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The Twilight Zone

5/15/12

The Twilight Zone

When David Sarnoff announced “Now we add radio sight to sound. It is with a feeling of

humbleness that I come to this moment of announcing the birth in this country of a new art so

important in its implications that it is bound to affect all society. It is an art which shines like a torch

of hope in a troubled world”1, It was the Worlds Fair in 1939, and television was a medium with

unrealized and untested potential. Over the past 73 years the beauty and potential of television has

been at least partially realized through it's very nature; it has lain in it's portability, it's adaptability,

it's station in the home, and it's magical quality of regurgitating a culture back at the Americans who

live it. Americans have remained connected, even as they've lived lives apart in a turbulent world;

they've always been given entertainment, comfort, and discomfort via magic in a box. Much of this

entertainment, no matter how beloved in it's time, fades away from popular memory and is replaced

by what is new. This is the transient nature of television, but sometimes, there is television that

exceeds the expectation of it's time; television that holds more power over the minds of men than

men have power to forget. This is television that creates such an impression on it's viewer that the

viewer is left with a permanent and irremovable imprint of sight and sound in their memory, their

senses. This is television that has, if not improved, then at least irreparably altered, the life and mind

of the viewer. The Twilight Zone is powerful, compelling television. It's lifespan of 5 years in prime

time might be only respectable, but it's legacy as a cult favorite and widely acknowledged anthology

masterpiece has lasted ten times as long (and counting).

On October 2nd, 1959 the pilot episode of The Twilight Zone aired on CBS. The episode was

called "Where is Everybody?". It had taken 9 days to rehearse and shoot, with a budget of roughly

seventy five thousand dollars.2 The episode, about a man driven mad with loneliness inside an Air
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Force test, employs the almost trademarked reveal the show would become famous for, but it was

not one of Serlings favorites; Serling felt in retrospect that the ending was too straightforward.3 But

as the Twilight Zone evolved, Serling would evolve as well, and he would eventually write 92 of the

156 episodes.4 It was Serling’s writing, along with production techniques that helped transform The

Twilight Zone from being just an entertaining television show into an almost perfect blend of fiction

and reality. The phrase "twilight zone" came from the early 1900s, used to describe a distinct

condition between fantasy and reality. It's also the furthest reaches of the ocean that sunlight can

reach. Serling thought he'd made it up.31 Serling said that it was a tough sell, that there was luck in

selling the show to a network.35 But “audiences are self-selecting, and those averse to perspective-

taking...could well find The Twilight Zone to be threatening or irrelevant.”32 In any case, The

Twilight Zone became a capable forum for political allegories and poetic justice that has captured

and held the attention of Americans for almost 53 years.

Susan Lee Stutler wrote "Old Twilight Zone episodes offer thoughtful examples of science

fiction that provoke divergent questions, encourage a critical examination of historical events and

current trends, and challenge the imagination" as part of her study of the effects of intriguing

stories in the education of gifted children.5 Her conclusion about the Twilight Zone and shows like

it was that the best fiction is a gateway for children to want to study history, earth sciences, space,

technology, government, life and physical science and the environment.6 Science fiction is

especially motivating and engaging for the imagination because science fiction is often about self

discovery and self determination during struggles for freedom or survival amidst harsh and

unwelcoming landscapes and future worlds. The Twilight Zone may be used in classrooms today,

but these stories were not intended for children.

The early 1960s hovered beneath the growing shadows of the Civil Rights movement,

Vietnam, Cold War tensions and the assassination of JFK. Americans withstood air raids and

thermonuclear bomb drills. Television news coverage was intensely graphic and "a future of

perpetual war, social disintegration and famine seemed distressingly likely to many Americans".7

The Twilight Zone in this time was a forum for the concerns of Americans. It existence was perhaps
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even therapeutic as it fictionalized and futurized societal concerns into fantasy and entertainment. In

this way, the Twilight Zone is appealing because it examined not how technology functioned, but

how it functioned within society.8 In an episode such as The Invaders, it didn't matter how the

technological side of the story was explained because the focus was on how it was used and how it

impacted the life of the victim of technology. In The Invaders the protagonist is an old woman,

living alone, who is attacked by small, alien creatures. She is made to feel fear, and pain, and she is

in defense of her home. The technology the aliens employ is strange, their guns burn her skin. And

when she is able to fight them off the viewer is left with a sense of relief, until the crackle of a radio

is heard and the truth is revealed: the aliens are members of the US Air Force, and they are warning

Control Control against sending another probe to the world of giants, "Gresham and I are finished!

