J8hiAAFXpLjNmunY5Yd0hl5ORCH-olODZgyHwB2PFXr92/s1600/Vertigoat+comic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="909" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6NLhFOSgm0meSkGxkv0O0hiyQnQoGS0TNh3j1VVjI6FZoJW7RiMsqFAF_bgnJoZ4JjbjLMGOlocYe9sGPv2YKw79t9fk-pG-J8hiAAFXpLjNmunY5Yd0hl5ORCH-olODZgyHwB2PFXr92/s640/Vertigoat+comic.jpg" width="363" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;"><o:p><br /></o:p></span></b></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYcZtc6KtbH1unTHpoWflnDfcuxIu7HJTjKUTnShyphenhyphenzMmQNLgkwLMP_XygDL2Fy4XlhqfcmvZiOcAQ5dENKoBNqbm1Zzhif6kQHCINjP6C8TUgV1T49n5yFDYkx6rs50MTeu8x7tvV4maTA/s1600/Jockeying+for+Time.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="798" data-original-width="572" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYcZtc6KtbH1unTHpoWflnDfcuxIu7HJTjKUTnShyphenhyphenzMmQNLgkwLMP_XygDL2Fy4XlhqfcmvZiOcAQ5dENKoBNqbm1Zzhif6kQHCINjP6C8TUgV1T49n5yFDYkx6rs50MTeu8x7tvV4maTA/s400/Jockeying+for+Time.jpg" width="286" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“Jockeying
for Time” by David Shifren<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by D.W. Miller<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“He’d stumbled upon the secret every
jockey dreams of . . . and it was turning into a nightmare”<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-A
second-rate jockey discovers he can decrease his body weight simply by concentrating.
The jockey plans on betting big on himself and using his newfound ability to
win the next race. Disaster strikes on the track, however, when he finds that a
nasty side effect of the process is a withering away of his physical being. <o:p></o:p></span></i></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-The
longest story in the issue is this satisfying horror tale of a selfish and
self-involved man finding that the key to success sometimes opens the door to a
personal hell. Shifren is described by T.E.D. Klein as a films reviewer for the
trade publication </span></i><span style="font-size: 14.0pt;">Film Journal. <i style="mso-bidi-font-style: normal;">“Jockeying for Time” was reprinted in the
Fall, 1985 issue of </i>Night Cry. <o:p></o:p></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibNha3rgYFYk9WWwNoE03TmxkrYui79avEpZLjaUcOBXQDyuinO0zOLQH1RvmBzgGFpWEejwvV4N81QLYjgVEHtJM-dbqnPduziz9yKbiCG758eNEyRpzJXwY6cS-FysWCTelzKPoUTBHE/s1600/Magic+for+Sale.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="463" data-original-width="679" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibNha3rgYFYk9WWwNoE03TmxkrYui79avEpZLjaUcOBXQDyuinO0zOLQH1RvmBzgGFpWEejwvV4N81QLYjgVEHtJM-dbqnPduziz9yKbiCG758eNEyRpzJXwY6cS-FysWCTelzKPoUTBHE/s320/Magic+for+Sale.jpg" width="320" /></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“Magic
for Sale” (photo-feature) by Mathew Kovary<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“In today’s world of over-the-counter
occult, sorcerers can shop for spells at their neighborhood supply store.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Kovary
examines the resurgence of Paganism by exploring the world of religious supply
shops which specialize in supplies for pagan practices. Kovary provides a
potted history of Paganism before centering the article on the modern pagan
religious supply shop, exemplified by New York’s largest such shop, Magickal
Childe. Herman Slater, the store’s owner, is briefly profiled. Kovary also
looks at New York’s religious books stores with large sections on Paganism as
well as the smaller religious supply shops which are characteristic of New
York’s Hispanic neighborhoods. <o:p></o:p></span></i></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0D3Zi9cl8IdNAwjfTdsC7EgY0VwBbzhCFJLl-OK4U7uz0tTsJC2VFPSK5dv5VwYCS517-JGchMCr8YKpMmx4ffv6NWxXxP1XX_l6HrXAyVVmFNsNpV0NQydjDZ_yz7wvrybva1QEdASoa/s1600/The+Translator.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="694" data-original-width="692" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0D3Zi9cl8IdNAwjfTdsC7EgY0VwBbzhCFJLl-OK4U7uz0tTsJC2VFPSK5dv5VwYCS517-JGchMCr8YKpMmx4ffv6NWxXxP1XX_l6HrXAyVVmFNsNpV0NQydjDZ_yz7wvrybva1QEdASoa/s320/The+Translator.jpg" width="319" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“The
Translator” by John David Sidley<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by Brad Hamann <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“The feeling was there – but it wouldn’t
survive unless she found the words.”<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-In
the future, reading and books have been almost totally replaced by non-literary
communication with screens. One woman desires to know the secret language of
reading and gets the opportunity to learn when a cryogenically frozen man from
the twentieth century is thawed out. He teaches her to read and together they
lead a small but dedicated group of readers into an alternative lifestyle. <o:p></o:p></span></i></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-This
story reads like a different take on the world presented at the end of Ray
Bradbury’s </span></i><span style="font-size: 14.0pt;">Fahrenheit 451, <i style="mso-bidi-font-style: normal;">in which a dedicated group of people devote
their lives to reading and the preservation of books to which they have only
just begun to have access. <o:p></o:p></i></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoQKoZ6YlKVEV4ivjQx0Net3QALuRsisvt4geyN_jLhCjHn-WKwZlcNco3GFBuoibTx80avO_SU-xUDoXsXVD8ZTcLW9FptWneR777yXQMHOMDeXB4zjBo-awdWp_RDwZng26I_XZOm9jG/s1600/Xtro.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="472" data-original-width="680" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoQKoZ6YlKVEV4ivjQx0Net3QALuRsisvt4geyN_jLhCjHn-WKwZlcNco3GFBuoibTx80avO_SU-xUDoXsXVD8ZTcLW9FptWneR777yXQMHOMDeXB4zjBo-awdWp_RDwZng26I_XZOm9jG/s320/Xtro.jpg" width="320" /></a></i></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--TZ
Screen Preview: <i style="mso-bidi-font-style: normal;">Xtro </i>by James
Verniere<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“He’s not cute and friendly like E.T.
But he does have a soft spot for his kid. Let TZ’s James Verniere introduce you
to . . .” <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-James
Verniere previews New Line Cinema’s </span></i><span style="font-size: 14.0pt;">Xtro
<i style="mso-bidi-font-style: normal;">(1982),</i> <i style="mso-bidi-font-style: normal;">the anti-</i>E.T. <i style="mso-bidi-font-style: normal;">film (it’s
tagline read: “Some extra-terrestrials aren’t friendly”) about a father who is
abducted by aliens only to return to Earth as a mutating harbinger of alien
doom who spreads body horror to his family and associates. The film was
negatively reviewed upon its release but was a moderate commercial success. </i>Xtro,
<i style="mso-bidi-font-style: normal;">like a lot of body horror films, used
human reproduction as the centerpiece of its horror sequences, leading the film
to be widely labeled misogynistic and a prime example of a film using the
female womb as a symbol of horror. The film has developed a cult following and
remains memorable for its gory makeup effects. It spawned two sequels: </i>Xtro
II: The Second Encounter <i style="mso-bidi-font-style: normal;">(1990) and </i>Xtro
3: Watch the Skies <i style="mso-bidi-font-style: normal;">(1995). <span style="mso-spacerun: yes;"> </span><o:p></o:p></i></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlrRuhQeB72IOoFtRHY6AOzYY8__sukuYKV-WBztWDsMbaQ1l0A4mdIGX7zOQavCBjOZab0Vvz44bUv1lOChmGPRV9TKYHfhcY1A3dmpTX7LYW01ahEXsRv2UimKsE5JWF7L4gaJvGCFTl/s1600/LP+Hartley.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="743" data-original-width="573" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlrRuhQeB72IOoFtRHY6AOzYY8__sukuYKV-WBztWDsMbaQ1l0A4mdIGX7zOQavCBjOZab0Vvz44bUv1lOChmGPRV9TKYHfhcY1A3dmpTX7LYW01ahEXsRv2UimKsE5JWF7L4gaJvGCFTl/s320/LP+Hartley.jpg" width="246" /></a></i></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--The
Essential Writers: L.P. Hartley by Jack Sullivan<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“Few wrote horror tales as elegantly as
the author of ‘The Go-Between.’ Few possessed a vision quite so dark.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Jack
Sullivan returns to the pages of TZ Magazine, after recently concluding his
column on macabre classical music, with this excellent essay on the novelist,
critic, essayist, and supernatural fiction writer Leslie Poles Hartley
(1895-1972). Sullivan previously wrote at-length on Hartley’s supernatural
fiction in his 1978 study </span></i><span style="font-size: 14.0pt;">Elegant
Nightmares: The English Ghost Story from Le Fanu to Blackwood. <i style="mso-bidi-font-style: normal;">Sullivan included Hartley’s 1929 tale “The
Travelling Grave” in a 1983 anthology of ghost stories, </i>Lost Souls, <i style="mso-bidi-font-style: normal;">which serves as a companion to Sullivan’s
earlier volume. </i>Lost Souls <i style="mso-bidi-font-style: normal;">used D.W.
Miller’s illustration from the April, 1982 issue of TZ Magazine for William
Hope Hodgson’s “The Voice in the Night.” <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-L.P.
Hartley was best-known in his time as a novelist and book critic. His two most
notable novels are likely </span></i><span style="font-size: 14.0pt;">The
Go-Between <i style="mso-bidi-font-style: normal;">(1953), an autobiographical
novel about Hartley’s Edwardian childhood which was filmed in 1971, and </i>The
Hireling <i style="mso-bidi-font-style: normal;">(1957), about a grieving widow’s
relationship with a hired driver which was filmed in 1973. Hartley is also
known for his Eustace and Hilda trilogy of novels, </i>The Shrimp and the
Anemone <i style="mso-bidi-font-style: normal;">(1944), </i>The Sixth Heaven <i style="mso-bidi-font-style: normal;">(1946), and </i>Eustace and Hilda <i style="mso-bidi-font-style: normal;">(1947), the latter of which won the James
Tait Black Memorial Prize, about the relationship between an introverted young
man and his confident, sometimes domineering sister. Sullivan’s focus, of
course, is Hartley’s well-regarded body of supernatural stories, variously
collected across Hartley’s long career in such volumes as </i>The Killing
Bottle <i style="mso-bidi-font-style: normal;">(1932), </i>The Travelling Grave <i style="mso-bidi-font-style: normal;">(1948), and </i>The White Wand <i style="mso-bidi-font-style: normal;">(1954). Hartley became a member of the literary
group led by Lady Cynthia Asquith after a failed attempt to insinuate himself
with the Bloomsbury Group. Much of Hartley’s supernatural fiction appeared as
contributions to Asquith’s anthologies of ghost and horror stories such as </i>The
Ghost Book <i style="mso-bidi-font-style: normal;">(three volumes, 1926-1955), </i>Shudders
<i style="mso-bidi-font-style: normal;">(1929), and </i>When Churchyards Yawn <i style="mso-bidi-font-style: normal;">(1931). Hartley’s </i>Complete Stories <i style="mso-bidi-font-style: normal;">appeared in 1986 from Beaufort Books and his
</i>Collected Macabre Stories <i style="mso-bidi-font-style: normal;">appeared in
2001 from Ash Tree Press. <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Sullivan
provides biographical information on Hartley’s life and career and examines in
detail several of the author’s supernatural tales, including “Night Fears,”
“The Thought,” “A Change in Ownership,” “The Island,” “A Summons,” “The Killing
Bottle,” “The Travelling Grave,” and the story included in this issue, “W.S.” <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-l8hiNAN1cLvdQEzS2xlIT27tdV1NxF5cc5Q_O05ZDZ-MuLjzgCaAtIsb-WIXy9-uoIUAuzNYEGq3TrcTmV3zueGkrZ2xFyak2SEK4nwWGE9SFuBNZZB7CfUuYBTbLjh7YGyhS5TBUXYY/s1600/WS.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="801" data-original-width="565" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-l8hiNAN1cLvdQEzS2xlIT27tdV1NxF5cc5Q_O05ZDZ-MuLjzgCaAtIsb-WIXy9-uoIUAuzNYEGq3TrcTmV3zueGkrZ2xFyak2SEK4nwWGE9SFuBNZZB7CfUuYBTbLjh7YGyhS5TBUXYY/s400/WS.jpg" width="281" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“W.S.”
by L.P. Hartley <o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by Lisa Mansolillo<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“He was the psychopath that every writer
fears. And he was getting closer.”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-An
aging novelist begins receiving postcards from an unknown author indicating
that the sender is steadily moving nearer the writer’s residence for an
uninvited visit. The unnerving postcards are signed “W.S.,” which are the
writer’s initials (Walter Streeter) but also the initials of one of the
writer’s earliest creations, a brutish character named William Stainsforth.
Streeter becomes convinced that it is Stainsforth coming for him and that is
bad news since Streeter wrote Stainsforth as a cruel, vicious man with no
redeeming qualities and a continuous violent streak. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-“W.S.”
is, incredibly, one of three stories in this issue which deal in one way or
another with the theme of a writer’s words coming to life. “W.S.” centers
around a miserable character that is mysterious imbued with existence in the
real world for the seemingly sole purpose of taking revenge on the creator who
so thoughtlessly drew him in absolutely negative terms. The most powerful moment
in the story comes when William Stainsforth offers to spare Streeter’s life if
the author can name but one redeeming quality, or one moment of redemption, he
provided to Stainsforth’s character. Of course, Streeter cannot and responds
instead with indignation, the only overt nod to the Frankenstein story in the
tale. “W.S.” was first published in 1952 and is the most notable supernatural
tale from Hartley’s late career. It was included in Lady Cynthia Asquith’s </span></i><span style="font-size: 14.0pt;">The Second Ghost Book <i style="mso-bidi-font-style: normal;">(1952) and reprinted in </i>The White Wand and Other Stories <i style="mso-bidi-font-style: normal;">(1954). The story is somewhat atypical of
Hartley’s output as it takes the form of a conservatively structured suspense
thriller, complete with a late-story twist which has become almost standard in psychological
thrillers, with a refreshingly unambiguous supernatural element. It has been
reprinted numerous times in such book anthologies as </i>The Pan Book of Horror
Stories <i style="mso-bidi-font-style: normal;">(1959), </i>Roald Dahl’s Book of
Ghost Stories <i style="mso-bidi-font-style: normal;">(1983), and </i>Nightshade:
20<sup>th</sup> Century Ghost Stories <i style="mso-bidi-font-style: normal;">(1999).
The story was also reprinted in the Summer, 1985 issue of </i>Night Cry. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Three
Timely Tales by Rick Norwood <o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpJsdZSwrL3HR6IVje9U2M328GatafSSoFD_oRxuKG2bzkEmS_rJ5p_s6xUllD4CAVF_qsKfLOld10aUSS70OzNKy1byMa7nqgak9urqTOPyGKGobg3K9I_ms7q5ukH7kk0Rhl8wsbYS9C/s1600/Three+Timely+Tales+1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="787" data-original-width="596" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpJsdZSwrL3HR6IVje9U2M328GatafSSoFD_oRxuKG2bzkEmS_rJ5p_s6xUllD4CAVF_qsKfLOld10aUSS70OzNKy1byMa7nqgak9urqTOPyGKGobg3K9I_ms7q5ukH7kk0Rhl8wsbYS9C/s200/Three+Timely+Tales+1.jpg" width="151" /></a><span style="font-size: 14.0pt;">Illustrated by José Reyes<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“In the footsteps of Ferdinand Feghoot,
we present a trio of scenes from times past that you won’t find in any history
book.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Three
short humorous tales ending in a pun, including alternative takes on the Cisco
Kid, the Royal Mounted Police, and the exploration of the New World, the Grand
Duke of Austria and a fateful game of bowling, and the assassination of Abraham
Lincoln solved by Sherlock Holmes as the work of John Wickes Booth dressed as
his sister. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5_teAg3UbNi-kH1dUJo1PiJ_LS51NGfBMQ6VEfbdHDhZCLSkoDXVsgcYv4k97YRYrvFQ5AvjVqU6n3E0wreKL59PviQnUZKmLrg-iQ5o_-lFbMF9Y4ZASf_bga8xAkLEzoqHC2_AcZnb_/s1600/Uncle+Chuckles.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="746" data-original-width="745" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5_teAg3UbNi-kH1dUJo1PiJ_LS51NGfBMQ6VEfbdHDhZCLSkoDXVsgcYv4k97YRYrvFQ5AvjVqU6n3E0wreKL59PviQnUZKmLrg-iQ5o_-lFbMF9Y4ZASf_bga8xAkLEzoqHC2_AcZnb_/s320/Uncle+Chuckles.jpg" width="319" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“What
Really Happened to Uncle Chuckles?” by Ron Wolfe<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by Bill Logan<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“It’s the question all America is
asking. Now, as a public service, we’re giving you the lowdown.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-A
talented puppet maker is taken advantage of by an untalented but ambitious
clown in the creation of a popular children’s television show. When the clown
gets physical with the puppet maker and accidentally kills the man, the puppets
take revenge on live television. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-This
was an enjoyable, E.C. Comics-type story centered on a grisly supernatural
revenge written in the noir style of older detective fiction and with a neat
twist in the end as to who is narrating the story. Ron Wolfe (b. 1945)
previously appeared in the pages of TZ with the story “Tiger of the Mind” in
the August, 1981 issue. He placed a third story, “Laughs! Thrills! Romance!!,”
in the Jan/Feb, 1985 issue. Wolfe was also an important contributor to the
magazine as an essayist, penning several columns for the features “The Other
Side” and “Illuminations” late in the magazine’s run. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlbdjI3W3rcVL_3F77gd5K-ADk8MZRPPdSecLy0a0v-oJOqxa_ib_quIarATjM6RBEvqOrgB-MVg-KkGJo3C32l1PU3kKds5Ol2KM0SL2Uboz-FNyugL8yW90NyH-VJNEqbnvlXhaTf-zc/s1600/Creative+Writing.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="736" data-original-width="726" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlbdjI3W3rcVL_3F77gd5K-ADk8MZRPPdSecLy0a0v-oJOqxa_ib_quIarATjM6RBEvqOrgB-MVg-KkGJo3C32l1PU3kKds5Ol2KM0SL2Uboz-FNyugL8yW90NyH-VJNEqbnvlXhaTf-zc/s320/Creative+Writing.jpg" width="315" /></a></i></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“Creative
Writing” by Sandré Charbonneau<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustration by Yvonne Buchanan <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“Freedom, fortune, even fame – they
would be hers with the simple flourish of a pen.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-An
aspiring writer is not having much luck in sales and the pressure placed on her
by her husband makes her consider learning calligraphy in order to bring some
money into the home. She mysteriously receives a calligraphy instruction set
she did not send for and, to her astonishment, discovers that anything she
writes with the calligraphy pen comes to pass. She initially uses the pen to
better her life, like effortlessly performing chores and getting rid of her
unsupportive husband, but she makes one final miscalculation which severely
alters her life. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-The
second of three tales in the issue about a writer’s creation(s) coming to life
takes a lighter approach than L.P. Hartley’s “W.S.” and will immediately remind
TZ viewers of Richard Matheson’s first season episode “A World of His Own.”
Another notable example of this story type is Stephen King’s 1983 tale “The
Word Processor of the Gods,” which was adapted for the first season of </span></i><span style="font-size: 14.0pt;">Tales from the Darkside. <i style="mso-bidi-font-style: normal;">Sandré Charbonneau makes her debut as a professional fiction writer
with “Creative Writing.” She is described by T.E.D. Klein as a native of
Houston who reviews books and films, hosts a local television program, and acts
on the stage. <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4dMUSB0S8GIanf_jBRsjRTBwE7NiKgc7WAdpEgz1gNTbTlvVR9yJq9eozZDlOC4WGyKJZ14R1XOLM3FH78pgBeGEc03ViPJ0CT8mjNiKmJjxKFDVwHfLWtiVO0r9IejYbR7dyv4BZHjhz/s1600/Pulpmeister.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="763" data-original-width="766" height="397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4dMUSB0S8GIanf_jBRsjRTBwE7NiKgc7WAdpEgz1gNTbTlvVR9yJq9eozZDlOC4WGyKJZ14R1XOLM3FH78pgBeGEc03ViPJ0CT8mjNiKmJjxKFDVwHfLWtiVO0r9IejYbR7dyv4BZHjhz/s400/Pulpmeister.jpg" width="400" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“Pulpmeister”
by David J. Schow<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by Mark Nickerson<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“You’ve met Hartley’s ‘W.S.’ Now meet
Brock De Sade, international troubleshooter, sex is his middle name, death his
trademark, and maybe he even exists!”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-A
writer of pulp sex and violence novels comes face-to-face with Brock De Sade,
the impossible hero of a series of popular novels centered on international
intrigue, action, and sex. De Sade arrives to protest his treatment in the
novels (like getting repeatedly hit over the head) and to offer both his
expertise and his writing skills to improve the quality of the novels.
