Five (or so) episodes of The Twilight Zone for Halloween

This month is the 60th anniversary of The Twilight Zone, the eerie anthology series created by Rod Serling, which made its debut on October 2, 1959 with the episode “Where Is Everybody?”  With Halloween right around the corner, this felt like a good opportunity to briefly look at some of my favorite horror-themed episodes of the show.

Keep in mind, The Twilight Zone was not a horror series.  Serling was a writer who was very interested in addressing political & social injustice in his works.  He endured a significant amount of pushback and censorship from the conservative television networks of the 1950s.  Serling hit upon the idea of creating a sci-fi / supernatural anthology as a vehicle for addressing social issues through allegory.  It was a remarkably successful experiment.

If there was a regular type of horror present throughout the series’ five seasons, it was an unnerving sense of existential horror, of how sanity & existence & identity were often all-too-fleeting concepts.  Nevertheless, on occasion Serling and the writers working with him did delve into full-throttled horror, producing several episodes that were genuinely terrifying.

Twilight Zone logo

This is not any kind of “best of list” on my part. There are several episodes of The Twilight Zone that I like a lot more than some of these.  This is merely my list of five(ish) episodes of the series that I found spooky.

I am going to try to avoid spoilers.  Yes, I know, a lot of these episodes have been rerun endlessly in syndication.  But I’m sure that at least a few people haven’t seen them, and I want to try to preserve some of the surprises.

1) Perchance to Dream – Adapted by Charles Beaumont from his own short story, and directed by Robert Florey, this episode was broadcast on November 27, 1959.

Richard Conte plays Edward Hall, a man with a weak heart who dreams in sequence.  His latest series of dreams have taken place in an eerie, twisted carnival, where he meets the mysterious, seductive Maya, played by Suzanne Lloyd.  The beautiful Maya lures Edward onto the roller coaster, a ride that in his real, waking life he would never dare board.  Edward is now terrified of falling asleep again, because right before he awoke Maya was attempting to push him off the moving rollercoaster.  Edward believes that if he goes to sleep his dream will resume from that point, and because of his weak heart the shock of falling in the dream will kill him in real life.

I remember watching a rerun of this on television when I was a kid.  It really did scare the hell out of me.  The direction by Florey imbues the dream carnival with a twisted, ominous air, a palpable atmosphere of fear.  Lloyd’s performance of Maya oozes with equal parts sexuality and menace.  The twist ending is genuinely clever.

Twilight Zone Perchance To Dream

2) Mirror Image – Written by Rod Serling and directed by John Brahm, it first aired on February 26, 1960.

Vera Miles portrays Millicent Barnes, a young secretary waiting at a bus depot on a dark rainy night for an overdue bus to Cortland.  Millicent is unsettled when the employees at the depot act as if they have seen her before, when she knows she has never set foot on the premises until a few minutes before.  She spots a suitcase behind luggage check-in that looks just like hers, and is further disturbed when her own suitcase disappears. Retiring to the washroom to try to clear her head, Millicent is shocked to see in the bathroom mirror the image of a woman identical to her sitting out in the bus depot.  Millicent begins to suspect that she is being stalked by a malevolent doppelganger.

Serling’s script and the direction by Brahm combine to create an atmosphere of tense fear & suspense.  The scene with the double in the mirror is expertly executed by Brahm.

Miles does a fine job of portraying Millicent, an unnerved woman who at first begins to doubt her sanity, and who once she seemingly confirms the existence of her double is nearly overwhelmed by the horror of her situation.  Of course everyone else believes Millicent is off her rocker… at least until the episode’s final striking sequence.

Twilight Zone Mirror Image

3) Twenty-Two – Adapted by Rod Serling from a short story from the 1944 anthology Famous Ghost Stories, this was directed by Jack Smight, and broadcast on February 10, 1961.

Liz Powell, a young dancer played by Barbara Nichols with a Noo Yawk accent that would make Harley Quinn proud, has been hospitalized for exhaustion & nervous fatigue.  Each night Liz has the same nightmare, wherein she is compelled to leave her bed and take the elevator down to the hospital basement, to walk to Room 22, the hospital morgue. And each night the doors of the morgue swing open, and a coldly beautiful nurse emerges to menacingly tell her “Room for one more, honey.”  A pre-Lost In Space Jonathan Harris plays a doctor who very much needs to brush up on his bedside manner, as he condescendingly writes off Liz’s dreams as simple hysteria.  Of course, we then get to the twist ending, and everything shockingly, horrifyingly falls into place.

“Twenty-Two” was one of a handful of episodes from the second season that were recorded on videotape in an attempt by CBS to curb costs.  Unfortunately the episodes shot on video ended up looking cheap, and the actual savings were negligible, so CBS quickly ended the practice and went back to film.  Regrettably all these decades later “Twenty-Two” and the five other videotaped shows have a very poor visual quality.  That’s a shame, because Smight does a superb job at directing this episode.  Even on videotape there is a mood of fear & tension.  The sinister morgue nurse is effectively portrayed by Arlene Martel, who with just one short line of dialogue and a sinister expression creates a palpable presence of menace.

Yes, it’s another episode involving dreams.  And, yes, on subsequent viewings it does seem that Serling had to pad out the story to reach the required runtime.  But, honestly, the first time I saw this one it really creeped me out, and the ending felt like a genuine gut punch.

Twilight Zone Twenty-Two

4) Death Ship – Adapted by Richard Matheson from his own short story, this was directed by Don Medford. It was broadcast on February 7, 1963.