Stay away, stay away!"9 For all their technology, they were defeated. Perhaps worse, they had

almost won. They had landed on a womans home and mercilessly fought her with the technological

might of the US Air Force, and Americans has sympathized with her plight. But when they weren't

watching episodes involving what the technological might of their country could do, they could

watch episodes that probed their own weaknesses. The Monsters are Due on Maple Street is an

episode straight out of the McCarthyism of the 1950s. When technology shuts off one day on Maple

Street it takes only minutes for fear to overcome sense and logic. Anger manifests quickly into mob

violence and the neighbors who once behaved with culture and class are reduced to panicked and

prejudiced animals, running through the streets after their self appointment of judges, juries and

executioners results in the death of one of their own. The reveal is that there was no monster

amongst them in the sense they believed, but that under circumstance, in the night when there is

panic, any person who can throw a stone becomes the monster. The community is being exploited

by an alien experiment and one alien tells the other "One to the other, one to the other, one to the

other"10 humans are all the same. But the trials that could be caused by technology (or in it's

absence) were not the only stories the Twilight Zone had to tell.

John Fiske wrote "Television does not "cause"identifiable effects in individuals; it does,

however, work ideologically to promote and prefer certain meanings of the world, to circulate some
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meanings rather than others, and to serve some social interests better than others.12 It's an idea

Serling was familiar with. Prior to the Twilight Zone, Serling had worked on The United States

Steel Hour and had run afoul of the commercial side of television.14 Serling did not have full control

over his own stories because of advertiser interference: characters and political problems could not

be directly connected to existing political parties or current events.15 Serling struggled with this

while working on Noon on a Doomsday, a political episode meant to chronicle the murder of

Emmett Till. Because of political pressure, ad agencies were unwilling to let the story be a realistic

one and Serling was forced to change almost everything about the show to make it less recognizable

as being an indictment of southern racism.16 Serling spent the last month before production trying to

save as much realism as he could, but he would never be happy with how the episode turned out.17

Later, when he began work on the Twilight Zone, he continued to write philosophically, so as not to

rely on realism. “Serling knew and valued the role of entertainment as commodity, as something

that could be sold for profit. But he also knew how to elevate this particular television product with

great storytelling.”13- Gary Hoppenstand once said. But it wasn't solely Serling's writing that

produced the haunting, philosophical episodes the show became famous for.

The Twilight Zone episodes only worked as a philosophical forums because they were being

produced with a goal of blending fiction with reality, using the tools available in the medium of

television to draw audiences into the literal space of the Twilight Zone.“The Twilight Zone series as

a whole, destabilizes the distinction between fiction and reality”11 Thomas E. Wartenberg wrote.

One of the best tricks the show used was the concept of having a narrator inside the set.18 Serling,

opens every episode from inside the set. Either the action as already begun, and the camera finds

him, or he enters into a room in which the camera has already been filming. He speaks directly to

the audience, and when he does, it is as if he is narrating a documentary. He is of our world,

speaking about a place we know to be fiction. But he is linking us, through himself, directly to the

twilight zone. He is a spacial, temporal link between all three. His narration places him outside the

story, where the audience can be addressed, but he occupies a real place inside the action of twilight

zone. This is actually a french avant-garde video technique; to give the viewer an audio-visual cue
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that cannot be consistently deciphered and it functions solely to give the assumption that reality and

fiction are not exactly separate, but exist within a larger coexistence.19 This has the potential to be

unsettling because it violates common expectations or conventional beliefs of media, and of the

world. If reality and fiction are a blended space, then it makes it possible “the twilight zone is a

region that somehow “borders” the world of our everyday experience in a way that allows people to

seamlessly pass into it without immediately knowing that they have.”20 And when Serlings voice

reappears at the end of the episodes, he is again our guide, this time back to the real world from the

Twilight Zone, as he has already been established as speaking to the viewer and as being a "real"

person. This sort of Reflexivity is used to interrupt the suspension of disbelief and it allows the

viewer to engage in critical analysis. The assumption was that the viewer who is completely

absorbed in the fiction is unable to critically reflect.33 Many of the episodes that people remember

most and hold most dear are open ended narratives. The stories that are not quite resolved at the end

are the ones that most encourage critical analysis.34 But these kinds of shiftings between which part

of the narrative is real and which is fiction could be exceptionally unsettling to children and to

individuals with a tendency to jump to conclusions.