Together, the writer’s pay goes up with the increasing sales figures of the
novels and De Sade gets to enjoy the retiring peace of his existence in the
real world. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-David
J. Schow makes his debut in the pages of TZ with this tongue-in-cheek homage to
the great pulp writers (and the great pulp characters), using the same “fictional
character comes to life” theme as seen in L.P. Hartley’s “W.S.” “Pulpmeister”
was collected in Schow’s debut story collection, </span></i><span style="font-size: 14.0pt;">Seeing Red <i style="mso-bidi-font-style: normal;">(1990), a volume which included an introduction by TZ Magazine editor T.E.D. Klein.
Schow placed several additional tales in the pages of TZ and its sister
publication, </i>Night Cry, <i style="mso-bidi-font-style: normal;">including “Coming
Soon to a Theater Near You” (as by Oliver Lowenbruck, TZ, March/April, 1984), “Bunny
Didn’t Tell Us” (Night Cry, Winter, 1985), “Lonesome Coyote Blues” (as by
Oliver Lowenbruck, TZ, Jan/Feb, 1985), “The Woman’s Version” (Night Cry, Fall,
1985), “Blood Rape of the Lust Ghouls” (Night Cry, Winter, 1986), “Brass”
(Night Cry, 2 parts, Spring & Summer, 1986), “Red Light” (TZ, Dec, 1986), “Pamela’s
Get” (TZ, Aug, 1987), and “The Falling Man” (TZ, Oct, 1988). <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Schow’s
most notable contribution to the pages of TZ was his guide (sometimes written
with Jeffrey Frentzen) to </span></i><span style="font-size: 14.0pt;">The Outer
Limits, <i style="mso-bidi-font-style: normal;">which was revised and expanded as
</i>The Outer Limits: The Official Companion <i style="mso-bidi-font-style: normal;">(with Frentzen, 1986) and later as </i>The Outer Limits Companion <i style="mso-bidi-font-style: normal;">(1998). Both volumes are highly sought-after
and command collector’s prices. Schow, with Ted C. Rypel, authored the
companion volume </i>The Outer Limits at 50 <i style="mso-bidi-font-style: normal;">(2014)
to commemorate the series’ fiftieth anniversary. Schow joined Peter Enfantino
and John Scoleri for a marathon viewing of/blogging on </i>The Outer Limits <i style="mso-bidi-font-style: normal;">over at <a href="http://wearecontrollingtransmission.blogspot.com/"><span style="color: #f3f3f3;">We Are Controlling Transmission,</span></a>
which contains an enormous amount of information and insight on the series. Schow
joined director Mick Garris on episode 77 of Garris’ podcast, </i>Post Mortem, <i style="mso-bidi-font-style: normal;">where, among other things, he discussed
writing for Twilight Zone Magazine. <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Show-by-Show
Guide: TV’s Twilight Zone: Part Twenty-One by Marc Scott Zicree<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Zicree’s
guide to the original series continues as he provides cast, crew, summaries,
and Rod Serling’s narrations for the fifth season episodes “The Long Morrow,” “The
Self-Improvement of Salvadore Ross,” and one of my personal favorites of the
final season, “Number Twelve Looks Just Like You.” <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh4T7kf5_1eQuDAM8IC_5rNweLLlUeSF_ll-6keN4QqeTOMSxQ8isFSo-_6Yz1tMaQg87r5XgD0YAJVh1Dgi8_xA1N_PJSDSzEv8Y7mQTWFbqMWJoaCNb3pUPlEEIWMg5bKAF4ClY-pPcf/s1600/Living+Doll.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="470" data-original-width="664" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh4T7kf5_1eQuDAM8IC_5rNweLLlUeSF_ll-6keN4QqeTOMSxQ8isFSo-_6Yz1tMaQg87r5XgD0YAJVh1Dgi8_xA1N_PJSDSzEv8Y7mQTWFbqMWJoaCNb3pUPlEEIWMg5bKAF4ClY-pPcf/s320/Living+Doll.jpg" width="320" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--TZ
Classic Teleplay: “Living Doll” by Jerry Sohl (as by Charles Beaumont)<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-This
all-time classic from </span></i><span style="font-size: 14.0pt;">The Twilight
Zone<i style="mso-bidi-font-style: normal;"> first aired on November 1, 1963 as
the sixth episode of the fifth, and final, season (episode 126 overall). The
episode was long thought to have been written by Charles Beaumont but Marc
Scott Zicree uncovered, through interviews with Jerry Sohl and other writers on
the series, that the episode was written entirely by Jerry Sohl from an initial
story idea by Beaumont, who was unable to complete his writing assignments
after suffering increasingly difficult conditions brought on by early-onset
Alzheimer’s Disease. Sohl ghost-wrote two additional episodes under Beaumont’s
name, the fourth season episode “The New Exhibit” and the fifth season episode “Queen
of the Nile.” The episode concerns Eric Streator (wonderfully played by Telly
Savalas), an abusive and insecure man whose resentment toward his wife and
stepdaughter brings the wrath of Talky Tina, a murderous doll recently brought
home from the store. “Living Doll” ranked #2 in our Halloween Countdown ranking
the most frightening moments from the series. You can read that entry <a href="https://twilightzonevortex.blogspot.com/2016/10/the-twilight-zone-vortex-2016-halloween_30.html"><span style="color: #f3f3f3;">here. </span></a><o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Looking
Ahead: In January’s TZ </span></b><span style="font-size: 14.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-TZ
becomes bi-monthly with the New Year (1983). For the January/February issue we take
a look at stories by Jack McDevitt, Joe R. Lansdale, Charles L. Grant, John
Kessel, a reprint of one of Roald Dahl’s creepiest tales, “Royal Jelly,” and
others. Dahl is also interviewed in the issue. Features include an update on
the Twilight Zone movie, a long article on roleplaying games, a photo-feature
showcasing the surrealistic work of Christopher Hoffman, and the best and worst
of fantasy films of 1982. See you next time!<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">-JP</span></b></div>
JPhttp://www.blogger.com/profile/14808904189056290207noreply@blogger.com4tag:blogger.com,1999:blog-1318310043864039191.post-90704566945181335852020-04-15T06:00:00.001-05:002020-05-31T11:19:23.160-05:00Wednesday Comics <span style="font-size: large;"><i>The Twilight Zone </i>#37 (May, 1971)</span><br />
<span style="font-size: large;">"The Man-Beast of Paris"</span><br />
<span style="font-size: large;">Script: Paul S. Newman</span><br />
<span style="font-size: large;">Pencils & Inks: Luis Dominguez</span><br />
<span style="font-size: large;">Cover: George Wilson</span><br />
<span style="font-size: large;"><br /></span>
<br />
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<span style="font-size: large;"><br /></span>JPhttp://www.blogger.com/profile/14808904189056290207noreply@blogger.com2tag:blogger.com,1999:blog-1318310043864039191.post-41892007613744906332020-04-06T06:00:00.002-05:002021-08-20T08:26:32.251-05:00"On Thursday We Leave for Home"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtDrxVaijSlyuEm9EQ2SABSuLezfz7-0CSOBHiT9W4KYzCthUt5gU7HKyGS5NTOv21IHskwan0IcI6felE1Aa4Ih2_7wwQVlXOLCQRwA_o3SPbZMrCQFns1n2AV-kJQGwUX4GHC31JtJdQ/s1600/Header.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="840" data-original-width="997" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtDrxVaijSlyuEm9EQ2SABSuLezfz7-0CSOBHiT9W4KYzCthUt5gU7HKyGS5NTOv21IHskwan0IcI6felE1Aa4Ih2_7wwQVlXOLCQRwA_o3SPbZMrCQFns1n2AV-kJQGwUX4GHC31JtJdQ/s400/Header.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Captain Benteen (James Whitmore) looks to the sky for rescue</td></tr>
</tbody></table>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;">“On Thursday We Leave for Home”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;">Season Four, Episode 118<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Original
Air Date: </span></i><span style="font-size: 14pt;">May 2, 1963<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Cast:<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Captain
Benteen: </span></i><span style="font-size: 14pt;">James Whitmore<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Colonel
Sloane: </span></i><span style="font-size: 14pt;">Tim O’Connor<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Al
Baines: </span></i><span style="font-size: 14pt;">James Broderick <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">George:
</span></i><span style="font-size: 14pt;">Paul Langton<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Julie:
</span></i><span style="font-size: 14pt;">Jo Helton<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Joan:
</span></i><span style="font-size: 14pt;">Mercedes Shirley<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Hank:
</span></i><span style="font-size: 14pt;">Russ Bender<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Jo-Jo:
</span></i><span style="font-size: 14pt;">Daniel Kulick<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Lt.
Engle: </span></i><span style="font-size: 14pt;">Lew Gallo<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Colonists:
</span></i><span style="font-size: 14pt;">Madge Kennedy<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>John Ward<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-spacerun: yes;"> </span>Shirley O’Hara<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-spacerun: yes;"> </span>Anthony Benson<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Crew:<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Writer:
</span></i><span style="font-size: 14pt;">Rod Serling (original teleplay)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Director:
</span></i><span style="font-size: 14pt;">Buzz Kulik<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Producer:
</span></i><span style="font-size: 14pt;">Bert Granet<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Director
of Photography: </span></i><span style="font-size: 14pt;">George T. Clemens<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Production
Manager: </span></i><span style="font-size: 14pt;">Ralph W. Nelson<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Art
Direction: </span></i><span style="font-size: 14pt;">George W. Davis, Paul
Groesse<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Editor:
</span></i><span style="font-size: 14pt;">Al Clark<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Set
Decoration: </span></i><span style="font-size: 14pt;">Henry Grace, Frank R.
McKelvy<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Assistant
to the Producer: </span></i><span style="font-size: 14pt;">John Conwell<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Assistant
Director: </span></i><span style="font-size: 14pt;">John Bloss<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Sound:
</span></i><span style="font-size: 14pt;">Franklin Milton, Joe Edmondson<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Music:
</span></i><span style="font-size: 14pt;">stock<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Rod
Serling’s Wardrobe: </span></i><span style="font-size: 14pt;">Eagle Clothes<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Filmed
at MGM <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">And Now, Mr. Serling:<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">“On
</span></i><span style="font-size: 14pt;">Twilight Zone <i style="mso-bidi-font-style: normal;">next week, a most unusual and provocative story in which we call upon
the talents of James Whitmore as a mayor of a town, a little mild on the face
of it except when we supply the following addenda: This town is on an asteroid
ten billion miles from Earth. Our story is called ‘On Thursday We Leave for
Home.’”<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Rod Serling’s Opening Narration: <o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhtvW1134dljvXBwMQyAhcQ9f-afjXlV1uakVKJsG4pF6ieaf_4VThs-J0Jcu2CVXGXxzKWv_cpl3HRkgs7S6FUsi49TPf5R07D8vkN6gOriLhmEyAgPlwfMEuLEniKH3F1FGMPHO4i2yg/s1600/Serling.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="821" data-original-width="674" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhtvW1134dljvXBwMQyAhcQ9f-afjXlV1uakVKJsG4pF6ieaf_4VThs-J0Jcu2CVXGXxzKWv_cpl3HRkgs7S6FUsi49TPf5R07D8vkN6gOriLhmEyAgPlwfMEuLEniKH3F1FGMPHO4i2yg/s200/Serling.jpg" width="163" /></a><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">“This
is William Benteen, who officiates on a disintegrating outpost in space. The
people are a remnant society who left the Earth looking for a millennium, a
place without war, without jeopardy, without fear. And what they found was a
lonely, barren place whose only industry was survival. And this is what they
have done for three decades, survive. Until the memory of the Earth they came
from has become an indistinct and shadowed recollection of another time and
another place. One month ago, a signal from Earth announced that a ship would
be coming to pick them up and take them home. In just a moment we’ll hear more
of that ship, more of that home, and what it takes out of mind and body to
reach it. This is </span></i><span style="font-size: 14pt;">The Twilight Zone.”
<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt;">Summary:<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhECZBMuNrxjHDCewD-u7y7WkzOw_oEpqcJ50yBohw2sShY7mm7J08kOES1oB-AQC1RmwvWL7GYnghl64fwNwMXCrvnQuaX5ni03drd4QbkTk6VUq2FqMGg3JJR8qBRRFCcBk748v4wa_7_/s1600/Summary.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="859" data-original-width="1107" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhECZBMuNrxjHDCewD-u7y7WkzOw_oEpqcJ50yBohw2sShY7mm7J08kOES1oB-AQC1RmwvWL7GYnghl64fwNwMXCrvnQuaX5ni03drd4QbkTk6VUq2FqMGg3JJR8qBRRFCcBk748v4wa_7_/s320/Summary.jpg" width="320" /></a><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Dual
suns cast intense heat and perpetual daylight upon a group of weary colonists
on a barren, rocky outpost in space. The colonists are the remnants and the
descendants of the 113 people who arrived on the Pilgrim 1, an exploratory
vessel which set out thirty years earlier to find a human habitat beyond Earth.
Now they struggle to survive in this unforgiving and oppressive environment. On
a rise above a cluster of makeshift shacks is a radio tower where Captain
Benteen, the leader of the colony, oversees a constant monitoring of the radio
channels in the hopes of hearing from a rescue ship from Earth.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Captain
Benteen did not captain the Pilgrim 1 but was merely a teenager on that ship.
Over time Benteen took on the name of Captain and the role of leader and
protector of the survivors. He works hard to keep spirits high but a suicide
among the colonists, the ninth suicide in six months, brings morale low. Many
of the colonists are ready to give up and die. On the promise of the arrival of
a ship from Earth, Benteen delivers a stirring speech to the colonists in order
to bring them back from the depths of despair. Their renewed hope is short-lived,
however, when a meteor storm sends the group scrambling for cover inside a
large cave. Several of the colonists sustain injuries. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>To
take everyone’s minds off the frightening meteor storm, Benteen tells Jo-Jo,
the youngest in the colony, about an Earth the boy has never seen. The colonists
gather close to listen as Benteen recalls the wonders and joys of life on
Earth, casting his memory back to paint a picture of Earth as a wonderful
oasis. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>The
meteor storm passes and is replaced by another sound, the sound of rocket
engines. The colonists rush outside to witness the arrival of a ship from
Earth. The colonists greet Colonel Sloane and the crew of the Galaxy 6 with
jubilation. The arrival of the ship brings new hope and energy to the colonists
who are grateful to leave the hot, cruel, desolate outpost. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>At
first, Captain Benteen is equally joyed by the arrival of the ship. Slowly and
insidiously, however, the presence of Colonel Sloane, and the ways in which the
colonists look to Sloane for authority and advice, begins to drive a wedge
between Captain Benteen and his authority over the colonists. Sloane is an
affable, compassionate, and highly accommodating man but still Benteen feels
threatened. Benteen defines himself by a singular measure, his unassailable
position as leader of the colonists. <span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Benteen
first attempts to reassert his authority by small measures, such as repeatedly
insisting that Sloane address him as <i style="mso-bidi-font-style: normal;">Captain
</i>Benteen, before he finds that more direct methods are required, such as
forcing Sloane to break up a friendly game of baseball between the colonists
and Sloane’s crew. Sloane remains accommodating, fully understanding Benteen’s
need to lead and direct. He cannot sit idly by, however, when Benteen suggests
that the colonists will remain together once they return to Earth. Sloane
inquires whether Benteen has asked the colonists if they wish to remain
together on Earth and Benteen replies by denigrating the colonists, repeatedly
referring to them as children, and suggesting that he, and only he, knows what
is best for everyone in the colony.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Benteen
declares his intentions of keeping the colony together on Earth at the next
gathering. The colonists make it clear that they have no desire to remain
together but instead intend to spread out to all parts of the United States.
Benteen is shocked and dejected by this rejection of his ideal for the group.
He realizes that although he still needs the colonists, to lead, to direct, to
organize, they no longer need his leadership. When Benteen changes course and
suggests that the colonists remain on the outpost and <i style="mso-bidi-font-style: normal;">not</i> return to Earth, Sloane intercedes and suggests taking a vote
to determine those who wish to return to Earth and those who wish to stay. All
except Benteen raise their hands to express a desire to leave. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>In
desperation, Benteen attempts to damage the Galaxy 6 but is subdued by the
ship’s crew. Benteen tells the colonists that they will not be getting on a
ship to Paradise but rather to Hell. Benteen threatens that if they return to
Earth they will die. He can see in the faces of the colonists that he has lost
all of his influence over them. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Utterly
defeated, Benteen informs all that he will not be leaving with the ship.
Minutes before takeoff, Sloane attempts to find Benteen in the cave system
where the colonists often gathered. He calls out, pleading with Benteen to
return to Earth. There will be no second chance to leave. Benteen does not
respond or show himself and Sloane is forced to leave without him. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Benteen
emerges from his hiding place and listens to the rocket engines taking off. He
speaks to the empty spaces as though the colonists were still there. The
illusion is not strong enough to sustain him. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">As Benteen speaks aloud
of the Earth he realizes his terrible mistake in electing to stay behind. He
rushes outside to see the Galaxy 6 ascending high into the sky on its way home.
Benteen calls out with his hands lifted to the sky but he is too late, doomed
by his own design to remain alone in that terrible place. <span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Rod Serling’s Closing Narration:<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">“William
Benteen, who had prerogatives; he could lead, he could direct, dictate, judge,
legislate. It became a habit, then a pattern, and finally a necessity. William
Benteen, once a god, now a population of one.” <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<i style="mso-bidi-font-style: normal;"></i></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt;">Commentary:<o:p></o:p></span></b></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH1kqNhLvjV3lheIE2GpJ-CJZP4QHDjAGtH2Far9GErE_Vkl3tUWPnIyWXj-tX8PWWdOTFxwHuCQWg1OeF8T2a6PWFmRhoVB3YEAqH6QtNumilbIsKQHquGn0lv0jxBdch0X-03NrNNHtU/s1600/Commentary.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="857" data-original-width="1099" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH1kqNhLvjV3lheIE2GpJ-CJZP4QHDjAGtH2Far9GErE_Vkl3tUWPnIyWXj-tX8PWWdOTFxwHuCQWg1OeF8T2a6PWFmRhoVB3YEAqH6QtNumilbIsKQHquGn0lv0jxBdch0X-03NrNNHtU/s320/Commentary.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="text-align: left;">
<span style="font-size: xx-small;">A final confrontation between</span></div>
<div style="text-align: left;">
<span style="font-size: xx-small;">Colonel Sloane (Tim O'Connor) and Captain Benteen</span></div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>The
fourth season shift to hour-long drama seemed to vex series creator Rod
Serling, who largely struggled during the show’s half-season to produce the
type of teleplay which marked him as the show’s most consistently brilliant writer
during the first three seasons. His struggles during the fourth season likely
resulted from his admitted exhaustion at the volume of writing required on the series
and his temporary relocation to Yellow Springs, Ohio to teach at Antioch
College. Serling showed flashes of brilliance in such episodes as “He’s Alive”
and “The Parallel” but it was not until “On Thursday We Leave for Home,” the
final episode produced for the fourth season, though not the final episode to
air, that Serling fully tapped into the qualities which marked his unique and extraordinary
talent as a dramatist. Serling went back to basics for the episode and its
patchwork qualities, recycled themes, reused sets, costumes, props, and recognizable
music cues, mesh brilliantly in perhaps the finest offering of the fourth
season and Serling’s best script since the third season finale, “The Changing
of the Guard.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">Serling combined the
type of psychological tale of isolation he previously explored in such early
episodes as “The Lonely” and “I Shot an Arrow into the Air” with the politics
of group dynamics which informed his topical triumphs “The Monsters Are Due on
Maple Street” and “The Shelter.” Serling’s script is wonderfully shaded not
only in obvious terms of character but also in narrative structure. Serling
twice teased the arrival of the rescue ship from Earth, whose arrival viewers
as well as colonists have taken on faith, with two devastating sleight-of-hand
moments. The first is a frank depiction of suicide among the colonists which
served to underline the severity of their situation and provide Captain Benteen
with his first heroic moment when he brings the colonists back from despair. The
second occurred just after Benteen’s stirring speech, which produced a hopeful
chant among the gathered colonists, when the sounds heard above were not those
of a rescue ship but of a meteor storm which injured many of the colonists and
forced them to shelter inside a cave. The meteor storm sequence is a surprisingly
tense and effective bit of special effects in an episode which typically opted
for minimalism or recycled parts for its effects. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>These
moments of establishing action further manipulate audience expectations when
Benteen is given another heroic moment to calm the injured and stressed colonists
inside the cave while suggesting Al Baines as the surly antagonist to Benteen’s
Moses-like figure. This misdirection makes the later revelations, that Al
Baines is not at all an antagonist and Benteen is far worse than a benevolent protector,
all the more impactful. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Serling
grounds his script in blunt, recurring religious imagery which both illustrates
the underlying problems of faith-based leadership and further explores the
eroding line between that leadership and totalitarian control. Serling’s
explicit introduction of a democratic measure to seal Benteen’s fate is a clear
indication of the writer’s alliance to a process of fair leadership. Benteen is
frequently framed as a preacher upon a pulpit looking down on gathered colonists,
who are repeatedly compared to children or a flock of sheep, potent religious
symbols which illustrate their involuntary indoctrination into the Church of
Benteen. Colonel Sloane later completes the mental emancipation of the
colonists by assuring them that when they return to Earth they can pray to any
god they wish and that god will no longer have to be William Benteen. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Benteen
maintained his control over the colonists largely through restriction. He is
the only source of information and therefore the final word on any matter. Al
Baines’ brief role as antagonist is largely defined by his challenge to Benteen’s
control of the colonists’ thoughts and behaviors. Benteen’s repeated framing of
this control through restriction as necessary and beneficial, even after the arrival
of the Galaxy 6, only serves to further reveal Benteen as a destructive and
malign force. It only makes sense that Benteen focuses much of his wrath on Al
Baines, insulting the man’s intelligence and attempting to place much of the
blame for the colonists’ quiet revolt at his feet. Baines, to his credit,
remains a sympathetic portrait of a liberated man whose escape from the
manipulative clutches of a zealot provides him a new perspective on his
aggressor. It is telling that Serling chose Baines to be the final one to speak
to Benteen when Baines accompanies Sloane into the cave to try one last time to
coerce Benteen to return to Earth with the rest of the colonists. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">The introduction of
outside sources of information is devastating to Benteen’s system of power and
control. Continuing the religious symbolism, Benteen later informs Colonel
Sloane that the colonists referred to Sloane (the unknown savior from Earth) as
the Messiah. This occurs after Benteen fully realizes that his position as unquestioned
leader is obsolete with the arrival of the Galaxy 6. The faith of the colonists
has been rewarded and therefore they no longer need that faith, or the preacher
of faith, to hold onto. It is Benteen’s struggle to adjust in the face of the
(to his mind) adversarial other which sets his course trajectory from hero to
villain to, finally, tragic figure. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Serling
leaves much of the pre-establishing action to the viewer’s imagination, producing
several unanswered, though ultimately unimportant, questions, such as: What happened
to the crew of the Pilgrim I? What became of the ship? Did the ship crash and
its materials used to construct the makeshift shacks of the colonists’ village?
How did Benteen, a teenaged boy, come to be the unquestioned leader of a group which
included several people older than himself? It is interesting that Serling
established that there are more colonists when the Galaxy 6 arrives than were initially
on the Pilgrim I. If one assumes that some of the original passengers on the
Pilgrim I died, then it is also to be assumed that the remaining survivors set
about in earnest to produce children in the community, though only Jo-Jo is
shown to be a young child in the group.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5C1lguAITn9jMwSNLRnnEwZJSDNShHP8r0iagogtSCUGVgcPPNA181WhmXVbNMU8N3BNKOeBxc2KicTqi-AdxqJVFHdkDO-1jGgzu3qr4ZVhYfS8gZqiV6dBvk7GdbXP05EVsDMnXnvoo/s1600/Forbidden+Planet+ship.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="588" data-original-width="1049" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5C1lguAITn9jMwSNLRnnEwZJSDNShHP8r0iagogtSCUGVgcPPNA181WhmXVbNMU8N3BNKOeBxc2KicTqi-AdxqJVFHdkDO-1jGgzu3qr4ZVhYfS8gZqiV6dBvk7GdbXP05EVsDMnXnvoo/s320/Forbidden+Planet+ship.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The C-57D from <i>Forbidden Planet</i></td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Much
of the episode’s success emerges from the familiar sheen of recycled elements,
whether the opening strains of Bernard Herrmann’s score for “Eye of the
Beholder” or the use of settings and props from previous episodes and notable
MGM productions. The show’s debt to the look and feel of the 1956 MGM film <i style="mso-bidi-font-style: normal;">Forbidden Planet </i>is well-documented but perhaps
no other <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRcS6RNxBuVDKZ5i1wEJBFtw1Hia9ksmbyz5ukN6Uf-jBxGslYcewFhP4f6HNk3xOLq5TVhO0yWDIrhoE80ojQiOqOHbIEwtbxgaAU_20d4JqgoGvZyjN8MQny7MIxQNXW1v2i-_fHtVB8/s1600/Ship+.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="849" data-original-width="1086" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRcS6RNxBuVDKZ5i1wEJBFtw1Hia9ksmbyz5ukN6Uf-jBxGslYcewFhP4f6HNk3xOLq5TVhO0yWDIrhoE80ojQiOqOHbIEwtbxgaAU_20d4JqgoGvZyjN8MQny7MIxQNXW1v2i-_fHtVB8/s320/Ship+.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">The Galaxy 6</span></td></tr>
</tbody></table>
episode so notably mines that film’s rich resources than “On Thursday
We Leave for Home.” With some modifications, sets, props, and costumes from
that film are prominently used in the episode, notably the rocky and arid
setting of the outpost colony and the Galaxy 6 spaceship (the C-57D in <i style="mso-bidi-font-style: normal;">Forbidden Planet).</i> The crew of the
Galaxy 6 also wears modified uniforms from <i style="mso-bidi-font-style: normal;">Forbidden
Planet. </i>Many of these elements were previously seen in the earlier fourth
season episode “Death Ship,” from which “On Thursday We Leave for Home” recycled
the footage of the spaceship landing and taking off. <i style="mso-bidi-font-style: normal;">Forbidden Planet </i>also lent materials to such episodes as “The
Monsters Are Due on Maple Street,” “The Rip Van Winkle Caper,” “To Serve Man,” “Hocus-Pocus
and Frisby,” “Uncle Simon,” and several more. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5O51Xa-tLH_u8yZQ-6Mz658tvUm8u3reXuxTAjtDhd9OAwAAiYeklIA7-f5S3PBcmCqN9QtMKa5G7dvYmI7GlQV6fur9M2AmpccXKFAbXYHheHWcE7auJBojSEYICyZLVjegiQpY3DJcQ/s1600/Time+Machine+Caves.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="645" data-original-width="1266" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5O51Xa-tLH_u8yZQ-6Mz658tvUm8u3reXuxTAjtDhd9OAwAAiYeklIA7-f5S3PBcmCqN9QtMKa5G7dvYmI7GlQV6fur9M2AmpccXKFAbXYHheHWcE7auJBojSEYICyZLVjegiQpY3DJcQ/s320/Time+Machine+Caves.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The lair of the Morlocks from <i>The Time Machine</i></td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">The colony itself, with
its makeshift shacks and cramped radio tower, was built for the episode but
some modifications were required to capture the crane shot which closes the
episode. Initially, no roofs were placed on the sets and the crew was forced to
scramble to place coverings on the shacks in order to capture that final shot
without blatantly revealing the artificial <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY3fKdN4HwK11rCsNOO_qEEsj7Q_BcmtO1UNWLbnLLeZOiaO_mjjjKi1KkW68-Zqq1AtU0NBIdA9MYL1SEZxXpYajJOLq3QbJqeZRuyoHiHsHfRLWos7MbdFI_9oEqWYDBiumWpelNkHpR/s1600/Caves.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="792" data-original-width="1103" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY3fKdN4HwK11rCsNOO_qEEsj7Q_BcmtO1UNWLbnLLeZOiaO_mjjjKi1KkW68-Zqq1AtU0NBIdA9MYL1SEZxXpYajJOLq3QbJqeZRuyoHiHsHfRLWos7MbdFI_9oEqWYDBiumWpelNkHpR/s320/Caves.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">The caves from "On Thursday We Leave for Home"</span></td></tr>
</tbody></table>
nature of the set. The interior cave
set, where much of the episode takes place, was also a standing set at MGM, likely
(though not confirmed) a modified version of the underground lair of the
Morlocks built for MGM’s 1960 production of H.G. Wells’ <i style="mso-bidi-font-style: normal;">The Time Machine. <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">Rod Serling understood the
necessity, even in an ensemble drama, of developing two central
characters at war with one another to illuminate the larger group dynamics. In this way Serling was a truly masterful dramatist. Earlier
examples include Claude Akins and Jack Weston on opposite sides of the rising
panic in “The Monsters Are Due on Maple Street,” and Larry Gates as the leader
of a besieged family and Sandy Kenyon as the brutish neighbor intent on the
family’s destruction in “The Shelter.” Serling re-staged this dynamic in his adaptation
of Henry Slesar’s “The Old Man in the Cave.” This later episode is largely an inversion
of “On Thursday We Leave for Home” in that the Benteen-like character, played
by <i style="mso-bidi-font-style: normal;">Zone </i>regular John Anderson, is the
beneficent leader of a group of survivors who fall under the influence of a cruel
military leader played by James Coburn.<o:p></o:p></span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi49F4p470yvFBwj1XPzOyQF4x7pHm_5HFj49O9mNFjh3UP8sqx_-3-3PjmOLP-hnifFkNmlpDtgiIxFMI7aTA8AeoSclJ8JIEfpZaG78juYdKJFiKKhyt1v_XWiTmjxEpTPtNnczRdoCL/s1600/James+Whitmore.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="830" data-original-width="902" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi49F4p470yvFBwj1XPzOyQF4x7pHm_5HFj49O9mNFjh3UP8sqx_-3-3PjmOLP-hnifFkNmlpDtgiIxFMI7aTA8AeoSclJ8JIEfpZaG78juYdKJFiKKhyt1v_XWiTmjxEpTPtNnczRdoCL/s320/James+Whitmore.jpg" width="320" /></a><span style="font-size: 14pt;">James Whitmore’s
performance as Captain William Benteen is justly celebrated as the best part of
“On Thursday We Leave for Home.” I rated the performance #6 among the best
performances on the series and it could have rated higher, all the way up to
#1. The most impressive aspect of Whitmore’s performance is that it essentially required
the actor to transition between three different characters, the heroic,
benevolent leader of the colonists, the selfish, controlling zealot, and the tragic figure of a man doomed by
his own stubborn insistence on being a god among men. Whitmore pulls off all
aspects of the performance exceptionally well, particularly the transition from
a hated antagonist to a truly pitiable figure with hands raised in supplication
to the sky. It is one of the most gutting endings on the series and it achieves its effects by eliciting great pity and sympathy for a character most viewers despised five minutes previously. These moments when Rod Serling's best writing found a skilled and motivated performer through which to speak are the reasons why this sixty-plus year old television series remains one of the most watched and discussed programs in the medium's history. <o:p></o:p></span></div>
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<span style="font-size: 14pt;">James Whitmore
(1921-2009) moved from a Tony Award-winning career on stage to film work which
included memorable turns in such genre material as <i style="mso-bidi-font-style: normal;">Them! </i>and <i style="mso-bidi-font-style: normal;">Planet of the Apes.
</i>Whitmore returned to the stage in the 1970s and became celebrated for
one-man shows portraying historical figures such as Theodore Roosevelt, Harry
Truman, and Will Rogers. Whitmore began on television with several appearances
on dramatic anthology series where he first worked with director Buzz Kulick on
<i style="mso-bidi-font-style: normal;">Playhouse 90. </i>Whitmore appeared on <i style="mso-bidi-font-style: normal;">Suspense </i>in the Charles
Beaumont-scripted “I, Buck Larsen” and later on Rod Serling's existential western <i>The Loner, </i>in the two-part episode, "The Mourners for Johnny Sharp," and in the <i style="mso-bidi-font-style: normal;">Ray Bradbury Theatre </i>production of “The
Toynbee Convector.” Whitmore lent his voice to Ray Bradbury’s 1962 Academy
Award nominated short animated film <i style="mso-bidi-font-style: normal;">Icarus
Montgolfier Wright, </i>co-scripted by George Clayton Johnson and also
featuring the voice of <i style="mso-bidi-font-style: normal;">Twilight Zone </i>and
<i style="mso-bidi-font-style: normal;">Night Gallery </i>performer Ross Martin. Whitmore
won an Emmy Award for a recurring role on <i style="mso-bidi-font-style: normal;">The
Practice. </i>His most memorable film role came relatively late in Whitmore’s
career in director Frank Darabont’s adaptation of Stephen King’s <i style="mso-bidi-font-style: normal;">The Shawshank Redemption. </i>Whitmore
portrayed an elderly paroled criminal whose inability to adjust to life outside
of prison leads to his suicide. His performance in “On Thursday We Leave for
Home” remains one of the jewels in the celebrated performer’s crown and arguably
rates as his best television work. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizduZZJbjajrcHSFt5r2GTGawWRd1jlvYPLzK5K_WU_oqItVzg_sRxSEUirYbZr0nhUfXsJZf64wem2S1BpbS3QuErl4X0A81Ne7sZ-653_39Uoj2dpBcoGAsuk_c-psqCR4_h6cyZDdQV/s1600/Tim+O%2527Connor.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="851" data-original-width="936" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizduZZJbjajrcHSFt5r2GTGawWRd1jlvYPLzK5K_WU_oqItVzg_sRxSEUirYbZr0nhUfXsJZf64wem2S1BpbS3QuErl4X0A81Ne7sZ-653_39Uoj2dpBcoGAsuk_c-psqCR4_h6cyZDdQV/s320/Tim+O%2527Connor.jpg" width="320" /></a><span style="font-size: 14pt;">The revelation upon a
repeat viewing of “On Thursday We Leave for Home” is the exceptional performance of Tim O’Connor
as Colonel Sloane, the foil to Whitmore’s Captain Benteen. O'Connor portrays Sloane as an affable,
intelligent, caring, and accommodating man whose idea of leadership flies
directly in the face of Benteen’s leadership ideals. O’Connor’s performance
is one of restraint pushed and tested in increasing intervals by
Benteen’s progressive mania of control until Sloane takes decisive action to lead the colonists away from Benteen’s
parasitic influence. It is as masterful a character progression in its way as Whitmore’s Benteen. The viewer waits in vain for the crack in Sloane’s
persona to appear. Even to the end Sloane attempts to do the right thing and
persuade Benteen to board the ship with the others. In this way, Benteen’s fate
becomes one completely of his own making, sealing his tragic arc. <o:p></o:p></span></div>
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<span style="font-size: 14pt;">Tim O’Connor
(1927-2018) was a prolific television actor best known for playing figures of authority, such as military
officials, but whose versatility ensured appearances on
virtually every type of dramatic program. He was known for recurring roles on
such soap operas as <i style="mso-bidi-font-style: normal;">Peyton Place </i>and <i style="mso-bidi-font-style: normal;">Dynasty, </i>as well as much genre work, highlighted
by a recurring role on <i style="mso-bidi-font-style: normal;">Buck Rogers in the
25<sup>th</sup> Century, </i><span style="mso-bidi-font-style: normal;">three </span>appearances on <i style="mso-bidi-font-style: normal;">Wonder Woman, </i><span style="mso-bidi-font-style: normal;">including the memorable two-part</span><i style="mso-bidi-font-style: normal;"> </i>episode, “Judgement From
Outer Space,” inspired by <i style="mso-bidi-font-style: normal;">The Day the
Earth Stood Still. </i>O’Connor also logged appearances on <i style="mso-bidi-font-style: normal;">‘Way Out </i>(“Button, Button”), <i style="mso-bidi-font-style: normal;">The
Alfred Hitchcock Hour, </i>in the Henry Slesar-scripted “What Really
Happened,” directed by <i style="mso-bidi-font-style: normal;">Zone </i>contributor
Jack Smight, <i style="mso-bidi-font-style: normal;">The Outer Limits, </i>in “Moonstone”
and Harlan Ellison’s “Soldier,” and <i style="mso-bidi-font-style: normal;">Star
Trek: The Next Generation, </i>in “The Perfect Mate.” O’Connor’s most memorable
genre film role came in the 1973 cult film <i style="mso-bidi-font-style: normal;">Sssssss.