It is a thought that might seem foreign to today’s population, but other mediums had already

crossed a line in turning fiction into reality. When Orson Welles and his Mercury Theater radio

troupe dramatized the War of the Worlds, people in New Jersey tuned into the radio and heard what

they believed to be an actual news broadcast of a real, occurring event.21 This was possible because

for a moment, in panic, what was fiction became a reality for those people. In fiction, the characters

exist, and they cannot be saved from any disaster or event because they exist in a different “space”,

a different “world”. This does not change, no matter how emotionally invested we are in their

outcome. Our understanding of what reality is at any given moment separates us from unreality and

the characters that populate it. We accept that in everyday life, what we see is truth and not part of

an elaborate scheme to fool us. Rooms are not holographic visualizations, and mirrors are not two

way mirrors. We tend to not philosophize the existence of our lives during routine days.22 We trust

our senses. In many of the Twilight Zone episodes, characters who are unable to trust their senses,
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and are unable to separate what should be fact from fiction; episodes such as Nightmare at 20000

Feet24.

In Nightmare, a man suffering from a previous nervous breakdown is asked to board a plane

with his wife. He is perceived to be having another breakdown when he claims to see a gremlin on

the wing of the plane. Wilson is our protagonist, and aside from the gremlin that only he can see,

every other cue from the episode is that this fictional world operates the same as the real world. It's

very possible that Wilson is crazy and what he sees does not exist. It is also possible (being a work

of fiction) that Wilson is sane and what he sees exists. This second idea is the more compelling one,

the idea that in the Twilight Zone the space between what can be sane and what can be insane is

smaller. It also means that while the viewer is rooting for the protagonist, they can be imagining

what they would do in a similar situation. These kinds of stories acknowledge paranoid or

schizophrenic tendencies in all of us.24 After all, even in reality we have only our own senses to

convince us that what we believe to be true actually is. For Wilson, this episode is an incredibly

frustrating experience. Finally, Wilson asks his wife “Won't you even allow the possibility?”23 Even

as he asks this of her, Serling is asking it of us. He is asking us to doubt our senses the next time we

have a moment to question them. It is a courageous thing to take a belief and act on it when you can

be sure your community will fault you. Wilson does not get a reward for having been brave. He

takes matters into his own hands, and when the plane has landed and the gremlin is dead, it's unclear

if he is vindicated.23 We see only that he is taken away on a stretcher, while the damage to the plane

is in the foreground. But even as he is wheeled away, a viewer could imagine that Wilson has

escaped the Twilight Zone and is back in reality. The supernatural object (the gremlin) has been

defeated, and there are no further examples of reality anomalies. But not everyone escapes.

Sometimes people are born, live, and die within the Twilight Zone.

The Midnight Sun is an example of a world that does not escape the twilight zone, and also a

great example of how the production of a show can tell a great story on a limited frame of time and

resources. The set design of two apartments facing each other across a hallway mirrors how small

the world is in which the characters live. There are many doors (leading to apartments we are told
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are empty) and it gives the illusion that the world was much larger than we can see, but that it is

completely closed off.25 The episode revolves around the events in Norma's apartment on the last

day of the world, as the Earth moves too close to the sun. The impending apocalypse is shown in

several ways: The window reveals one street outside, empty and full of trash, actors were made to

look increasingly sweaty, and had disheveled hair and clothing as the day wore on. As the last day

begins to end, the Producers inventively had landscapes painted on hotplates so that they could be

turned on and the paint would melt off. The camera cuts in between these paintings (that the viewer

knows Norma has done). The first painting, of a waterfall, melts as if the water is falling one last

time. The next painting, gruesome because of it's truth, is of the view from Norma's window- and

the sun is incredibly large. The camera focuses on thermometers as they begin to burst. Norma

begins to scream and the camera is a closeup on her face and bleak end. The reveal, that Norma has

been in a fever for days is part of a second reveal. The Earth hasn't moved too close to the sun, it's

been moving away from it. Norma's final words in the episode are about how nice it is to have

darkness and cool air. It is Mrs. Bronson who agrees, but the camera focuses on her face and her

expression is one of sheer dread. The show operated filming for three days and had a budget of

$52,577.24 The acting in the episode is partly what sells it, the set didn't have to be very large (and

most likely wasn't). It is another example of how a great writing, good characterization, and a little

bit of inventiveness can really give a great story life.