<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">Although the episode lives and breathes through the performances of Whitmore and O’Connor, it also features an underrated ensemble
of character actors who are expertly directed by Buzz Kulik. It is no easy task to direct such a large cast mostly comprised of extras with non-speaking roles but Kulik frames the sweaty, weary faces of the beaten-down colonists exceptionally well. The colonists are essential to the dynamics of the drama. Repeat <i style="mso-bidi-font-style: normal;">Zone </i>performers such as Russ Bender,
Paul Langton, Jo Helton, and the young Danny Kulick are ably supported by James
Broderick as Al Baines. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">“On Thursday We Leave
for Home” contains the recognizable strengths and hallmarks of Rod Serling’s powerful style of drama: poetic, yet grounded dialogue, a strong emotional core, examinations
of topical themes, complex characters, and a surprising yet
challenging conclusion. One can easily imagine Serling dictating his script,
playing each character in turn, adding elements and removing others, to produce his finest script of the fourth season, and unquestionably one of his finest scripts of the entire series. It comes with the highest recommendation. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt;">Grade:
A<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;">Grateful acknowledgement to: <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-The
Twilight Zone Companion </span></i><span style="font-size: 14pt;">by Marc Scott
Zicree (3<sup>rd</sup> ed., 2018)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;">-Audio commentary for “On Thursday We
Leave for Home” by Marc Scott Zicree and Joseph Dougherty, for <i style="mso-bidi-font-style: normal;">The Twilight Zone: The 5<sup>th</sup>
Dimension </i>(2016) <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;">-The Internet Movie Database (imdb.com)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Notes:<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCqv9BNvkS0wF4-IApWFBc_mCVSEAQ64iVRrxfyKEVdfLn215X5xUC2LOi32eeP6G2o_cgjcMwitQrB1ywc2X635uDr7hLfQmqqB9idrzRLia33sFkypTmMFFLbFYO3LkNHhqGeHXeYJYZ/s1600/Notes.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="825" data-original-width="1007" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCqv9BNvkS0wF4-IApWFBc_mCVSEAQ64iVRrxfyKEVdfLn215X5xUC2LOi32eeP6G2o_cgjcMwitQrB1ywc2X635uDr7hLfQmqqB9idrzRLia33sFkypTmMFFLbFYO3LkNHhqGeHXeYJYZ/s320/Notes.jpg" width="320" /></a><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">--Buzz
Kulick directed eight additional episodes of the series, including “King Nine
Will Not Return,” “The Trouble with Templeton,” “Static,” “A Hundred Yards Over
the Rim,” “The Mind and the Matter,” “A Game of Pool,” “A Quality of Mercy,”
and “Jess-Belle.” “On Thursday We Leave for Home” was Kulik’s final episode for the series. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">--James
Whitmore later appeared on Rod Serling’s </span></i><span style="font-size: 14pt;">The Loner <i style="mso-bidi-font-style: normal;">in the two-part episode
“The Mourners for Johnny Sharp.”<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">--Paul
Langton also appeared in </span></i><span style="font-size: 14pt;"><i style="mso-bidi-font-style: normal;">“Where Is Everybody?”<o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">--Jo
Helton also appeared in “The Shelter.”<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">--Russ
Bender also appeared in “The Hitch-Hiker” and “The Fugitive.” <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">--Danny
Kulick also appeared in “Cavender Is Coming.” <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">--Lew
Gallo also appeared in “The Rip Van Winkle Caper.” <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">--“On
Thursday We Leave for Home” was adapted as a </span></i><span style="font-size: 14pt;">Twilight Zone Radio Drama<i style="mso-bidi-font-style: normal;">
starring Barry Bostwick.<o:p></o:p></i></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy2O1_Oxx8ZMSnHkuL3KB0iYNLQ3sOgHZTMEjZMqjLYmXvsKmZ-utsGK_1epVwIYUEN2LY8C3rhJ3aJv6JwZHi2sSiLLfAHxSO5dVf5-nnOzbjSAk9r-UHNjaLcwtwe8fpyxxfXUrOGCp5/s1600/Boom+Mike.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="806" data-original-width="1044" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy2O1_Oxx8ZMSnHkuL3KB0iYNLQ3sOgHZTMEjZMqjLYmXvsKmZ-utsGK_1epVwIYUEN2LY8C3rhJ3aJv6JwZHi2sSiLLfAHxSO5dVf5-nnOzbjSAk9r-UHNjaLcwtwe8fpyxxfXUrOGCp5/s320/Boom+Mike.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">--One
of the most well-documented goofs on the series occurred during the filming of “On
Thursday We Leave for Home” when a microphone can be seen entering the
frame for an extended time during the scene in which Benteen and George discuss
the community’s dwindling supplies. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt;">-JP</span></b></div>
JPhttp://www.blogger.com/profile/14808904189056290207noreply@blogger.com3tag:blogger.com,1999:blog-1318310043864039191.post-26780653087023023392020-04-01T06:00:00.001-05:002020-05-31T11:19:05.252-05:00Wednesday Comics <span style="font-size: large;"><i>The Twilight Zone </i>#34</span><br />
<span style="font-size: large;">"Beware the Kewpie Dolls"</span><br />
<span style="font-size: large;">Script: unknown</span><br />
<span style="font-size: large;">Pencils & Inks: John Celardo </span><br />
<span style="font-size: large;">Cover: George Wilson </span><br />
<span style="font-size: large;"><br /></span>
<br />
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<span style="font-size: large;"><br /></span>JPhttp://www.blogger.com/profile/14808904189056290207noreply@blogger.com0tag:blogger.com,1999:blog-1318310043864039191.post-60910968972766289352020-03-23T06:00:00.000-05:002020-04-13T15:12:19.216-05:00Reading Rod Serling’s The Twilight Zone Magazine, Part 20<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">We’ve
made it a third of the way through our issue-by-issue look at </span></i><span style="font-size: 14.0pt;">Rod Serling’s The Twilight Zone Magazine. <i style="mso-bidi-font-style: normal;">In this series we take a detailed look at
each issue. For our capsule history of the magazine, go <a href="http://twilightzonevortex.blogspot.com/2012/01/rod-serlings-twilight-zone-magazine.html"><span style="color: #f3f3f3;">here. </span></a><o:p></o:p></i></span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUFRz4grYaux23YG3Ga_41UfDbPAxoLTnEW8K377xS9LeB1wY_g0KB42PxR3XxeHB1Z-jJsDFI2KRULjQrbS89SEi-mtodHKNT4L9aDDBNUzTSuUZKatmmOQGhvoBurM67JMuSuCWV5DJM/s1600/Cover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="675" data-original-width="497" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUFRz4grYaux23YG3Ga_41UfDbPAxoLTnEW8K377xS9LeB1wY_g0KB42PxR3XxeHB1Z-jJsDFI2KRULjQrbS89SEi-mtodHKNT4L9aDDBNUzTSuUZKatmmOQGhvoBurM67JMuSuCWV5DJM/s400/Cover.jpg" width="293" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Volume
2, Number 8 (November, 1982)<o:p></o:p></span></b></div>
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<span style="font-size: 14.0pt;">Cover art: Bruce Heapps <o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">TZ
Publications, Inc. <o:p></o:p></span></b></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">President
& Chairman: </span></i><span style="font-size: 14.0pt;">S. Edward Orenstein<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Secretary/Treasurer:
</span></i><span style="font-size: 14.0pt;">Sidney Z. Gellman<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Executive
Vice-Presidents: </span></i><span style="font-size: 14.0pt;">Leon Garry, Eric
Protter<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Executive
Publisher: </span></i><span style="font-size: 14.0pt;">S. Edward Orenstein<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Publisher:
</span></i><span style="font-size: 14.0pt;">Leon Garry<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Associate
Publisher and Consulting Editor: </span></i><span style="font-size: 14.0pt;">Carol
Serling<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Editorial
Director: </span></i><span style="font-size: 14.0pt;">Eric Protter<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Editor:
</span></i><span style="font-size: 14.0pt;">T.E.D. Klein<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Managing
Editor: </span></i><span style="font-size: 14.0pt;">Jane Bayer<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Assistant
Editor: </span></i><span style="font-size: 14.0pt;">Robert Sabat<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Editorial
Assistant: </span></i><span style="font-size: 14.0pt;">Judy Linden<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Contributing
Editors: </span></i><span style="font-size: 14.0pt;">Thomas M. Disch, Gahan
Wilson<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Design
Director: </span></i><span style="font-size: 14.0pt;">Michael Monte<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Art
Director: </span></i><span style="font-size: 14.0pt;">Wendy Mansfield<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Art
Production: </span></i><span style="font-size: 14.0pt;">Susan Lindeman, Carol
Sun, Lori Hollander<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Typesetting:
</span></i><span style="font-size: 14.0pt;">Irma Landazuri<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Production
Director: </span></i><span style="font-size: 14.0pt;">Stephen J. Fallon<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Controller:
</span></i><span style="font-size: 14.0pt;">Thomas Schiff<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Ass’t
to the Publisher: </span></i><span style="font-size: 14.0pt;">Penny Layne<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Public
Relations Mgr.: </span></i><span style="font-size: 14.0pt;">Jeffrey Nickora<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Accounting
Mgr.: </span></i><span style="font-size: 14.0pt;">Chris Grossman<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Accounting
Ass’t: </span></i><span style="font-size: 14.0pt;">Annmarie Pistilli<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Office
Ass’t: </span></i><span style="font-size: 14.0pt;">Zuleyma Guevara <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Circulation
Director: </span></i><span style="font-size: 14.0pt;">William D. Smith<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Circulation
Mgr.: </span></i><span style="font-size: 14.0pt;">Carole A. Harley<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Circulation
Ass’t: </span></i><span style="font-size: 14.0pt;">Katherine Lys<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Northeastern
Cirulation Manager: </span></i><span style="font-size: 14.0pt;">Jacqueline Doyle<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Eastern
Circ. Mgr.: </span></i><span style="font-size: 14.0pt;">Hank Rosen<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">West
Coast Circ. Mgr.: </span></i><span style="font-size: 14.0pt;">Gary Judy<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Advertising
Manager: </span></i><span style="font-size: 14.0pt;">Rachel Britapaja<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Adv.
Production Manager: </span></i><span style="font-size: 14.0pt;">Marina Despotakis<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Advertising
Representatives: </span></i><span style="font-size: 14.0pt;">Barney O’Hara &
Associates <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 14.0pt;">Contents:</span></u></b><span style="font-size: 14.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--In the Twilight Zone: “Unmasking time
. . .” by T.E.D. Klein<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Other Dimensions: Screen by Gahan
Wilson<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Other Dimensions: Books by Thomas M.
Disch<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Other Dimensions: The ‘Heroes &
Heavies’ Quiz by Kathleen Murray<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Other Dimensions: War in Fantasyland
by Baird Searles<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Other Dimensions: Etc.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--The Evil Dead (review) by Stephen King<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--John Carpenter: Doing His Own Thing
(interview) by James Verniere <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“Hell Is Murky” by John Alfred Taylor<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Required Reading: “Levitation” by
Joseph Payne Brennan<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“The Opening” by Bruce Boston<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--TZ Screen Preview: <i style="mso-bidi-font-style: normal;">Halloween III </i>by James Verniere<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Country of the Dead by Randy Chisholm
(photos) & John Bensink (text)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“Night Cry” by Katherine M. Turney<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“The Spook Man” by Al Sarrantonio <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“The Circle” by Lewis Shiner<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“Halloween Girl” by Robert Grant<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“The Screenplay” by Joseph Cromarty<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--“The Smell of Cherries” by Jeffrey
Goddin<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Show-by-Show Guide: TV’s Twilight
Zone: Party Twenty by Marc Scott Zicree<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--TZ Classic Teleplay: “A Quality of
Mercy” by Rod Serling <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">--Looking Ahead: In December’s TZ <o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--In
the Twilight Zone: “Unmasking time . . .” by T.E.D Klein <o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;"><br /></span></b></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA7Ik8R0QgaUJH6khyphenhyphenRmFHglLVU57ytKwHg7uxO9G1mGGuYw4NLvrJI4sgaK2c-XhUhEG5ggqG0IntJH5RcLNPYinxpUKafjL5N7wGFtbl2v3KDK62ZmY1ko7ZGSveBGSe0s2_TGjjESYo/s1600/TED+Klein.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="233" data-original-width="395" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA7Ik8R0QgaUJH6khyphenhyphenRmFHglLVU57ytKwHg7uxO9G1mGGuYw4NLvrJI4sgaK2c-XhUhEG5ggqG0IntJH5RcLNPYinxpUKafjL5N7wGFtbl2v3KDK62ZmY1ko7ZGSveBGSe0s2_TGjjESYo/s320/TED+Klein.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">T.E.D. Klein</td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Klein
gets straight to the contributor bios in this Halloween-themed issue. Among the
highlights: the return of Gahan Wilson as films reviewer, an essay on </span></i><span style="font-size: 14.0pt;">The Evil Dead <i style="mso-bidi-font-style: normal;">by
Stephen King, an interview with John Carpenter, required reading from Joseph
Payne Brennan, Halloween stories by Al Sarrantonio, Lewis Shiner, and Robert
Grant, a preview of </i>Halloween III, <i style="mso-bidi-font-style: normal;">and
a feature on unusual epitaphs. The “Unmasking time” of the title refers to
Klein’s inclusion of photographs of some of the TZ Magazine staff. There are
photos of Klein, publisher Leon Garry, editorial director Eric Protter,
managing editor Jane Bayer, assistant editor Robert Sabat, art department
members Susan Lindeman, Lori Hollander, Michael Monte, Wendy Mansfield, Carol
Sun, and Irma Landazuri, production director Stephen J. Fallon, and advertising
production manager Marina Despotakis. <o:p></o:p></i></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Other
Dimensions: Screen by Gahan Wilson<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;"><br /></span></b></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgK5dyjFt878N-IJZreOMJ6wrfAX6pjVXiFLlqMhijer4MvXVebnwEHOlpNqvjFqBHTGeKOeOY5FyBf_qIgUCSa1a04pH9SDOXNjA6g7fH-Y-QbU3kk_g-USiGdIG4gv9kcDFLEYJJIEVb/s1600/Movies.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="638" data-original-width="652" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgK5dyjFt878N-IJZreOMJ6wrfAX6pjVXiFLlqMhijer4MvXVebnwEHOlpNqvjFqBHTGeKOeOY5FyBf_qIgUCSa1a04pH9SDOXNjA6g7fH-Y-QbU3kk_g-USiGdIG4gv9kcDFLEYJJIEVb/s320/Movies.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Poltergeist</i></td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Feeling
ambitious upon his return to the magazine, Wilson reviews three notable films: </span></i><span style="font-size: 14.0pt;">E.T.: The Extra Terrestrial <i style="mso-bidi-font-style: normal;">(1982), </i>The Thing <i style="mso-bidi-font-style: normal;">(1982), and
</i>Poltergeist <i style="mso-bidi-font-style: normal;">(1982). Since </i>E.T. <i style="mso-bidi-font-style: normal;">and </i>The Thing <i style="mso-bidi-font-style: normal;">feature aliens as characters, Wilson expounds upon the pros and cons of
what he terms the “NHL,” or non-human lead, especially as it refers to </i>E.T.
<i style="mso-bidi-font-style: normal;">Wilson is enthusiastic in his review of
Steven Spielberg’s film, especially the performances of child actors Henry
Thomas and Drew Barrymore, the special effects from Carlo Rimbaldi, Spielberg’s
direction, and the script by Melissa Mathison, the writer who rewrote Richard
Matheson’s adaptation of George Clayton Johnson’s “Kick the Can” for </i>Twilight
Zone: the Movie <i style="mso-bidi-font-style: normal;">(1983).</i> <i style="mso-bidi-font-style: normal;">Wilson’s review of John Carpenter’s </i>The
Thing <i style="mso-bidi-font-style: normal;">(subject of the TZ Screen Preview
in the July, 1982 issue) is largely positive with particular praise for the
script from Bill Lancaster, Rob Bottin’s special makeup effects, and the
successful updating of the material. Wilson takes issue with the design of the
spaceship upon which the Thing arrives on Earth, feeling that it does not makes
sense for the amorphous physiology of the Thing to be able to pilot such a
vehicle. Fan theories have suggested that the Thing arrived as a stowaway on
the spacecraft, having attacked and absorbed the lifeform onboard. John
Carpenter, the director of </i>The Thing, <i style="mso-bidi-font-style: normal;">is
the interview subject in this issue. Finally, Wilson tackles the funhouse spook
film </i>Poltergeist, <i style="mso-bidi-font-style: normal;">directed by Tobe
Hooper and produced by Steven Spielberg. Wilson praises the cast but finds
fault with the film’s kitchen-sink approach, throwing everything at the viewer
while taking little time to explain anything. The film’s troubled production is
also briefly touched upon. <o:p></o:p></i></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Other
Dimensions: Books by Thomas M. Disch <o:p></o:p></span></b></div>
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<i><span style="font-size: 14.0pt;">-Disch
is in acerbic form in this review column as he cuttingly examines four novels.
Disch first takes his critical knife to </span></i><span style="font-size: 14pt;">Mickelsson’s
Ghosts <i>by John Gardner. Disch writes:
“Gardner writes precisely the sort of over-earnest, symbol-laden tome that is
to the college writers’ workshop what the Model A was to Detroit. I can imagine
no one reading </i>Mickelsson’s Ghosts <i>with
pleasure except the more plodding students of Creative Writing, whose faith in
the eventual triumph of the patient imitation of approved models finds in
Gardner a kind of messiah.” </i>Richard A. <i>by
Sol Yurick fares little better under Disch’s critical eye. The prose style is
Disch’s primary point of contention and he offers an excerpt of purple prose as
example. His final judgment: “It’s only paper. Burn it.” Disch also suggests
burning John Shirley’s </i>Cellars, <i>a
horror novel currently gaining new and appreciative readers through a
resurgence of interest in paperback horror novels of the 1980s. Disch is not a
fan, however, and concludes this way: “So it goes, the grue alternating with
the hokum for 295 pages of prose that is eighty-five percent pulp padding and
fifteen percent amplified scream. There is, I will admit, an aesthetic to
screaming, and Shirley’s shriller screams can get to your crystal ware, but
screaming is, as a general rule, less effective on the printed page than in
rock music, where the silly lyrics are blessedly incomprehensible and the beat
goes on. Novels, alas, don’t have a rhythm section to keep them moving – so
when the pages refuse to turn: burn, baby, burn.” The final book under the
knife is </i>Battlefield Earth <i>by L. Ron
Hubbard. Disch characterizes the book as “to other, ordinary dumb books what a
Dyson sphere is to an ordinary lampshade – awesomely much bigger, though not
different in kind.” Disch criticizes the bits of autobiography that Hubbard
includes in the opening of the book, as well as the old-fashioned feel of the
novel. Disch admits, however, that the novel will almost certainly be a
critical and commercial success. A large advertisement for </i>Battlefield
Earth <i>is featured at the end of the
column. Disch included a portion of this review column, the section dealing
with Hubbard’s </i>Battlefield Earth, <i>in
his 2005 essay collection </i>On SF.</span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Other
Dimensions: The ‘Heroes & Heavies’ Quiz by Kathleen Murray<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-The
quiz this month challenges the reader to match the hero or heroine of horror
movies with the bad guys who terrorize them. Below are the quiz and the answers
for those who wish to take the challenge. <o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;"><br /></span></i></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4YdKN8quxY9f5PgnRdjfAkxo7w539tf-SZlZN546ufCtrEtWhO785dGdfmwydLCHuMn3st-UcQhS8TobFJFpYn4jdpUlmdO8VEaVPQKWDTFZhV2_ePQU5xtYJVJGG9u1yVOnZecVXMzBD/s1600/Heroes+and+Heavies+Quiz.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1047" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4YdKN8quxY9f5PgnRdjfAkxo7w539tf-SZlZN546ufCtrEtWhO785dGdfmwydLCHuMn3st-UcQhS8TobFJFpYn4jdpUlmdO8VEaVPQKWDTFZhV2_ePQU5xtYJVJGG9u1yVOnZecVXMzBD/s640/Heroes+and+Heavies+Quiz.jpg" width="418" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQTWxm9gTknTJ25sIMrjedtIBIHNPI8Q_chjP6Anj-UeW2UIki8D8usjGK6mhMhZNYvkgCIFbA_6Mv-65L0LzoVORWjR6iqGMN9bx7ja8L3ZWuVgBZ6m-vxGMJ83BH1RxN7ZjedRH-_hyphenhyphenq/s1600/Heroes+and+Heavies+Answers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1277" data-original-width="1600" height="510" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQTWxm9gTknTJ25sIMrjedtIBIHNPI8Q_chjP6Anj-UeW2UIki8D8usjGK6mhMhZNYvkgCIFbA_6Mv-65L0LzoVORWjR6iqGMN9bx7ja8L3ZWuVgBZ6m-vxGMJ83BH1RxN7ZjedRH-_hyphenhyphenq/s640/Heroes+and+Heavies+Answers.jpg" width="640" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;"><br /></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;"><o:p> </o:p></span></i><b><span style="font-size: 14.0pt;">--Other
Dimensions: War in Fantasyland by Baird Searles</span></b></div>
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<span style="font-size: 14pt;">Illustration by Jonathan Lewis</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXIVyBd8AMfTm6odDi_r8_W8cQdEbgknrjuSRtdtEkPEMX-63eS9kNYwVynSn6GOtqFvU53qwxBCa5cdu8t6Q0-s0iQNEV7-F8uB-sukzVDVkd-tRPBZtDHLG3xDfG072mgvlmgyjcLCjy/s1600/War+in+Fantasyland.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="382" data-original-width="688" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXIVyBd8AMfTm6odDi_r8_W8cQdEbgknrjuSRtdtEkPEMX-63eS9kNYwVynSn6GOtqFvU53qwxBCa5cdu8t6Q0-s0iQNEV7-F8uB-sukzVDVkd-tRPBZtDHLG3xDfG072mgvlmgyjcLCjy/s320/War+in+Fantasyland.jpg" width="320" /></a><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Searles
(1934-1993) was the proprietor of the now-defunct Science Fiction Shop in
Manhattan as well as a books, films, and technology reviewer for several
science fiction magazines. Here he examines the history of fantasy fandom among
readers and the ways in which this fandom was changed, expanded, and challenged
by the greater emergence of fantasy in films and television, particularly where
it concerns </span></i><span style="font-size: 14.0pt;">Star Trek <i style="mso-bidi-font-style: normal;">fandom. Searles explains how fantasy first
became a publishing category, the birth of fantasy conventions and how film and
television have changed conventions, the different types of fantasy readers,
differences in expectations between readers and viewers, and the ways in which
films and television have influenced books, and vice versa. <o:p></o:p></i></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Other
Dimensions: Etc. <o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;"><br /></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDOxfzH769ocYPjSSETUhf5MT2pRLaG7ZBnhI7UaeiUKx8i0He0Bt_ZqmcQPMC9VzMhX9Ns9IXlSOVPXvHZheITxJGYIBeV271Awdb_GxPWDiniljWVgQo5VOY2VbDOb3vgBbdrxltTWre/s1600/Misc.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="415" data-original-width="315" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDOxfzH769ocYPjSSETUhf5MT2pRLaG7ZBnhI7UaeiUKx8i0He0Bt_ZqmcQPMC9VzMhX9Ns9IXlSOVPXvHZheITxJGYIBeV271Awdb_GxPWDiniljWVgQo5VOY2VbDOb3vgBbdrxltTWre/s320/Misc.jpg" width="242" /></a><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-The
miscellany column this month finds the use of the “popular phrase” the
“twilight zone” in a newspaper article from the May 6, 1915 issue of the
Niagara Falls, NY Gazette, an increase in orders for the music examined by Jack
Sullivan in his recently-ended music column, more gargoyle sightings in NYC (right), an
article on a child born “in the twilight zone” when changes in time zones puts
his birthdate at odds with his admittance to the proper school grade, a
limerick by Edward Lear which includes “E.T.,” a frequently-sited article on
the N.A.A.C.P. which contains the term “Twilight Zone,” and a listing of
unusually named cities, towns, and places across the U.S., such as The
Boneyard, Arizona, Midnight, Mississippi, and Skeleton, Oklahoma. <o:p></o:p></span></i></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--‘‘‘The
Evil Dead’ Why you haven’t seen it yet . . . and why you ought to” by Stephen
King<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“While on the scene at Cannes, the
author stumbled upon – well, not <i style="mso-bidi-font-style: normal;">gold, </i>exactly,
but plenty of great gore. <o:p></o:p></span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW5BP5gnTtsi7yxCssvg66r2_5dLbWyOMNk1kFtmUZMUx7gqEuxhjAwkEujbrA7sECMWKBKhX5af-GD8gE9fJmGBQJXjIrMLJ3jfDv_1kqKt79ro1c1jgu5P2mTdlD79CMQPNh3B4XVb-1/s1600/Evil+Dead.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="331" data-original-width="678" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW5BP5gnTtsi7yxCssvg66r2_5dLbWyOMNk1kFtmUZMUx7gqEuxhjAwkEujbrA7sECMWKBKhX5af-GD8gE9fJmGBQJXjIrMLJ3jfDv_1kqKt79ro1c1jgu5P2mTdlD79CMQPNh3B4XVb-1/s320/Evil+Dead.jpg" width="320" /></a><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-This
is one of the more notable reviews in horror film history. King’s review of
director Sam Raimi’s </span></i><span style="font-size: 14.0pt;">The Evil Dead <i style="mso-bidi-font-style: normal;">resulted from the author having attended a
screening of the film at the Cannes Film Festival where the film screened out
of competition. King’s quote of “the most ferociously original horror film of
the year” was used on the film’s theatrical release poster and other marketing
material. The quote was as follows: “that he has made the most ferociously
original horror film of 1982 seems to me beyond doubt.” King uses the word
“genius” when discussing the film and its director while also acknowledging the
film’s derivative nature and its debt to such films as </i>Night of the Living
Dead <i style="mso-bidi-font-style: normal;">and </i>The Exorcist<i style="mso-bidi-font-style: normal;">. When King viewed the film at Cannes, it
was still struggling to find theatrical distribution and had only been viewed
at occasional screenings. The film was eventually released simultaneously in
theaters by New Line Cinema and on VHS home video. It has become a classic of
the modern horror film, spawning two sequels, </i>Evil Dead II <i style="mso-bidi-font-style: normal;">(1987) and </i>Army of Darkness <i style="mso-bidi-font-style: normal;">(1992), a television series, </i>Ash vs Evil
Dead <i style="mso-bidi-font-style: normal;">(2015-2018), comic books, toys, and
more. The production of the film has been exhaustively documented in
publications like </i>Fangoria <i style="mso-bidi-font-style: normal;">as well as
in supplementary material on the film’s various home video releases. King’s
review is a bit of production history, a bit of introduction to the filmmakers
and performers, a bit of detail about the film’s struggle for distribution, and
a bit of critique. <o:p></o:p></i></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--John
Carpenter: Doing His Own Thing by James Verniere<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“With <i style="mso-bidi-font-style: normal;">Firestarter </i>still ahead, <i style="mso-bidi-font-style: normal;">The
Thing’s </i>director talks about his lifelong love of horror movies, the spate
of films spawned by his <i style="mso-bidi-font-style: normal;">Halloween, </i>and
the perils of remaking – or appearing to remake – a cult classic.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWuHKnIGO-R_ST2M4MGEf26-1THJvo1dtO7drEjJq-mZz_oDzuehE5fQXL5dEYHRMzoZVOmroJAzRhP9zmZJAKbiDV-YN1YE-ISyY-XMARWJju_OHVmbSdbkxmt-3dgmAmt0XkKXEuZifm/s1600/John+Carpenter.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="626" data-original-width="521" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWuHKnIGO-R_ST2M4MGEf26-1THJvo1dtO7drEjJq-mZz_oDzuehE5fQXL5dEYHRMzoZVOmroJAzRhP9zmZJAKbiDV-YN1YE-ISyY-XMARWJju_OHVmbSdbkxmt-3dgmAmt0XkKXEuZifm/s320/John+Carpenter.jpg" width="266" /></a><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-James
Verniere provides a concise but detailed account of John Carpenter’s career
before getting into the interview. He begins by asking the director about his
formative years, from an early childhood interest in film and horror to his
university days at the USC film school. Each of Carpenter’s films is then
discussed in turn, from the early film </span></i><span style="font-size: 14.0pt;">Dark
Star, <i style="mso-bidi-font-style: normal;">made for $60,000 while at USC, to
the critically acclaimed but commercially unsuccessful action thriller </i>Assault
on Precinct 13, <i style="mso-bidi-font-style: normal;">to the awesomely successful
</i>Halloween, <i style="mso-bidi-font-style: normal;">and concluding with
discussions of </i>Escape from New York, The Fog, <i style="mso-bidi-font-style: normal;">and the recently completed </i>The Thing. <i style="mso-bidi-font-style: normal;">Each film is discussed in the context of Carpenter’s inspiration,
process, and sociological view. Carpenter clarifies his level of participation
in </i>Halloween II, <i style="mso-bidi-font-style: normal;">details what viewers
can expect from </i>Halloween III, <i style="mso-bidi-font-style: normal;">and provides
his view on the spate of slasher films which arrived in the wake of </i>Halloween’s
<i style="mso-bidi-font-style: normal;">success. Carpenter speaks in detail about
</i>The Thing, <i style="mso-bidi-font-style: normal;">from the impetus to remake
a classic to his approach in updating the material. The interview concludes
with Carpenter discussing film projects he planned to make. These projects were
either made much later, never made, or were made without Carpenter’s
involvement, including </i>The Philadelphia Experiment <i style="mso-bidi-font-style: normal;">(made in 1984 without Carpenter’s involvement),</i> <i style="mso-bidi-font-style: normal;">a weird western titled </i>El Diablo <i style="mso-bidi-font-style: normal;">(released in 1990 with Carpenter as
co-writer and executive producer), and, most tantalizingly, an adaptation of
Stephen King’s </i>Firestarter, <i style="mso-bidi-font-style: normal;">which was
made without Carpenter’s involvement in 1984.<o:p></o:p></i></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“Hell
Is Murky” by John Alfred Taylor <o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by Steve Byram<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“They say it’s nice to have a cult
following. But not <i style="mso-bidi-font-style: normal;">this </i>kind of
following. And not <i style="mso-bidi-font-style: normal;">this </i>cult.”<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhskZkcJLXQ2fQBquGiFekT3TTlod1fK5Rg39DG10jz3xgajIQCHILh1acm_Q2PsG2qVyVZvWxWXNRkV_4njIBtA2S_8qERt-Teyfv0liE20EJNyLkB7Accu6ykLZf5hNcFhnO1gosxQKkz/s1600/Hell+Is+Murky.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="768" data-original-width="838" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhskZkcJLXQ2fQBquGiFekT3TTlod1fK5Rg39DG10jz3xgajIQCHILh1acm_Q2PsG2qVyVZvWxWXNRkV_4njIBtA2S_8qERt-Teyfv0liE20EJNyLkB7Accu6ykLZf5hNcFhnO1gosxQKkz/s320/Hell+Is+Murky.jpg" width="320" /></a><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-A
cartoonist recently moved to Los Angeles believes himself the victim of an
insidious cult whose agents stalk him and whose powers extend to altering
reality. When he discovers a notebook belonging to a cult member in his new
home he sets up a fateful meeting with the cult’s leader. <o:p></o:p></span></i></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-This
was an excellent and creative story which struck that otherworldly chord which
will appeal to TZ fans. The imagery is David Lynchian in its approach and the
snap ending is capably handled. John Alfred Taylor (b. 1931) previously
appeared in the pages of TZ with the story “When the Cat’s Away . . .” in the
September, 1981 issue. Taylor appeared again with “Like a Black Dandelion” in
the Sept/Oct, 1983 issue and “The Weight of Zero” in the Jan/Feb, 1985 issue. Taylor
is a prolific short fiction writer, mainly of horror and dark fantasy fiction,
the best of which was collected by Ash Tree Press in the 2008 volume </span></i><span style="font-size: 14.0pt;">Hell Is Murky: Twenty Strange Tales. <i style="mso-bidi-font-style: normal;">“Hell Is Murky” was reprinted in the Summer,
1985 issue of </i>Night Cry. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Required
Reading: “Levitation” by Joseph Payne Brennan <o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by Edward Gorey <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“A classic tale in which we learn that
the supernatural world has its own merciless version of Murphy’s Law.” <o:p></o:p></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW42Ft8Fs7YhNqArE0hWdA9ksZA6dG2I5RR6qjZHJJvomByV0ffmtEGpuj0Tp9p9X0E44QslEHNBo_0RPBS69Q9odNsDxDuF9zP5l88LsNEUGygfNUb7tL1L2aMn8_1X7V1AbfrwqbgAcx/s1600/Levitation.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1499" data-original-width="1030" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW42Ft8Fs7YhNqArE0hWdA9ksZA6dG2I5RR6qjZHJJvomByV0ffmtEGpuj0Tp9p9X0E44QslEHNBo_0RPBS69Q9odNsDxDuF9zP5l88LsNEUGygfNUb7tL1L2aMn8_1X7V1AbfrwqbgAcx/s400/Levitation.jpg" width="273" /></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-A
hypnotist at a country fair challenges a heckler to come on stage and subject
himself to the trick of levitation. When the hypnotist has a heart attack
during the trick, the unconscious, levitating man continues to rise into the
night sky. <o:p></o:p></span></i></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Joseph
Payne Brennan (1918-1990) was the last great name in horror fiction to emerge
from the pages of </span></i><span style="font-size: 14.0pt;">Weird Tales, <i style="mso-bidi-font-style: normal;">selling a handful of stories to the pulp
magazine between 1952 and its demise in 1954. He is a personal favorite of mine
and, though his work can be difficult to find, I highly recommend Brennan to
anyone who enjoys well-told, traditional tales of horror and mystery. Brennan
was also a prolific and award-winning poet, a mystery writer whose stories
appeared regularly in </i>Alfred Hitchcock’s Mystery Magazine,<i style="mso-bidi-font-style: normal;"> an essayist and expert on the works of H.P.
Lovecraft, and worked for forty years as an acquisitions assistant at Yale’s
Sterling Memorial Library. “Levitation” first appeared in Brennan’s 1959 Arkham
House collection </i>Nine Horrors and a Dream, <i style="mso-bidi-font-style: normal;">published in paperback in 1962 with a memorable cover by Richard Powers.
The collection was reprinted in 2019 by Dover. The Edward Gorey illustration
first accompanied the tale with its appearance in the 1968 anthology </i>Hauntings:
Tales of the Supernatural, <i style="mso-bidi-font-style: normal;">edited by
Henry Mazzeo. The story was adapted for the first season of </i>Tales from the
Darkside <i style="mso-bidi-font-style: normal;">from a script by David Gerrold,
directed by John Harrison, broadcast May 19, 1985. Brennan’s stories “Murder on
the Rocks” and “Goodbye, Dr. Bliss” were adapted for the second season of Boris
Karloff’s </i>Thriller <i style="mso-bidi-font-style: normal;">as “The Lethal
Ladies,” scripted by Boris Sobelman, directed by Ida Lupino, broadcast April
16, 1962.<o:p></o:p></i></span></div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxif-MO8cZmo3_JS0le-9G7sT-x131VtMm-ocH_urEaCFZn0YVheDTd7Ivtj6uxuB8Pf33YkJLsZNk7SXJ5wYxwsjfWT8GboCjp8UActmMbIf8Wgk7VqUPVPukpTIsbgG0h0GrAw4G_wGQ/s1600/Joseph+Payne+Brennan+Slime.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="740" data-original-width="448" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxif-MO8cZmo3_JS0le-9G7sT-x131VtMm-ocH_urEaCFZn0YVheDTd7Ivtj6uxuB8Pf33YkJLsZNk7SXJ5wYxwsjfWT8GboCjp8UActmMbIf8Wgk7VqUPVPukpTIsbgG0h0GrAw4G_wGQ/s400/Joseph+Payne+Brennan+Slime.jpg" width="241" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cover by Kirk Reineret<br />
illustrating "Slime"</td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">-Nine Horrors and a Dream<i style="mso-bidi-font-style: normal;"> also included much of Brennan’s best work,
including the unforgettable “Slime,” a 1953 </i>Weird Tales <i style="mso-bidi-font-style: normal;">cover story which was likely an inspiration
for the film </i>The Blob <i style="mso-bidi-font-style: normal;">(1958), “The
Calamander Chest,” about a beckoning, ghostly finger, “Canavan’s Back Yard,”
about a deadly plot of land and a witch’s curse (Brennan wrote a sequel to the
tale, “Canavan Calling,” in 1985), and “The Mail for Juniper Hill,” a devilish
tale of life beyond death. Much of Brennan’s output was self-published by his
Macabre House imprint under which Brennan also published a </i>Weird Tales-<i style="mso-bidi-font-style: normal;">like magazine titled </i>Macabre <i style="mso-bidi-font-style: normal;">for nearly twenty years between 1957 and
1976. Along with </i>Nine Horrors and a Dream, <i style="mso-bidi-font-style: normal;">Brennan’s most readily available collection is </i>The Shapes of
Midnight <i style="mso-bidi-font-style: normal;">(Berkley, 1980; reprinted by
Dover in 2019 minus two tales). The original edition included an introduction
from Stephen King in which King admitted Brennan’s influence on his own work:
“Joseph Payne Brennan is one of the most effective writers in the horror genre,
and he is certainly one of the writers I have patterned my own career upon.”
King appropriated the name of a fictional town in Brennan’s works, Juniper
Hill, for the name of the fictional insane asylum in his own works. </i>The
Shapes of Midnight<i style="mso-bidi-font-style: normal;"> included such stories
as “The Corpse of Charlie Rull,” a fast-paced, gruesome, and undeservedly
neglected zombie tale, “The Willow Platform,” a tale of ironic revenge in the
style of E.C. Comics, “The Horror at Chilton Castle,” a tale of a vampire
legacy, and the </i>Twilight Zone<i style="mso-bidi-font-style: normal;">-esque
“The House on Hazel Street,” in which a woman is drawn into the past through
the power of her memories. <o:p></o:p></i></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“The
Opening” by Bruce Boston<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by Annie Alleman<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“They were strangers in the night. And
one of them was <i style="mso-bidi-font-style: normal;">very </i>strange.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG0uLu53Zb3sfoUaxv3NT2F2jUQTatCVFGFoPjWG5MU29MFG3FDtBYvPAbReBI-fU9pkexrXbLyAHNh8C4ONqRpiGgKAv-1jLR1iMu3eJQTvgGCSfNFP9wNNb4o5sBZx0KT2MiGTN_vHv9/s1600/The+Opening.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="628" data-original-width="1058" height="189" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG0uLu53Zb3sfoUaxv3NT2F2jUQTatCVFGFoPjWG5MU29MFG3FDtBYvPAbReBI-fU9pkexrXbLyAHNh8C4ONqRpiGgKAv-1jLR1iMu3eJQTvgGCSfNFP9wNNb4o5sBZx0KT2MiGTN_vHv9/s320/The+Opening.jpg" width="320" /></a><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-After
a fight with his wife, a man walks to a hillside in the nighttime where he is
soon joined by an odd-looking man walking an odd-looking dog. The odd-looking
man talks about the stars and the opportunity to voyage to outer space for
anyone willing to take the journey. Later, the man believes the encounter to
have been a dream, until he finds his wife missing. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-This
was a slight but enjoyable story with a snap ending from Bruce Boston (b.
1943), who is likely the most honored modern speculative poet. His poetry has
won multiple Rhysling, Asimov’s Readers’, and Bram Stoker Awards as well as the
first Grandmaster Award from the Science Fiction Poetry Association. Boston is
equally adept at prose and his stories have appeared in numerous magazines,
large and small press alike. “The Opening” was collected in </span></i><span style="font-size: 14.0pt;">Skin Trades <i style="mso-bidi-font-style: normal;">(1988).
<o:p></o:p></i></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--TZ
Screen Preview: <i style="mso-bidi-font-style: normal;">Halloween III </i>by
James Verniere<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“This year’s entry in the seasonal
horror sweepstakes combines Celtic magic, microchips, and masks that transform
more than just your looks. James Verniere reports.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVll0DmAmPzo8ax9T2dPU2DoJhf29-wzRUg2KQaP5-PGMuQtYPtg4oL-XL4GJjWcrXMqDHEtjFEtZeLql6gqWm_PFiGGUckXfgC_uI8EQQ7TXL-BAbea5FVWuTYlOHqPb24PNfi9yPk_3O/s1600/Halloween+III.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="614" data-original-width="431" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVll0DmAmPzo8ax9T2dPU2DoJhf29-wzRUg2KQaP5-PGMuQtYPtg4oL-XL4GJjWcrXMqDHEtjFEtZeLql6gqWm_PFiGGUckXfgC_uI8EQQ7TXL-BAbea5FVWuTYlOHqPb24PNfi9yPk_3O/s320/Halloween+III.jpg" width="224" /></a><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Verniere
begins with a potted history of Halloween, the holiday, before moving on to a brief examination of the
first two </span></i><span style="font-size: 14.0pt;">Halloween <i style="mso-bidi-font-style: normal;">films. </i>Halloween III, <i style="mso-bidi-font-style: normal;">of course, is remembered as the </i>Halloween
<i style="mso-bidi-font-style: normal;">film without the masked killer Michael
Myers. Instead, the plot focuses on the machinations of an evil mask-maker, played to perfection by Dan O'Herlihy, whose products transform and kill those who wear them. The film was initially poorly
received but its reputation has improved in recent years as it has found a new
and appreciative audience. The </i>Halloween <i style="mso-bidi-font-style: normal;">franchise was initially intended as an anthology film series, wherein
each film would tell a different story set on Halloween. The popularity of the
Michael Myers character was such that the </i>Halloween <i style="mso-bidi-font-style: normal;">films soon settled into a convoluted storyline to keep Myers
terrorizing the town of Haddonfield, Illinois. Though uncredited in the
finished film, </i>Halloween III <i style="mso-bidi-font-style: normal;">was
co-scripted by Nigel Kneale, the British scriptwriter best-known for the </i>Quatermass
<i style="mso-bidi-font-style: normal;">films and television productions such as </i>The
Stone Tape <i style="mso-bidi-font-style: normal;">(1972) and the short-lived
anthology series </i>Beasts. <i style="mso-bidi-font-style: normal;">Verniere
gets behind Kneale’s process on scripting the third </i>Halloween <i style="mso-bidi-font-style: normal;">film and gets John Carpenter’s input on the
proceedings as well. Finally, first-time director Tommy Lee Wallace, who
previously served under Carpenter as editor and production designer, is briefly
profiled. Wallace went on to direct three episodes of the first revival </i>Twilight
Zone <i style="mso-bidi-font-style: normal;">series: “Dreams for Sale,” “Little
Boy Lost,” and “The Leprechaun-Artist,” all from the first season. <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Country
of the Dead by Randy Chisholm (photos) & John Bensink (text)<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“The original ‘silent majority’ – the
dead – may no longer be the majority. And they’re certainly not silent.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjamfxa5fOXLyjAcU5Pm9NBVt0DpcA4FmUKijx7aARMuafxo_TGBMdGv-QMqnHbN1IXXBFCvCPdyw2vk-JiocP2lOa1D0TfHmBlbmgYU2zioxbblMBpeiwVYWdc24xfDlvnVFC9stFxoBdT/s1600/Country+of+the+Dead.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="442" data-original-width="659" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjamfxa5fOXLyjAcU5Pm9NBVt0DpcA4FmUKijx7aARMuafxo_TGBMdGv-QMqnHbN1IXXBFCvCPdyw2vk-JiocP2lOa1D0TfHmBlbmgYU2zioxbblMBpeiwVYWdc24xfDlvnVFC9stFxoBdT/s320/Country+of+the+Dead.jpg" width="320" /></a><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-John
Bensink, who previously appeared in TZ with the story “Midtown Bodies” in the
August, 1982 issue, takes us through some of the more memorable epitaphs
collected in </span></i><span style="font-size: 14.0pt;">American Epitaphs, Grave
and Humorous <i style="mso-bidi-font-style: normal;">by Charles L. Wallis (Dover,
1979), accompanied by evocative photographs from Chisholm. Wallis’ book was
originally published in 1954 by Oxford University Press under the title </i>Stories
on Stone. <i style="mso-bidi-font-style: normal;">Examples include: <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">On a marker in Paxton, Massachusetts,
for Sidney Ellis, died 1836, age seven weeks: <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">He
lived<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">He
wept<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">He
smiled<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">He
groaned <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">And
died. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">On a marker in Westernville, New York,
for William Reese, died 1872, age twenty-one: <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">This
is what I expected but<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Not
so soon. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">And more of the like. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“Night
Cry” by Katherine M. Turney <o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by Lisa Mansolillo<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“That yowling cat was keeping her awake.