Five Characters in Search of an Exit25 is another example of a great story amidst a

minimalist set. Sparser, even, than The Midnight Sun. The set itself was made of a round aluminum

barrel of two sides, one vertical and the other horizontal, so that they could be turned into whatever

angles needed for camera shots. Because it was aluminum, indirect lighting had to be used.26 There

are no props inside the majority of the episode, besides the clothing the five characters wear. Yet,

the size of the characters in relation to the blankness of the barrel makes them look as if they

actually are very small- even as no special effects were used. It is simply a manipulation. The

episode relies entirely on the actors to tell the story and it is a bit like watching theater. Perhaps one

of the greatest things about the Twilight Zone (being watched today) is that there is a beauty and
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frankness in the words that are spoken between characters during times of peak

emotionality :“Perhaps that's who we are, the unloved” says the dancer to the soldier and then the

solder is crying. There is a desperation as the solder hatches a plan and the characters are climbing

one on top of the other to reach the lid of the barrel and look out. It's great television because it's

completely stripped of glamour and flashy tricks, and when a story relies on the honest truth of

itself it is also relying on a special bond with the viewer. Great television asks that the viewer

suspend disbelief, but the Twilight Zone never has to beg.

The Twilight Zone sought to build a communion with it's audience. In it's fifth season, the

show included a French film: An Occurrence at Owl Creek Bridge.28 Serling had seen the film in

France and bought a license to air it as part of the Twilight Zone for ten thousand dollars. CBS was

wary of airing a french film on television and did not know what audiences might think, but it

helped bring the show under budget for the entire season and it was very well recieved.27 The

inclusion of this film speaks more about the message and ideals of the Twilight Zone than it does

about their finances. The film does not particularly model any episode of the Twilight Zone. It is

simply a beautiful film that chonicles the last moments of a mans life. It is both happy and sad and

the reveal at the end is not a hidden one, but throughout it is visually stunning and captivating. This

was not Serlings way of simply finding an opportunity to bring the show under budget. The

inclusion of this episode was to allow a communion with an audience, to give them an absolution

they craved not because Serling needed them to agree with his ideals but because he recognized this

story he'd fallen in love with as one his audience would love as well. This is a testament to the type

of quality programming the Twilight Zone was capable of respecting, just as the Twilight Zone was

capable of producing programming worthy of respect.

In that light, it is ironic that Serling never believed that he would be remembered as well as

he is today. Three years before his death in 1975 he said in an interview “I've written articulate

stuff, reasonably bright stuff over the years, but nothing that will stand the test of time. The good

writing-like wine-has to age well with the years and my stuff is momentarily adequate.”29 He was

wrong. He might have believed he was unimportant partly because his position as the narrator was a
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last minute decision. The show simply couldn't afford Orson Welles, who was the first choice and

one that Serling had advocated.30 The decision for Serling to step in was borne of necessity and now

it is unconceivable to imagine the show without his voice and guidance.

Serling's involvement with one episode in particular will be forever remembered: The Eye of

the Beholder41 is an iconic piece of television. Mary Sirridge wrote “Enforced conformity with

respect to thought and ideas breeds the intellectual passivity and cowardice and bad faith that pave

the way for falling victim to the evils of totalitarian regimes”36 about this episode. It is exactly the

kind of thought Serling was going for when he wrote it. Two actresses were used for the lead, Janet

Tyler. Maxine Stuart was known for her voice and gestures, and Donna Douglas was used in the

reveal because she is beyond beautiful by any standard. For the use of coded stereotyping to work,