But what if it wasn’t a cat?” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2WVBIrG9LEKWYJMxsEkWAM7-cYN9Hb-7N6q5lbXSb9UWR8CFa0EnWaRY2bhA9j65Nr4GbnSKftkVzHvuSl9TRcgvs7-eERCgQxdynPGOkpJrzRnGiNq_HVaF9r7aP6sGxj2te7iCPyQ2I/s1600/Night+Cry.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="838" data-original-width="746" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2WVBIrG9LEKWYJMxsEkWAM7-cYN9Hb-7N6q5lbXSb9UWR8CFa0EnWaRY2bhA9j65Nr4GbnSKftkVzHvuSl9TRcgvs7-eERCgQxdynPGOkpJrzRnGiNq_HVaF9r7aP6sGxj2te7iCPyQ2I/s320/Night+Cry.jpg" width="284" /></a><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-A
woman is kept awake by a sound outside her apartment window which she cannot
identify. The source of the sound establishes itself in an unexpectedly
gruesome way. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-This
short shocker with a nasty ending was the first, and possibly only, published
story by Katherine M. Turney, whom T.E.D. Klein informs us managed movie
theaters in Denver at the time this story was published. The title of the story
was used for TZ Magazine’s sister publication, </span></i><span style="font-size: 14.0pt;">Night Cry, <i style="mso-bidi-font-style: normal;">which
was published from 1984-1987. Turney’s story was reprinted in the premier issue
of </i>Night Cry, <i style="mso-bidi-font-style: normal;">accompanied by an
illustration from D.W. Miller. <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“The
Spook Man” by Al Sarrantonio<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 18.6667px;">Illustrated by Kevin Kelly</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“His cape was black, his eyes were
hooded. And he was particularly fond of children.”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-9Ji_x4NQZYTEO8QUHNMbGJH4UR8HPJk7LELCcEOQUBGL11X4sa1hoPpGxzQzvDpiSc4y8pS_nok0RVroNiaJJIqG93mwn2Z2wtR7lphl6FhIj34IViClo5etnNa_DIhbAN-_sAvfqtBU/s1600/The+Spook+Man.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="786" data-original-width="553" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-9Ji_x4NQZYTEO8QUHNMbGJH4UR8HPJk7LELCcEOQUBGL11X4sa1hoPpGxzQzvDpiSc4y8pS_nok0RVroNiaJJIqG93mwn2Z2wtR7lphl6FhIj34IViClo5etnNa_DIhbAN-_sAvfqtBU/s400/The+Spook+Man.jpg" width="281" /></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-A
figure known as the Spook Man arrives in a small town and entices four
monster-loving children to enter his haunted travelling home. The Spook Man’s
home contains all manner of nightmare creatures and he has built his collection
by transforming the children he brings into his home. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Al
Sarrantonio (b. 1952) appears again in TZ after last month’s “The Silly Stuff.”
“The Spook Man” is prime Sarrantonio, combining the author’s love of Halloween,
traditional images of horror and the macabre, and an engaging prose style to
create a story which is partly nostalgic sweetness and partly an evocation of
the sinister elements of the dark season. It is also a love letter to those of
us who have always enjoyed monsters and horror stories and the like. Sarrantonio
writes often on the subject of Halloween and “The Spook Man” is clearly an
homage to Ray Bradbury’s many writings on the season, particularly in its
poetic prose style. “The Spook Man” will recall Bradbury’s collection </span></i><span style="font-size: 14.0pt;">The October Country <i style="mso-bidi-font-style: normal;">and, especially, his novel </i>Something Wicked This Way Comes. <i style="mso-bidi-font-style: normal;">“The Spook Man” was reprinted in the Fall,
1985 issue of </i>Night Cry <i style="mso-bidi-font-style: normal;">and collected
in </i>Toybox <i style="mso-bidi-font-style: normal;">(1999). <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“The
Circle” by Lewis Shiner <o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by Peter Kuper<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“It was the perfect story for Halloween
– and let the reader beware!”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzpowWfE3-uysfWjkrlBRd1j8QdTb4AAVZ-6EMtzp4ndwb5rgXpHwSg3-P4TKdeESpWn4C5rNeDVquBGsqVHz02RwjnzUqd1mi3ggqxVwf2vjRU3E5KkpE1lYTqlKNQhS1k5eIN-AEpoTW/s1600/The+Circle.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="688" data-original-width="685" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzpowWfE3-uysfWjkrlBRd1j8QdTb4AAVZ-6EMtzp4ndwb5rgXpHwSg3-P4TKdeESpWn4C5rNeDVquBGsqVHz02RwjnzUqd1mi3ggqxVwf2vjRU3E5KkpE1lYTqlKNQhS1k5eIN-AEpoTW/s320/The+Circle.jpg" width="318" /></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-A
circle of friends gathers every Halloween night to read scary stories. This
Halloween they receive a package from a fringe member of the group who was
recently pushed out of the circle. The package contains a story to be read
aloud. It concerns the group gathered on Halloween night and the act of reading
the tale traps them in a fateful course of events. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-This
was my favorite story in the issue, a simple yet chilling and exceedingly
clever take on themes ranging from the occult, revenge, the tradition of oral
storytelling, and the politics of social groups. The title refers to the term
used to describe a group of friends as well as the effects of reading the
outcast member’s tale. Lewis Shiner (b. 1950) previously appeared in TZ with the
tales “Blood Relations,” in the May, 1981 issue, and “Tommy and the Talking
Dog” in the July, 1982 issue. “The Circle” was Shiner’s final story for TZ
though he appeared later with a story, “Dancers,” in the Summer, 1987 issue of
TZ’s sister mag, </span></i><span style="font-size: 14.0pt;">Night Cry.<i style="mso-bidi-font-style: normal;"> “The Circle” was reprinted in two Halloween
themed anthologies: </i>13 Horrors of Halloween <i style="mso-bidi-font-style: normal;">(1983),</i> <i style="mso-bidi-font-style: normal;">edited by Isaac
Asimov, Martin H. Greenberg, and Carol-Lynn Rössel Waugh, and </i>October
Dreams <i style="mso-bidi-font-style: normal;">(2000), edited by Richard Chizmar
and Robert Morrish. Chizmar co-scripted a 2009 television adaptation of the
story for the short-lived anthology series </i>Fear Itself. <i style="mso-bidi-font-style: normal;">The episode was the final in the series and
did not air on network broadcast but was included when the series was collected
on home video. Chizmar was assisted on the script by Johnathon Schaech and the
episode was directed by Eduardo Rodriguez. The story was collected in Shiner’s </i>Collected
Stories <i style="mso-bidi-font-style: normal;">(Subterranean Press, 2009). <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“Halloween
Girl” by Robert Grant<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by Harry Pincus <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“It was the season, the holiday, the
night of nights. And come what may, he was going to spend it with <i style="mso-bidi-font-style: normal;">her.” </i><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlhkMs0WBJLH5U7aUEBNoraDFXEc7xUxpXSd4Vlg8tGJBgCYvHJA2wxB3JutL8Ol93MtXFOdWy6TLqJVi2Q2LlvtJpsfr-3fHczPv3Aoa0sHH9Pu_rRkWGa541DkbDsUtJJBKo3feABEfn/s1600/Halloween+Girl.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="527" data-original-width="681" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlhkMs0WBJLH5U7aUEBNoraDFXEc7xUxpXSd4Vlg8tGJBgCYvHJA2wxB3JutL8Ol93MtXFOdWy6TLqJVi2Q2LlvtJpsfr-3fHczPv3Aoa0sHH9Pu_rRkWGa541DkbDsUtJJBKo3feABEfn/s320/Halloween+Girl.jpg" width="320" /></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-A
young boy and a young girl bond over their shared love of monsters, horror, and
Halloween. The young girl grows sick and dies, leaving the young boy forlorn.
The boy grudgingly honors the customs of the next Halloween and afterwards
visits the girl’s grave to leave her his bag of trick-or-treat candy. He wakes
the following morning to evidence that she visited him later in the night. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-This
story was a perfect example of a type of tale which is very hard to write, the
gently spooky story. More touching than chilling, the ending of the tale still
manages to satisfy much in the way of Ray Bradbury’s “The Emissary.” Like Lewis
Shiner’s “The Circle,” Grant’s “Halloween Girl” was reprinted in </span></i><span style="font-size: 14.0pt;">13 Horrors of Halloween <i style="mso-bidi-font-style: normal;">(1983). Grant appeared later in TZ with the story “Where You Lead . . .
I Will Follow” in the October, 1985 issue. <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“The
Screenplay” by Joseph Cromarty<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by Yvonne Buchanan <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“All this talk about werewolves . . .
could Jack be trying to tell him something?” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPwasa9NGlxbZoJq-EOSlwS9AWMqFH9qCu2r6aEw7VK-TuXMfq3t4yYsBmNWNDUPh5s6_E5CK0OO2Xrfi2X70RFXnBMu1JaIdlEo4u9IJg4b7PYxX1NixnONRAJthH98ooKoersG3RlR5a/s1600/The+Screenplay.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="684" data-original-width="687" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPwasa9NGlxbZoJq-EOSlwS9AWMqFH9qCu2r6aEw7VK-TuXMfq3t4yYsBmNWNDUPh5s6_E5CK0OO2Xrfi2X70RFXnBMu1JaIdlEo4u9IJg4b7PYxX1NixnONRAJthH98ooKoersG3RlR5a/s320/The+Screenplay.jpg" width="320" /></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Roger
surprises his friend Jack with a visit to discuss ideas for a screenplay. Jack
seems uncomfortable with Roger’s unexpected visit and becomes increasingly
agitated when Roger suggests a story about werewolves. In fact, Roger begins to
believe that Jack may be a werewolf himself and makes a quick exit. Jack
congratulates himself on being an actor as he got Roger to leave before Roger’s
wife arrived at Jack’s place. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-This
humorous story with an ironic ending is courtesy of Joseph Cromarty
(1932-2016), who previously appeared with the Edgar Allan Poe spoof, “Ms. Found
in a Bottle,” in the August, 1982 issue. Cromarty appeared twice more in TZ,
with “The Neighborhood Assassin” and “Words, Words, Words,” both in the
Jan/Feb, 1984 issue. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--“The
Smell of Cherries” by Jeffrey Goddin<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">Illustrated by Michael Davis <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 14.0pt;">“Something was spooking the night
watchmen – and it wasn’t robbers. It was just . . .<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcxJYOnqhhMrb2KMzet23q4PWEl95qGq2nH0PcocJHCOEuMDiYblx_f_-_zEn9xjn92a-_Sv5RH5GdDT9ZGF1zZ5TviEqMaBt6ks5lFFX8wwoje9vTBXTE4qcj88nNL_bS7ntNX49Rh1EI/s1600/The+Smell+of+Cherries.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="812" data-original-width="577" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcxJYOnqhhMrb2KMzet23q4PWEl95qGq2nH0PcocJHCOEuMDiYblx_f_-_zEn9xjn92a-_Sv5RH5GdDT9ZGF1zZ5TviEqMaBt6ks5lFFX8wwoje9vTBXTE4qcj88nNL_bS7ntNX49Rh1EI/s320/The+Smell+of+Cherries.jpg" width="227" /></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-A
security guard is terrorized by the frightening revenants which haunt a
warehouse property which was once the site of nerve gas testing. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Goddin
used his personal experience as a security guard to craft this atmospheric
tale. Anyone can imagine the uneasiness which could creep upon you if you were
left at night to guard an abandoned property. Goddin takes this idea to
horrific heights with some disturbing imagery and great moments of tension. Goddin
is a short story writer who was prolific from the late seventies through the early
nineties, publishing horror and science fiction tales in most of the notable
small press magazines, such as </span></i><span style="font-size: 14.0pt;">Weirdbook,
Eldritch Tales, Fantasy Tales, Deathrealm, <i style="mso-bidi-font-style: normal;">and
the like. His stories have been included in Karl Edward Wagner’s </i>The Year’s
Best Horror Stories, <i style="mso-bidi-font-style: normal;">including “The Smell
of Cherries,” which appeared in volume XI of the series (1983). The story was also
reprinted in the anthology </i>A Treasury of American Horror Stories <i style="mso-bidi-font-style: normal;">(1985) and collected as the title story of a
2012 volume of Goddin’s stories from Gallows Press.</i> <i style="mso-bidi-font-style: normal;">Paperback collectors may know Goddin through his two horror novels
published by Leisure Books, both of which remain collectible for their cover
art: </i>The Living Dead <i style="mso-bidi-font-style: normal;">(1987) and </i>Blood
of the Wolf <i style="mso-bidi-font-style: normal;">(1987). <o:p></o:p></i></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Show-By-Show
Guide: TV’s Twilight Zone: Part Twenty by Marc Scott Zicree<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Marc
Scott Zicree continues his guide to the original television series by providing
cast and crew listings, summaries, and Rod Serling’s opening and closing narrations
for the fifth season episodes “Ninety Years Without Slumbering,” “Ring-a-Ding
Girl,” and “You Drive.” <o:p></o:p></span></i></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN7IihqocQVXJogJnYpKG6ihAXDn6p2OFwOhNdS2idQoVJnxmIkhg5zoIzUJsT5Ip8wJMeU7pqhr_eAtEkLvrnTfVMXnHzKmI8mT4cpOmZHkQLYJVszF-CyZnPjuAIEAqnM0ovLTsF6pfm/s1600/A+Quality+of+Mercy.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="211" data-original-width="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN7IihqocQVXJogJnYpKG6ihAXDn6p2OFwOhNdS2idQoVJnxmIkhg5zoIzUJsT5Ip8wJMeU7pqhr_eAtEkLvrnTfVMXnHzKmI8mT4cpOmZHkQLYJVszF-CyZnPjuAIEAqnM0ovLTsF6pfm/s1600/A+Quality+of+Mercy.jpg" /></a></i></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--TZ
Classic Teleplay: “A Quality of Mercy” by Rod Serling</span></b><span style="font-size: 14.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-The
complete shooting script of Rod Serling’s third season tale about a young,
inexperienced, cruel, and overzealous platoon leader who discovers what it
means to see through the eyes of the enemy. The episode was directed by Buzz
Kulik, starring Dean Stockwell and Albert Salmi, originally broadcast December
29, 1961. Go <a href="https://twilightzonevortex.blogspot.com/2016/11/a-quality-of-mercy.html"><span style="color: #f3f3f3;">here</span></a> for our full review of the episode. <o:p></o:p></span></i></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">--Looking
Ahead: In December’s TZ<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">-Next
month looks like another great issue. December’s TZ features stories from David
J. Schow, Pamela Sargent, Mort Castle, and L.P. Hartley, the latter being the
subject of an Essential Writers essay by Jack Sullivan. The issue also features
an interview with director Ridley Scott, a preview of the science
fiction/horror film </span></i><span style="font-size: 14.0pt;">Xtro, <i style="mso-bidi-font-style: normal;">a new quiz from William Fulwiler, and the
script for “Living Doll” by Jerry Sohl, which at this time was still solely
credited to Charles Beaumont. See you next month! <o:p></o:p></i></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">-JP</span></b></div>
JPhttp://www.blogger.com/profile/14808904189056290207noreply@blogger.com4tag:blogger.com,1999:blog-1318310043864039191.post-21752151739886273712020-03-18T12:50:00.000-05:002020-05-31T11:18:52.728-05:00Wednesday Comics<span style="font-size: large;"><i>The Twilight Zone</i> #20 (March, 1967)</span><br />
<span style="font-size: large;">"The Plague"</span><br />
<span style="font-size: large;">Script: Leo Dorfman</span><br />
<span style="font-size: large;">Pencils & Inks: Joe Orlando </span><br />
<span style="font-size: large;">Letters: Ben Oda</span><br />
<span style="font-size: large;">Cover artist unknown </span><br />
<span style="font-size: large;"><br /></span>
<br />
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<br />JPhttp://www.blogger.com/profile/14808904189056290207noreply@blogger.com2tag:blogger.com,1999:blog-1318310043864039191.post-78850820593642289312020-03-09T06:00:00.007-05:002021-12-21T15:17:56.263-06:00"The Incredible World of Horace Ford"<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3ZDiwrDGgUutWwRzy_5qPPtL62ypJbA-52BifIxwrNSwNHq4yJRAo5qPqCgA2K81FiDryXydChakUPtMSCd5TjKvGLrovV2eIU5H0LpMXofMTUaKK70QxJyHllB8kzf38PkBhkemmQlnf/s1600/Header.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="835" data-original-width="950" height="351" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3ZDiwrDGgUutWwRzy_5qPPtL62ypJbA-52BifIxwrNSwNHq4yJRAo5qPqCgA2K81FiDryXydChakUPtMSCd5TjKvGLrovV2eIU5H0LpMXofMTUaKK70QxJyHllB8kzf38PkBhkemmQlnf/s400/Header.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pat Hingle as Horace Ford</td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;">“The Incredible World of Horace Ford”</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;">Season Four, Episode 117<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Original
Air Date: </span></i><span style="font-size: 14pt;">April 18, 1963<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Cast:</span></i></b><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;"><o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Horace
Maxwell Ford: </span></i><span style="font-size: 14pt;">Pat Hingle<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Laura
Ford: </span></i><span style="font-size: 14pt;">Nan Martin<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Mrs.
Ford: </span></i><span style="font-size: 14pt;">Ruth White<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Leonard
O’Brien: </span></i><span style="font-size: 14pt;">Phillip Pine<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Mr.
Judson: </span></i><span style="font-size: 14pt;">Vaughn Taylor<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Betty
O’Brien: </span></i><span style="font-size: 14pt;">Mary Carver<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Hermy
Brandt: </span></i><span style="font-size: 14pt;">Jerry Davis<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Horace
as Child: </span></i><span style="font-size: 14pt;">Jim E. Titus <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Crew:<o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Writer:
</span></i><span style="font-size: 14pt;">Reginald Rose<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Director:
</span></i><span style="font-size: 14pt;">Abner Biberman<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Producer:
</span></i><span style="font-size: 14pt;">Herbert Hirschman<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Director
of Photography: </span></i><span style="font-size: 14pt;">George T. Clemens<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Production
Manager: </span></i><span style="font-size: 14pt;">Ralph W. Nelson<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Associate
Producer: </span></i><span style="font-size: 14pt;">Murray Golden<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Assistant
to the Producer: </span></i><span style="font-size: 14pt;">John Conwell<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Art
Direction: </span></i><span style="font-size: 14pt;">George W. Davis &
Edward Carfagno<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Film
Editor: </span></i><span style="font-size: 14pt;">Eda Warren<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Set
Decoration: </span></i><span style="font-size: 14pt;">Henry Grace & Edward
M. Parker<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Assistant
Director: </span></i><span style="font-size: 14pt;">John Bloss<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Sound:
</span></i><span style="font-size: 14pt;">Franklin Milton & Joe Edmondson<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Music:
</span></i><span style="font-size: 14pt;">stock<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Mr.