Janet Tyler had to be beautiful in the reveal, and the doctors and nurses needed to be pig monsters

and not just ugly people. 40 A "small number of deformed features” were attached to the actors so

that their faces were not significantly unique, but were still capable of having expressions.37 This

episode also relied on stereotypes of the time (commonplace visual techniques of Noir) to trick the

viewer into thinking it was just a normal television program in that the viewer recognized “the very

typical Late Night Scene between the very typical Nurse expressing very typical Concern about the

very typical Questioning, Caring Doctor, who is overworking and getting too involved”.38 This

episode was about how we judge appearance, how we offer love, community, affection and

empathy. Who we give these things to depends on how they belong in our society. Janet Tyler is

bandaged throughout so that we do not see the face that she wishes she never had. But we see

through her eyes as the bandages are removed. We are meant to identify strongly with this

protagonist because the message of the episode is so strong. She had been trying her entire life to

blend into a space that kept rejecting her for reasons she could not control or change. Sometimes,

being "normal" requires a luck many are not fortunate enough to possess. Conformity and unity

depend on the people who are choosing what "normal" is, and it is the definition of abnormality that

inevitably alienates the people who cannot fit within the parameters of the predefined normal. This

does not stop at physical appearance, but extends to any catagory that someone can be critiqued on,
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whether it is a political, religious, or physical ideal. When the reveal happens and we see that Janet

is an outcast for her looks, we also hear the words of the Pig Leader as he speaks of conforming to

the norm, and he speaks with such rage and assurance (so very reminiscent of Hitler) that the

totality of this episode can be summed up as “Like beauty, moral and political legitimacy are in the

eye of the beholder”.39

This television series is compelling to many Americans and it is very compelling to me and

my own personal study agenda. I admire the blending of poetic justice and political allegories with

compelling storytelling as a means of creating a community out of an audience. I love the almost

religious aspect of Serlings conclusions, the absolution that lets his philosophical ideas resonate

throughout the years. I admire how the actual space of the Twilight zone can become both a

dimension, and also appear to be under the control of an "agency dedicated to righting wrongs".42 I

admire how an anthology can have the luxury of reinventing itself every episode. I think that

working on a time line and under a strict budge is a renewed creative license when ever episode is

unconnected to the ones before and after.