Serling’s Wardrobe</span></i><span style="font-size: 14pt;">: Eagle Clothes<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Filmed
at MGM Studios <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">And Now, Mr. Serling: </span></i></b><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;"><o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">“On
our next excursion into The Twilight Zone we borrow an imposing array of talent
and call on the services of a distinguished author named Reginald Rose, and
some exceptionally fine acting talent in the persons of Mr. Pat Hingle, Miss
Nan Martin, and Miss Ruth White. They appear in a story called ‘The Incredible
World of Horace Ford,’ and it’s an incredible world indeed.” <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Rod Serling’s Opening Narration: <o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHZ9YPhKSCfScT6TcME9DemDJO7WeDtSRmynNBU_1N09E14P5ZRKzDLQXBSuZ4vW4Gg7Zi5SryrKk8zoPlgDa3kLO-_UhEkx1m9-mfnBMojalwkaugZUoQ3pMjFoW8-phJz2si6M3zCuNv/s1600/Serling.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="853" data-original-width="1252" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHZ9YPhKSCfScT6TcME9DemDJO7WeDtSRmynNBU_1N09E14P5ZRKzDLQXBSuZ4vW4Gg7Zi5SryrKk8zoPlgDa3kLO-_UhEkx1m9-mfnBMojalwkaugZUoQ3pMjFoW8-phJz2si6M3zCuNv/s200/Serling.jpg" width="200" /></a><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">“Mr.
Horace Ford, who has a preoccupation with another time, a time of childhood, a
time of growing up, a time of street games, stickball, and hide-and-go-seek. He
has a reluctance to check out a mirror and see the nature of his image,
proof-positive that the time he dwells in has already passed him by. But in a
moment or two he’ll discover that mechanical toys and memories and daydreaming
and wishful thinking and all manner of odd and special events can lead one into
a special province, uncharted and unmapped, a country of both shadow and
substance known as The Twilight Zone.” <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt;">Summary:<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijUeXhE_c2mhTp3YnxD_TQmk4I1iF-Kk5_9EY2MZcmmGtdNtB6Fop6tsaU3QQsCxzPfwo3LLKLn0sxU9cer7nCfeO_X1VVVxNHCr421WG2PzB946f_nBNfjFTN1p9iGfXl_uGWnXqV2c8c/s1600/Summary+1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="810" data-original-width="1073" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijUeXhE_c2mhTp3YnxD_TQmk4I1iF-Kk5_9EY2MZcmmGtdNtB6Fop6tsaU3QQsCxzPfwo3LLKLn0sxU9cer7nCfeO_X1VVVxNHCr421WG2PzB946f_nBNfjFTN1p9iGfXl_uGWnXqV2c8c/s320/Summary+1.jpg" width="320" /></a><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Horace
Ford is a middle-aged toy designer who clings to the happy memories of his
childhood to such a degree that he behaves and speaks like a boy of ten. Horace’s
childish behavior is a burden on his co-workers as well as his wife, Laura, and
mother at home. On impulse one evening Horace decides to return to Randolph
Street, where he grew up, for the first time in many years in order to rekindle
happy memories. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Horace
discovers something amazing and terrifying on Randolph Street. It is just as it
was when he was ten years old! He even sees some of his childhood friends,
Hermy Brandt, Harvey Bender, George Langbert, and Cy Wright, as they were
twenty-eight years ago. Horace drops his pocket watch when he accidentally runs
into a man. He returns to his apartment shaken up by his experience. He tells
Laura what he saw but she tries to explain to him that it couldn’t be the way
he thought he saw it. Horace retreats to the bedroom to lie down. The doorbell
rings. Laura answers the door. Ten-year-old Hermy Brant is at the door to
return Horace’s pocket watch. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Horace
returns to Randolph Street on a following night where events are the same as
when he visited before, even down to dropping his pocket watch again. Horace
follows his childhood friends into an alley where he overhears the boys angrily
talking about not being invited to a birthday party. Later, after Horace has
returned to the apartment, Laura answers the doorbell to again receive Horace’s
dropped pocket watch from Hermy Brandt. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">Horace becomes obsessed
with discovering his place in this memory frozen in time. His work starts to
suffer to the point that his boss, Mr. Judson, suggests Horace take a leave of
absence. When Horace refuses, Mr. Judson is forced to terminate Horace’s
employment with the company. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Laura
is preparing for Horace’s surprise birthday party when he returns home late to
deliver the news that he has been fired. Horace’s mother panics because she is
worried there will be no money to secure their living conditions. Laura tries
to be sympathetic but when Horace again starts talking about Randolph Street
she loses her patience. Horace storms out of the apartment. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>He
returns to Randolph Street. It is as it was before. Horace drops his pocket
watch. He follows the boys into an alley to hear them speak of not being
invited to a birthday party. Understanding his role in the memory now, Horace
tries to speak to the boys, to explain to them why he didn’t invite them to his
birthday party. Horace is a ten-year-old boy again. He pleads with his friends
to understand. Instead, they mock him and beat him up. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs5sAiWctflmmcApHtZSIpfWp3-WaVRVeJqdgeHzOiAvuBQS31Z_HAT_ae4gH7whmLKZ_oxVgi5jJQwnfKDVLcmUacobR3xlyc-9Zt9h51DnIeMx8czX_3pSZHxd8COLsDYJC2L03m1MZm/s1600/Summary+2.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="790" data-original-width="1047" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs5sAiWctflmmcApHtZSIpfWp3-WaVRVeJqdgeHzOiAvuBQS31Z_HAT_ae4gH7whmLKZ_oxVgi5jJQwnfKDVLcmUacobR3xlyc-9Zt9h51DnIeMx8czX_3pSZHxd8COLsDYJC2L03m1MZm/s320/Summary+2.jpg" width="320" /></a><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>The
partygoers have gathered back at Horace’s and Laura’s apartment. The doorbell
rings. Everybody takes their positions in expectation that it is Horace at the
door. Instead, it is Hermy Brandt again, there to return Horace’s watch. This
time it is a Mickey Mouse watch like a child would wear. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Laura
goes to Randolph Street in search of Horace. She finds ten-year-old Horace in
the alley, beaten and lying face down on the pavement. Laura turns away from
the sight. When she turns back Horace is a grown man again. She helps him to
his feet. He tells Laura of his experience and she explains that we remember
the good times and black out the bad experiences in our lives, or else we could
hardly go on living. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Horace
allows Laura to lead him away from Randolph Street. Neither of them notice
Hermy Brandt sitting atop a streetlamp, looking down on them. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Rod Serling’s Closing Narration: <o:p></o:p></span></i></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">“Exit
Mr. and Mrs. Horace Ford, who have lived through a bizarre moment not to be
calibrated on normal clocks and watches. Time has passed, to be sure, but it’s
the special time in the special place known as The Twilight Zone.” <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt;">Commentary:<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbCOd14A-krUt8jNUHOlWEc1Wp0lfAafZd7tB6n0NLk-m4NPGfHLvKGhd4Pqh1BYJtvL6TyOWnRQZy60pyb8g7oT7LAqZ-xO46lnRqbYIuhgkIA56jPgSi2ocYXTLJjNxbtGxsYKx8dxwb/s1600/Young+Horace.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="803" data-original-width="972" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbCOd14A-krUt8jNUHOlWEc1Wp0lfAafZd7tB6n0NLk-m4NPGfHLvKGhd4Pqh1BYJtvL6TyOWnRQZy60pyb8g7oT7LAqZ-xO46lnRqbYIuhgkIA56jPgSi2ocYXTLJjNxbtGxsYKx8dxwb/s320/Young+Horace.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jim E. Titus as the young Horace Ford</td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">“Seated
at the desk, daydreaming, is Horace. He is approaching thirty-five and growing
paunchy. Horace is a bulky man with an elusive, almost boyish quality. His
clothes never seem to fit. His shirt blouses out of his trousers. His socks are
always down around his ankles. And his thinning hair cannot stay combed at all.
He is a mild man, an apologetic man, except when he is discussing his beloved
childhood memories. Then he seems to find a strange vitality, which somehow
doesn’t fit him. Horace is the kind of man who would naturally become the butt
of endless jokes, would the jokers not feel instinctively sorry for him without
quite knowing why. Were they wise enough, they would understand that the tragic
quality of Horace Ford is based in the fact that he is not an inadequate man
but really an inadequate grown-up boy.”<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>-“The
Incredible World of Horace Ford” by Reginald Rose (1955)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">“The Incredible World
of Horace Ford” was first performed on June 13, 1955 for the CBS television anthology
series <i style="mso-bidi-font-style: normal;">Studio One in Hollywood. </i>It
was directed by Franklin Schaffner, who directed over one hundred episodes of
the anthology series including Reginald Rose’s “Twelve Angry Men.” Schaffner is
likely best remembered for the feature films he directed later in his career,
including <i style="mso-bidi-font-style: normal;">Planet of the Apes </i>(1968), <i style="mso-bidi-font-style: normal;">Patton </i>(1970), <i style="mso-bidi-font-style: normal;">Papillon </i>(1973), and <i style="mso-bidi-font-style: normal;">The Boys
from Brazil </i>(1978). Schaffner also directed episodes of <i style="mso-bidi-font-style: normal;">Playhouse 90, </i>including a quartet of Rod
Serling offerings, “Panic Button,” “Nightmare at Ground Zero,” “The Velvet
Alley,” and “The Rank and File,” as well as Reginald Rose’s “The Cruel Day.”
Schaffner later worked on Reginald Rose’s <i style="mso-bidi-font-style: normal;">The
Defenders. <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>“The
Incredible World of Horace Ford” was also performed on the Toronto-based
anthology series <i style="mso-bidi-font-style: normal;">General Motors Presents </i>(aka
<i style="mso-bidi-font-style: normal;">Encounter) </i>for March 27, 1960 with
Alan Young as Horace Ford and Jill Foster as Laura. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">When “The Incredible
World of Horace Ford” appeared on <i style="mso-bidi-font-style: normal;">Studio
One, </i>the play’s author, Reginald Rose, was four years into a television
writing career whose output positioned him as one of the key foundational
architects of the television drama, alongside Rod Serling, Gore Vidal, and
Paddy Chayefsky. A few years later, Rose’s short story, the ironic and macabre
“Parlor Game,” was prefaced (by an unsigned contributor) with this statement in
the premier issue of the short-lived <i style="mso-bidi-font-style: normal;">Shock
</i>magazine (1960): <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Just seven years ago, the infant
industry of TV began to find its own artists – men who knew how to create
memorable works of fiction in the form of a TV scenario. There was Paddy
Chayefsky, who wrote “Marty” and “The Bachelor Party” and went on to screen and
stage triumphs. There was – and is – Rod Serling who, despite several
successful movies to his credit, has remained loyal to TV and is currently
producing and writing the eerie “Twilight Zone” series. And then there is the
most controversial of all the TV titans – Reginald Rose. From the moment his
stirring “Remarkable Incident at Carsons [sic] Corners” exploded onto millions
of home screens, Reginald Rose was acclaimed as TV’s freshest, most challenging
writing talent. But he is better known for having authored the best motion
picture written in America in the past five years. We refer, of course, to
“Twelve Angry Men,” the unforgettable motion picture about a jury, starring
Henry Fonda and Lee J. Cobb. Many other fine movies and rousing TV dramas have come
from Reginald Rose’s facile pen.<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPAmzx7aAb5ukPP4xQY8SOBJRJJzkN-gBfIU-F9T1OWkzNl-I6kkV7wFzYRQwlJZRSRg7tLQvIazvZp_ddpEAzbCbWlWcdwL0fJbf-rYvgfy2a-bnm3Fg2ACD4NHWoBv1sYVBUC8ZOErNc/s1600/Reginald+Rose.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="395" data-original-width="371" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPAmzx7aAb5ukPP4xQY8SOBJRJJzkN-gBfIU-F9T1OWkzNl-I6kkV7wFzYRQwlJZRSRg7tLQvIazvZp_ddpEAzbCbWlWcdwL0fJbf-rYvgfy2a-bnm3Fg2ACD4NHWoBv1sYVBUC8ZOErNc/s320/Reginald+Rose.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Reginald Rose</td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">Rose was born on December
10, 1920 in Manhattan and lived for much of his life in New York. He attended
New York City College from 1937-1938 but left without taking a degree. The city
was an enormous influence on Rose’s writing, an aspect beautifully captured in
the production design for “The Incredible World of Horace Ford” and evidenced
by the inclusion of such New York-centric elements as the child’s game
Ringolevio. After a stint in the Air Force Quartermaster Corps (Rose enlisted
after Pearl Harbor and rose to First Lieutenant), Rose, who had been actively writing
since high school, and working a variety of jobs from copywriter for an ad
agency to a publicist for Warner Brothers, sold his first television play, “The
Bus to Nowhere,” in 1951 to the short-lived science fiction anthology series <i style="mso-bidi-font-style: normal;">Out There. </i>Although adept at fantasy, evidenced by Rose's adaptation of John Cheever’s “The Enormous Radio” for <i style="mso-bidi-font-style: normal;">The Revlon Mirror Theater </i>in 1953, and suspense, including episodes for the anthology series <i style="mso-bidi-font-style: normal;">Danger,
</i>Rose established himself with a confrontational style of realistic drama
which, much like the plays of Rod Serling, frequently examined societal problems
of the day. Rose’s style of drama quickly found a home at <i style="mso-bidi-font-style: normal;">Studio One. </i>Rose produced seventeen teleplays for the series from
1952-1957, beginning with “The Kill” and including his most notable work as a
dramatist, the Emmy Award-winning “Twelve Angry Men,” and a two-part drama, “The
Defender,” which Rose later reworked as the Emmy-winning courtroom drama series
<i style="mso-bidi-font-style: normal;">The Defenders </i>(1961-1965). “Twelve
Angry Men,” which has become a standard text in American schools and a staple of regional stage productions, was based on Rose’s real-life experience as a
first-time juror. It was adapted for film in 1957, as <i style="mso-bidi-font-style: normal;">12 Angry Men, </i>from Rose’s script, directed by Sidney Lumet,
starring Henry Fonda (who also served as Producer), E.G. Marshall (later star
of Rose’s <i style="mso-bidi-font-style: normal;">The Defenders), </i>Lee J.
Cobb, and <i style="mso-bidi-font-style: normal;">Twilight Zone </i>performers
Jack Klugman, Martin Balsam, and Jack Warden. The film netted Rose two Academy
Award nominations and won the author an Edgar Allan Poe Award from the Mystery
Writers of America. <i style="mso-bidi-font-style: normal;">12 Angry Men </i>was
adapted for the stage in 1964 with revised versions appearing in 1996 and 2004.
Showtime network filmed the play in 1997. It remains Rose’s best-known work and
a classic of American drama. Reginald Rose died on April 19, 2002 in Norwalk,
Connecticut. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGDKwt_wWqi7YkwblNaJCI0ealHiERgrsGiEq8neW-Pa2QaRPRuJrryae0kxjI-M6wZejrJnUDBaOhtfiSN51cRZXZyLVCk_6vCXmmEuZv7mX-qJTBIMEeepBsDyqHfaBczzSZ2EbNjei8/s1600/Art+Carney+as+Horace+Ford.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="660" data-original-width="980" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGDKwt_wWqi7YkwblNaJCI0ealHiERgrsGiEq8neW-Pa2QaRPRuJrryae0kxjI-M6wZejrJnUDBaOhtfiSN51cRZXZyLVCk_6vCXmmEuZv7mX-qJTBIMEeepBsDyqHfaBczzSZ2EbNjei8/s320/Art+Carney+as+Horace+Ford.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Art Carney as Horace Ford</td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>For
the <i style="mso-bidi-font-style: normal;">Studio One </i>version of “The
Incredible World of Horace Ford,” Art Carney (star of <i style="mso-bidi-font-style: normal;">Twilight Zone’s </i>“The Night of the Meek”) appeared as Horace Maxwell
Ford in a performance Rose later characterized as “fine as any I’ve seen on
television; the shadings and insights he brought to the childlike, tormented
character he played were nothing short of incredible.” Appearing as Laura Ford
was Leora Dana with Jason Robards in the role of Horace’s friend and coworker
Leonard O’Brien. The play generated an enormous response from viewers, with the
CBS offices flooded with written responses ranging from consternation to anger
to extreme praise. As Rose later stated: “No one, it seems, was neutral about
this play.” The variety of experience caused by the play was due not only to
the fantasy element (a novel quality in the early days of television, especially
on a mainstream anthology program) but also the unorthodox and ambiguous ending
of Rose’s play. As originally written, the play ends when Hermy Brandt returns
Horace’s Micky Mouse watch to Laura, indicating that Horace became trapped in
the past, never to return. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 0in 0.5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">The doorbell rings. Everyone turns.
Laura stands, Betty tiptoes over to the light switch and turns out the light.
She puts her fingers to her lips. Everyone tiptoes over to one corner of the
room, everyone but Laura and Mrs. Ford. They wait expectantly, hushed. The bell
rings again. Betty waves Laura to the door. But Mrs. Ford walks to the door
instead and opens it. Hermy Brandt stands there, an odd smile on his face. He
holds up a nickel-plated pocket watch to Mrs. Ford. <o:p></o:p></span></i></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 0in 0.5in;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;"><br /></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;">HERMY: He dropped this. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 14pt;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 0in 0.5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Mrs. Ford takes the watch and Laura,
rushing to her, takes it from her with trembling fingers. Hermy pads silently
away. Laura looks at the watch and then she raises a hand to her face and
begins to sob. Cut to close-up of watch. It is a Mickey Mouse watch. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 0in 0.5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Fade out.<o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Viewers
either did not understand this ending or simply refused to accept it, instead requiring
a clear and satisfactory resolution to the events. Rose, working from the
assumption that many viewers thought the fantasy element was only in Horace’s
mind, attempted to set the record straight when he included “The Incredible
World of Horace Ford” in <i style="mso-bidi-font-style: normal;">Six Television
Plays </i>(1956): <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">“The entire story was a
fantasy about real people and I felt that this was clearly proven when Hermy
Brandt, Horace’s little childhood friend, broke out of what many thought to be
Horace’s private fantasy, appeared at Horace’s home, and was seen and spoken to
by Horace’s wife and mother.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>“What
I meant to do with The Incredible World of Horace Ford was to tell a simple
horror story about an everyday man with a somewhat exaggerated but everyday
kind of problem and, in so doing, point out that the funny, tender childhood
memories we cling to are often distorted and unreal.”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">The Twilight Zone </i>later made this type
of story its stock-in-trade in such episodes as “Walking Distance,” “A Stop at
Willoughby,” “The Trouble with Templeton,” “Young Man’s Fancy,” and related episodes.