1 PG 12 Edgerton, Gary R. The Columbia history of American Television. New York: Columbia University Press, 2007.
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2 PG 22 Zicree, Marc Scott. The Twilight Zone Companion. New York: Bantam Books, 1982. Print.
3 pg. 25 Zicree, Marc Scott. The Twilight Zone Companion. New York: Bantam Books, 1982. Print.
4 pg. 429 Zicree, Marc Scott. The Twilight Zone Companion. New York: Bantam Books, 1982. Print.
31 Pg 7 Stanyard, Stewart T. Dimensions Behind the Twilight Zone. Chicago: Independent Publishers Group, 2007. eBook.
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32 pg. 39 Carroll, Noel, and Lester H. Hunt. Philosophy in The Twilight Zone. 1. Wiley-Blackwell, 2009. eBook.
5Stutler, Susan Lee. "From The Twilight Zone To Avatar: Science Fiction Engages The Intellect, Touches The
Emotions, And Fuels The Imagination Of Gifted Learners." Gifted Child Today 34.2 (2011): 45. MasterFILE Premier. Web.
10 May 2012.
6Stutler, Susan Lee. "From The Twilight Zone To Avatar: Science Fiction Engages The Intellect, Touches The
Emotions, And Fuels The Imagination Of Gifted Learners." Gifted Child Today 34.2 (2011): 45. MasterFILE Premier. Web.
10 May 2012.
7 Hodges, F M. "The Promised Planet: Alliances And Struggles Of The Gerontocracy In American Television Science
Fiction Of The 1960S." The Aging Male: The Official Journal Of The International Society For The Study Of The Aging
Male 6.3 (2003): 175-182. MEDLINE. Web. 10 May 2012.
8 Banks, Jane, and Jonathan David Tankel. "Science As Fiction: Technology In Prime Time Television." Critical
Studies In Mass Communication 7.1 (1990): 24. Communication & Mass Media Complete. Web. 10 May 2012.
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10 Serling, Rod, writ. "The Monsters Are Due on Maple Street." Dir. Ronald Winston. The Twilight Zone. CBS: 04 03
1960. Television.
12Fiske, John. Television Culture. 2nd. Routledge, 2010. Chapter 1. Print.
14 Carroll, Noel, and Lester H. Hunt. Philosophy in The Twilight Zone. 1. Wiley-Blackwell, 2009. eBook.
15 Pg. 10 Carroll, Noel, and Lester H. Hunt. Philosophy in The Twilight Zone. 1. Wiley-Blackwell, 2009. eBook.
16 Pg 13 Carroll, Noel, and Lester H. Hunt. Philosophy in The Twilight Zone. 1. Wiley-Blackwell, 2009. eBook.
17 pg. 14 Carroll, Noel, and Lester H. Hunt. Philosophy in The Twilight Zone. 1. Wiley-Blackwell, 2009. eBook.
13Hoppenstand, Gary. "Editorial: Television as Metaphor." Journal of Popular Culture May 2004: 561+. Academic
Search Complete. Web. 10 May 2012.
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20 Pg 128 Carroll, Noel, and Lester H. Hunt. Philosophy in The Twilight Zone. 1. Wiley-Blackwell, 2009. eBook.
33 Pg 49 Carroll, Noel, and Lester H. Hunt. Philosophy in The Twilight Zone. 1. Wiley-Blackwell, 2009. eBook.
34 Pg 51 Carroll, Noel, and Lester H. Hunt. Philosophy in The Twilight Zone. 1. Wiley-Blackwell, 2009. eBook.
21 Pg 125-26 Carroll, Noel, and Lester H. Hunt. Philosophy in The Twilight Zone. 1. Wiley-Blackwell, 2009.eBook.
22 Pg. 137 Carroll, Noel, and Lester H. Hunt. Philosophy in The Twilight Zone. 1. Wiley-Blackwell, 2009. eBook.
24Matheson, Richard, writ. "Nightmare at 20,000 Feet." Dir. Richard Donner. The Twilight Zone. CBS: 11 10 1963.
Television.
24 Pg. 31 Carroll, Noel, and Lester H. Hunt. Philosophy in The Twilight Zone. 1. Wiley-Blackwell, 2009. eBook.
23 Pg 138 Carroll, Noel, and Lester H. Hunt. Philosophy in The Twilight Zone. 1. Wiley-Blackwell, 2009. eBook.
23 Pg 138 Carroll, Noel, and Lester H. Hunt. Philosophy in The Twilight Zone. 1. Wiley-Blackwell, 2009. eBook.
25Serling, Rod, writ. "The Midnight Sun." Dir. Anton Leader. The Twilight Zone. CBS: 17 11 1961. Television.
24 Pg 256 Carroll, Noel, and Lester H. Hunt. Philosophy in The Twilight Zone. 1. Wiley-Blackwell, 2009. eBook.
25Serling, Rod, writ. "Five Characters in Search of an Exit." Dir. Lamont Johnson. The Twilight Zone. CBS: 22 12 1961.
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26 Pg 223 Zicree, Marc Scott. The Twilight Zone Companion. New York: Bantam Books, 1982. Print.
28 Enrico, Robert, writ. "An Occurence at Owl Creek Bridge." The Twilight Zone. CBS: 28 02 1964. Television
27 pg. 427 Zicree, Marc Scott. The Twilight Zone Companion. New York: Bantam Books, 1982. Print.
29 Pg 439 Zicree, Marc Scott. The Twilight Zone Companion. New York: Bantam Books, 1982. Print.
30 Pg 25 Zicree, Marc Scott. The Twilight Zone Companion. New York: Bantam Books, 1982. Print.
41Serling, Rod, writ. "The Eye of the Beholder." Dir. Douglas Heyes. The Twilight Zone. CBS: 11 11 1960. Television.
36 Pg 70 Carroll, Noel, and Lester H. Hunt. Philosophy in The Twilight Zone. 1. Wiley-Blackwell, 2009. eBook.
40 Fiske, John. Television Culture. 2nd. Routledge, 2010. Chapter 1. Print.
37 Pg 72 Carroll, Noel, and Lester H. Hunt. Philosophy in The Twilight Zone. 1. Wiley-Blackwell, 2009. eBook.
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