In fact, in August, 1959, two months before the premier of <i style="mso-bidi-font-style: normal;">The Twilight Zone, </i>Rod Serling received a suggestion to produced
Rose’s play for <i style="mso-bidi-font-style: normal;">The Twilight Zone </i>but
passed on the opportunity because of the obvious similarities between “Horace
Ford” and Serling’s “Walking Distance.” “The Incredible World of Horace Ford”
perhaps does not receive enough credit as a pioneering work of television
fantasy as it prefigured many of the themes and stylistic tropes of series such
as <i style="mso-bidi-font-style: normal;">One Step Beyond,</i> <i style="mso-bidi-font-style: normal;">The Twilight Zone, </i>and <i style="mso-bidi-font-style: normal;">‘Way Out. </i>As such, there really was no
time in which to produce “The Incredible World of Horace Ford” on <i style="mso-bidi-font-style: normal;">The Twilight Zone </i>and have the play not
resemble a recently aired episode. The episode which immediately preceded
“Horace Ford,” although different in tone, was a time travel fantasy, “Of Late
I Think of Cliffordville,” in which a man longs to return to his youth only to
find it not nearly as rosy as he remembered. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE-defdH5M_EKBUnW3pt4mmHJXrDSsrK24Puc0zxVMpz0uWXa7lLQDYZHRSAUFnHPeLISmpudMqPPjlDzXWerQ8Oyq35ppY2IeXaGkMj786N47qkEDtloNd5U5mZpbNmCLpMZAtX0kbNO_/s1600/Serling+and+Rose.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="337" data-original-width="687" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE-defdH5M_EKBUnW3pt4mmHJXrDSsrK24Puc0zxVMpz0uWXa7lLQDYZHRSAUFnHPeLISmpudMqPPjlDzXWerQ8Oyq35ppY2IeXaGkMj786N47qkEDtloNd5U5mZpbNmCLpMZAtX0kbNO_/s400/Serling+and+Rose.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Reginald Rose and Rod Serling (from <i>TV Guide)</i></td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">The element of time
travel (and similar fantasy concepts) seems to have confounded audiences and
networks in the pre-<i style="mso-bidi-font-style: normal;">Twilight Zone </i>days,
with CBS bearing the brunt of fantasy’s growing pains in the medium of
television. CBS was to recall the flood of angry and confused letters its
offices received after the airing of “The Incredible World of Horace Ford” on <i style="mso-bidi-font-style: normal;">Studio One </i>when it came time to restage
the play for <i style="mso-bidi-font-style: normal;">Twilight Zone. </i>Producer
Herbert Hirschman remembered Rose’s play from its appearance on <i style="mso-bidi-font-style: normal;">Studio One </i>and approached Rose about
staging the play on <i style="mso-bidi-font-style: normal;">The Twilight Zone. </i>Rose
held little affinity for fantasy but had enormous respect for Rod Serling and
agreed to terms to bring “Horace Ford” to <i style="mso-bidi-font-style: normal;">The
Twilight Zone. </i>Rose may also have felt a need to further reconcile with Rod
Serling after a brief row between the writers the previous year over the
article “Can a TV Writer Keep His Integrity?” by Edith Efron <i style="mso-bidi-font-style: normal;">(TV Guide, </i>April 21, 1962). In it, Rose
and Serling were pitted against one another in a debate concerning writer
integrity in television, with Rose holding out for the standards of
disappearing dramatic anthology series such as <i style="mso-bidi-font-style: normal;">Playhouse 90 </i>and <i style="mso-bidi-font-style: normal;">Studio One </i>while
Serling expressed the desire to compromise in order to adjust to changing tastes
and demands of the audience. The article’s writer framed Serling’s position as
one of abandoning the integrity of “serious” drama in order to produce science
fiction and fantasy material which was beneath him and not worthy of his
talents. Although Rose’s written response to the article was laudatory,
Serling’s was blunt in its displeasure, prompting Rose to write Serling in
order to ensure the two writers maintained their amiable personal and
professional relationship. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">Herbert Hirschman
assigned “Horace Ford” to Abner Biberman (1909-1977), an actor since the thirties
who began directing film and television in the fifties. Biberman was a stylish
director whose talents behind the camera are also evidenced by his work on
“The Dummy” and, later, on the fifth season episodes “Number 12 Looks Just Like
You” and “I Am the Night – Color Me Black.” Biberman chiefly directed western
and crime series but was versatile enough to handle straight drama, comedy, and
science fiction. He directed the first season <i style="mso-bidi-font-style: normal;">The Outer Limits </i>episode “The Human Factor.” <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">As far as Rose’s original
ending went, it would not be allowed to air that way again and perhaps cause
another wave of outraged viewers. The play was filmed for <i style="mso-bidi-font-style: normal;">The Twilight Zone </i>as Rose had originally written it but both the
network and producer Herbert Hirschman, viewing the episode prior to broadcast,
strongly suggested a revised ending. Rose obliged and wrote the additional
material which sees Laura recovering Horace from his nightmare in the past. Rose,
likely not happy changing the ending but also not wanting to field any more
queries about the meaning of the play, has Laura clearly state the theme of the
play in dialogue. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">The reader will
remember the problems which Rod Serling’s time-travel fantasy “The Time
Element” experienced at the network, where it was first shelved before fighting
off resistance from the network and sponsor prior to its appearance on <i style="mso-bidi-font-style: normal;">The Westinghouse Desilu Playhouse. </i>By
the time of the episode’s airing in 1958, however, audiences were much more
in-tune with the type of grounded fantasy represented by “Horace Ford” and “The
Time Element.” The audience response to Serling’s play was so overwhelmingly
positive that it forced CBS to take another look at Serling’s proposal for a
continuing series of fantasy plays, paving the way for the creation of <i style="mso-bidi-font-style: normal;">The Twilight Zone. <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXgtbRXpKNU2AHaI4gGXU07Pb4EJL6rwrLJojtnYpVm3T8UX_RDhIyNAf4Za4uqATEUJepR44C8sW-EZg2OjML-ZmB9BWwy6Co_uhO00yDGig6lY7C7Bokp-yeDKtzDKNZ-pw5NEf1KHHe/s1600/Pat+Hingle.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="804" data-original-width="979" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXgtbRXpKNU2AHaI4gGXU07Pb4EJL6rwrLJojtnYpVm3T8UX_RDhIyNAf4Za4uqATEUJepR44C8sW-EZg2OjML-ZmB9BWwy6Co_uhO00yDGig6lY7C7Bokp-yeDKtzDKNZ-pw5NEf1KHHe/s320/Pat+Hingle.jpg" width="320" /></a><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Pat
Hingle’s performance as Horace Ford is likely the most divisive element in the
play. Questions naturally arise about the character: How was Horace able to
court and marry a woman like Laura? How was Horace able to secure a job, even for
a toy manufacturer which would naturally require some semblance of
professionalism in the hiring process? The best way of viewing the character,
and appreciating Hingle’s excellent performance, is to accept that by the time
the viewer is brought into Horace’s world, his behavior has progressed to an
extreme degree. Where Horace may have always been a bit on the dreamy and
immature side, he has now given himself over completely to his nostalgic
fantasy. The episode is best viewed as a devastating portrait of a nervous
breakdown, albeit aided by genuine fantasy, which nicely aligns the play with
thematically related episodes such as “Walking Distance,” “A Stop at
Willoughby,” and “The Trouble with Templeton.” There is a palpable tension to
all the performances in the play and many scenes, particularly Mrs. Ford’s
breakdown at the news of Horace’s firing, play out with the pleasantly
unnerving quality of the older, more melodramatic television drama, belying the
play’s provenance in a program from nearly a decade earlier. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Hingle
was born Martin Patterson Hingle on July 19, 1924 in Miami, Florida. Raised by
a single mother, they moved around and eventually landed in Texas where Hingle became
involved with the Drama Department at the University of Texas in Austin. A move
to New York followed university where Hingle found steady work on stage and in
the emerging medium of television. Hingle began his television career on <i style="mso-bidi-font-style: normal;">Suspense, </i>including an appearance in the
Rod Serling-scripted episode “Nightmare at Ground Zero” (1953). Hingle later
appeared in Serling’s television film <i style="mso-bidi-font-style: normal;">Carol
for Another Christmas </i>(1964) and in an episode of Serling’s introspective
western <i style="mso-bidi-font-style: normal;">The Loner, </i>“The Mourners for
Johnny Sharp, Part 1” (1966). Appearances on a variety of anthology series
included a role in Henry Slesar’s <i style="mso-bidi-font-style: normal;">Alfred
Hitchcock Presents </i>episode “Night of the Execution” (1957), and the lead in
a <i style="mso-bidi-font-style: normal;">Play of the Week </i>production of
Reginald Rose’s “Black Monday” in 1961. Hingle reconnected with Rose with two
appearances on <i style="mso-bidi-font-style: normal;">The Defenders.</i> <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<span style="font-size: 14pt;">Hingle held connections
with nearly all of his co-performers in “Horace Ford.”<i style="mso-bidi-font-style: normal;"> </i>He performed alongside Vaughn Taylor in live television dramas,
knew Phillip Pine personally, and previously performed with Ruth White and Nan
Martin, the latter appearing alongside Hingle on Broadway in Archibald
MacLeish’s <i style="mso-bidi-font-style: normal;">J.B. </i>and again playing Hingle’s wife on <i style="mso-bidi-font-style: normal;">The Fugitive </i>in “Search in a Windy
City” (1964).<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Hingle
is likely best-known for his four stints as Commissioner Gordon in the <i style="mso-bidi-font-style: normal;">Batman </i>films (1989-1997) and for
appearances in Clint Eastwood films such as <i style="mso-bidi-font-style: normal;">Hang
‘Em High, The Gauntlet, </i>and <i style="mso-bidi-font-style: normal;">Sudden
Impact. </i>Hingle also had a memorable appearance in Stephen King’s <i style="mso-bidi-font-style: normal;">Maximum Overdrive </i>(1986). He died on
January 3, 2009 in Carolina Beach, North Carolina. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHbPo9zNhyOo_B-x3dgpjdVJoDUn5wkmNAqXfCLZJhk4P_-Eq5f81aSnlOIpySad5ZldgQmTU7XWAE3p4nAY4jN5tUvSLVosuvdtgqKhQ_NRgeXN17d1-qX9_82WT3T-r3HfL2O66u_6ak/s1600/Nan+Martin.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="878" data-original-width="971" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHbPo9zNhyOo_B-x3dgpjdVJoDUn5wkmNAqXfCLZJhk4P_-Eq5f81aSnlOIpySad5ZldgQmTU7XWAE3p4nAY4jN5tUvSLVosuvdtgqKhQ_NRgeXN17d1-qX9_82WT3T-r3HfL2O66u_6ak/s320/Nan+Martin.jpg" width="320" /></a><span style="font-size: 14pt;">Nan Martin was born on
July 15, 1927 in Decatur, Illinois. She began a career in television in 1952 in
an episode of <i style="mso-bidi-font-style: normal;">Schlitz Playhouse. </i>Martin
reconnected with Reginald Rose for an episode of <i style="mso-bidi-font-style: normal;">The Defenders, </i>“Climate of Evil,” and appeared in two episodes of <i style="mso-bidi-font-style: normal;">The Twilight Zone </i>revival series, the
first season episode “If She Dies” and the second season adaptation of Theodore
Sturgeon’s “A Saucer of Loneliness.” Horror film fans likely remember Martin as
the nun who relates Freddy Krueger’s disturbing origin in <i style="mso-bidi-font-style: normal;">A Nightmare on Elm Street 3: Dream Warriors </i>(1987). Martin died in
Malibu on March 4, 2010. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio0u-Z6Zi2F3bniRU1swvtbzDBo4xvsoWiEX3QmZbefwTClriu8bVd6lcsmHhuWoDgAlxpGBNF80acY62CdWGwafFkAEwFGeOZfkpHDmIrswOpwC3jle-QknaV8mx6x_6iMyeisAeHVY-Z/s1600/Ruth+White.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="919" data-original-width="963" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio0u-Z6Zi2F3bniRU1swvtbzDBo4xvsoWiEX3QmZbefwTClriu8bVd6lcsmHhuWoDgAlxpGBNF80acY62CdWGwafFkAEwFGeOZfkpHDmIrswOpwC3jle-QknaV8mx6x_6iMyeisAeHVY-Z/s320/Ruth+White.jpg" width="320" /></a><span style="font-size: 14pt;">Ruth White (1914-1969)
memorably portrays Horace Ford’s frightened mother who is more concerned with
the disturbance in her own living conditions than in the greater consequences
of her son’s apparent mental breakdown. White is perhaps best known for playing
Mrs. Dubose in <i style="mso-bidi-font-style: normal;">To Kill a Mockingbird </i>(1962).
A versatile character actress in both film and television, White did not begin
appearing on screen until her mid-30s due to having to care for an ailing
parent. She began on television in mystery/suspense series such as <i style="mso-bidi-font-style: normal;">The Clock, Lights Out, Hands of Mystery,
Danger, </i>and <i style="mso-bidi-font-style: normal;">Suspense. </i>White
appeared in dramatic anthology series as well, including an appearance on <i style="mso-bidi-font-style: normal;">Studio One </i>in Reginald Rose’s “The
Remarkable Incident at Carson Corners.” White appeared alongside <i style="mso-bidi-font-style: normal;">Twilight Zone </i>performer Milton Selzer in
the episode “20/20” of the short-lived, Roald Dahl-hosted anthology series <i style="mso-bidi-font-style: normal;">‘Way Out. </i>White appeared in two episodes
of Rose’s <i style="mso-bidi-font-style: normal;">The Defenders </i>and
reconnected with Pat Hingle alongside Clint Eastwood for <i style="mso-bidi-font-style: normal;">Hang ‘Em High </i>(1968), directed by <i style="mso-bidi-font-style: normal;">TZ’s </i>Ted Post. White won an Emmy for Supporting Actress for the <i style="mso-bidi-font-style: normal;">Hallmark Hall of Fame </i>production of
“Little Moon of Alban” (1964). <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig1zoObHPiSVnk8Jh7GhVcHonleNi2-VZ_7OH_0-A_6jl4tylKwNnBHe-XJA7xVcY0PCAa6_YGIobMjB4gFysFnGTXCyu3g9b_GCqYC4DtXd14aiMWZOEzVckuF4UkN55nVq4zuwlWeXsF/s1600/Phillip+Pine.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="872" data-original-width="1002" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig1zoObHPiSVnk8Jh7GhVcHonleNi2-VZ_7OH_0-A_6jl4tylKwNnBHe-XJA7xVcY0PCAa6_YGIobMjB4gFysFnGTXCyu3g9b_GCqYC4DtXd14aiMWZOEzVckuF4UkN55nVq4zuwlWeXsF/s320/Phillip+Pine.jpg" width="320" /></a><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Phillip
Pine (1920-2006) found a niche on television playing villains and mobsters,
much like his previous role on <i style="mso-bidi-font-style: normal;">The
Twilight Zone </i>in the first season episode “The Four of Us Are Dying.” Pine
began acting in films in the late forties but it was on the small screen where
he made his name, appearing in a variety of series which included much genre
work. Pine appeared on <i style="mso-bidi-font-style: normal;">Tales of Tomorrow,
Science Fiction Theatre, Alfred Hitchcock Presents </i>(“The Safe Place”), <i style="mso-bidi-font-style: normal;">One Step Beyond </i>(“Where Are They?”), <i style="mso-bidi-font-style: normal;">The Outer Limits </i>(“The Hundred Days of
the Dragon”), <i style="mso-bidi-font-style: normal;">Voyage to the Bottom of the
Sea, The Invaders, Star Trek </i>(“The Savage Curtain”), and an episode of the
Richard Matheson-developed series <i style="mso-bidi-font-style: normal;">Circle
of Fear </i>(“The Ghost of Potter’s Field”). <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS5Bc7fad6L50AQc1d0HS_Q89L8jzL85rVBDWjgOmImZDeacuqtpJCgU-MYPW0pHEzdCogFCOtOm7NDAtwg7UpfV-FcSgFp58etzdcdHsvB2WJ3XTWOMrdnYb6JdGcIIUnkiv5Z1MmeHWW/s1600/Vaughn+Taylor.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="801" data-original-width="890" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS5Bc7fad6L50AQc1d0HS_Q89L8jzL85rVBDWjgOmImZDeacuqtpJCgU-MYPW0pHEzdCogFCOtOm7NDAtwg7UpfV-FcSgFp58etzdcdHsvB2WJ3XTWOMrdnYb6JdGcIIUnkiv5Z1MmeHWW/s320/Vaughn+Taylor.jpg" width="320" /></a><span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Vaughn
Taylor (1911-1983) is certainly a familiar face to <i style="mso-bidi-font-style: normal;">The Twilight Zone </i>viewers as Taylor logged five appearances on the
series, previously appearing in a very similar role as boss to a troubled
employee in the first season episode “Time Enough at Last” (Taylor also made a
memorable appearance as Janet Leigh’s boss in Alfred Hitchcock’s <i style="mso-bidi-font-style: normal;">Psycho </i>(1960)). Taylor was nearly
unrecognizable as the southern sorcerer Teague in “Still Valley.” He portrayed
the eccentric salesman in Ray Bradbury’s “I Sing the Body Electric” and turned
in a moody and ominous final performance on the series in the fifth season
episode “The Self-Improvement of Salvadore Ross.” Taylor was a hugely prolific
television performer and a staple of anthology series. Early genre work
included appearances on <i style="mso-bidi-font-style: normal;">The Clock, Tales
of Tomorrow, Lights Out, </i>and <i style="mso-bidi-font-style: normal;">Inner
Sanctum. </i>He later appeared in two episodes of Boris Karloff’s <i style="mso-bidi-font-style: normal;">Thriller, </i>“Choose a Victim” and “Cousin
Tundifer,” as well as <i style="mso-bidi-font-style: normal;">The Alfred
Hitchcock Hour </i>episode “The Long Silence,” co-scripted by Charles Beaumont
from Hilda Lawrence’s story “Composition for Four Hands,” and two episodes of <i style="mso-bidi-font-style: normal;">The Outer Limits, </i>“The Guests” and
“Expanding Human.” <o:p></o:p></span></div>
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<span style="font-size: 14pt;"><span style="mso-tab-count: 1;"> </span>Viewers will likely be divided on the effectiveness of “The Incredible World of Horace
Ford” due to the character of Horace, the exaggerated aspect of Pat Hingle’s
performance, and (perhaps) the overly familiar nature of the play’s theme and
fantasy elements. For this viewer, the play remains a fascinating character
study and an emotionally resonant exploration of certain truths of the human
experience, anchored by fine performances, a strong, psychologically probing script,
and an engaging balance of the whimsical and the grim. Although the theme of the
episode, that youth is often harsher than we remember, may not
resonate with all viewers, everyone can relate to the power that memory exerts
over us, and the way that our experiences shape us, not only in how it was but also how we remember it to have been. The episode rewards
repeat viewings and the sensitive viewer comes away enriched by the play’s
timeless themes. “The Incredible World of Horace Ford” is a wonderful time
capsule from the days of early television drama when the medium was
raised to an art form by writers like Reginald Rose and Rod Serling. <span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt;">Grade:
B<o:p></o:p></span></b></div>
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<br /></div>
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<span style="font-size: 14pt;">Grateful acknowledgment to: <o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-Six
Television Plays </span></i><span style="font-size: 14pt;">by Reginald Rose
(Simon and Schuster, 1956)<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-The
Twilight Zone: Unlocking the Door to a Television Classic </span></i><span style="font-size: 14pt;">by Martin Grams, Jr. (OTR, 2008)<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-Forgotten
Gems from The Twilight Zone, Volume 2, </span></i><span style="font-size: 14pt;">ed.
Andrew Ramage (BearManor Media, 2015)<o:p></o:p></span></div>
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<span style="font-size: 14pt;">-The Rod Serling Memorial Foundation
(rodserling.com) <o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">Notes:<o:p></o:p></span></i></b></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhriwozOadOErg2Yq_yv7vkrSeg5Dp3_Yvw5mj7v9gxZB35xmtmpg0Ydr7T6736qwhEouhj1Mpkkx9X2qzKBuTnxd-ti6yE_8R8nwj8TKrKNY32by3nnlbga_Nr6r8LrkpV7MLfPTp6O24/s1600/Notes.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="781" data-original-width="1037" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhriwozOadOErg2Yq_yv7vkrSeg5Dp3_Yvw5mj7v9gxZB35xmtmpg0Ydr7T6736qwhEouhj1Mpkkx9X2qzKBuTnxd-ti6yE_8R8nwj8TKrKNY32by3nnlbga_Nr6r8LrkpV7MLfPTp6O24/s320/Notes.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jerry Davis as Hermy Brandt</td></tr>
</tbody></table>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-Abner
Biberman also directed the third season episode “The Dummy” and the fifth
season episodes “Number 12 Looks Just Like You” and “I Am the Night – Color Me
Black.” <o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-Nan
Martin appeared in two segments from the first revival Twilight Zone series:
“If She Dies” and “A Saucer of Loneliness.” <o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-Phillip
Pine also appeared in the first season episode “The Four of Us Are Dying.”<o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-Vaughn
Taylor appeared in four additional episodes of the series: “Time Enough at
Last,” “Still Valley,” “I Sing the Body Electric,” and “The Self-Improvement of
Salvadore Ross.” <o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 14pt;">-“The
Incredible World of Horace Ford” was adapted as a</span></i><span style="font-size: 14pt;"> Twilight Zone Radio Drama<i style="mso-bidi-font-style: normal;"> starring Mike Starr. <o:p></o:p></i></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt;">-JP</span></b></div>
JPhttp://www.blogger.com/profile/14808904189056290207noreply@blogger.com6