During the fourth season, the network mandated hour-long episodes, much to Serling’s chagrin as he believed, probably quite rightly, that the half hour format was the ideal length.  Indeed, most of the season four episodes contain a significant amount of padding.  Watching several of them, you get the feeling that these could have been really good, strong 25 minute episodes, but at 50 minutes there’s nowhere enough material to carry the stories.

“Death Ship” is probably the most notable exception.  Matheson utilized the longer runtime to expand upon his short story, effectively fleshing out both the characters and themes.

In the far-off future year of, ahem, 1997 the Earth spaceship E-89 is searching for inhabitable planets for humanity to colonize.  Orbiting an unexplored world, the three man crew glimpses something metallic on the surface.  Landing, they are horrified to discover the wreck of their own spaceship, their dead bodies within.  The bullheaded Captain Ross, played by Jack Klugman, insists there must be a perfectly logical explanation.  Perhaps they have somehow slipped forward in time and glimpsed a possible future in which they crash & die?  Or perhaps this is an elaborate hallucination created by aliens to drive them off?  Or perhaps…

This is another episode that really unnerved me as a kid.  There are some eerie scenes in this one.  The ending, as we realize exactly what is going on, is genuinely horrifying.

Twilight Zone Death Ship

5) Nightmare at 20,000 Feet – Richard Matheson adapted his short story of the same name.  The episode was directed by Richard Donner, then only 33 years old. It was broadcast on October 11, 1963.

Now this is the one everybody remembers.  Even if you’ve never seen it, you’ve undoubtedly heard of it.  It’s been remade twice, and has been referenced and parodied numerous times in popular culture.  Someone once opined that most of the really great episodes of The Twilight Zone are the ones that you can describe in a single short sentence.  Well, this is “the one with the monster on the airplane wing.”  And, setting aside all the hype, it really is a good, solid, scary episode.

A young William Shatner plays Robert Wilson, a man with a severe fear of flying who is recovering from a nervous breakdown.  While flying home from the sanitarium with his wife aboard a commercial airliner, Robert sees a creature on the wing of the airplane.  As a horrified Robert watches, the creature, a gremlin (a pre-Joe Dante incarnation, of course), pulls up the panels on the wing and begins mucking about with the wiring.  Robert, realizing that if the gremlin isn’t stopped the plane will crash, desperately tries to get both his wife and the flight crew to believe him, but because of his recent mental illness they all think he is hallucinating.  And the gremlin, grasping what is going on, begins to taunt Robert, each time gliding out of sight before anyone else can spot it.

As I previously wrote when discussing the work of Richard Matheson, I read the short story “Nightmare at 20,000 Feet” a few years before I saw the episode.  Visualizing the gremlin in my mind, I imagined something horrifically twisted & evil.  The imagination is unbound by any budgetary considerations.  The Twilight Zone, however, was a television series made in the early 1960s, so between a small budget and primitive special effects there was only so much that could be done.  Nevertheless, even though the gremlin has a more-than-passing resemblance to a panda bear, it was still rather effective.  The moment where Shatner yanks back the curtains to find the gremlin’s face pressed against the window leering at him is genuinely chilling.  Shatner’s frantic performance, Donner’s solid direction, a very realistic airplane set, and very believable rain & wind effects all come together to create one of the most frightening television episodes ever created.

Twilight Zone Nightmare At 20000 Feet

Honorable Mention: The Arrival – Written by Rod Serling and directed by Boris Sagal, this episode was broadcast on September 22, 1961.

During its five season run, The Twilight Zone recycled more than a few concepts, plots and themes.  The show had only a small pool of regular writers, with Serling himself writing or co-writing 92 of the show’s 152 episodes.  Given such an insane workload, it’s not surprising that from time to time Serling revisited old material.

“The Arrival” was the second episode of the third season, and some people regard it as the point where the show first began to blatantly recycle itself.  Serling’s script contains elements from a few episodes from the first two seasons.  It also has at least one significant plot hole.  Nevertheless, “The Arrival” is in my estimation an eerie, atmospheric episode.

As the episode opens, a Douglas DC-3 passenger plane, Flight 107 from Buffalo, touches down in New York.  The landing is perfect.  However once the plane taxis down the runway and comes to a stop, the ground crew is shocked to discover that the plane is empty: no pilot or co-pilot, no crew, no passengers, no luggage.  How could a plane that departed normally from Buffalo a few hours before arrive completely empty?  How could everyone aboard have vanished into thin air?

FAA Inspector Grant Sheckly, played by Harold J. Stone, is determined to get to the bottom of this mystery.  Touting his flawless 22 year record of closing cases, Sheckly is certain there must be an answer.  At last he hits on a wild, incredible theory, one he is convinced must be the answer.  Indeed, it appears that he is correct… until a moment later when the episode completely pulls the rug out from underneath him.

In spite of its flaws, I really like “The Arrival.”  It is legitimately unsettling, and I totally did not see the twist ending coming.  What really sells it is Stone’s devastating performance.  During the episode’s 25 minute runtime we witness Sheckly believably, and tragically, go from a supremely confident figure of authority to a broken shell of a human being.  Serling once again taps into that existential terror, the horror that at any moment all that we know & believe in might collapse around us.

Twilight Zone Rod Serling

There are many examples of television from the mid 20th Century that have aged very poorly, that have not stood the test of time.  The Twilight Zone is not one of these.  There are a number of episodes that are just as relevant in 2019 as they were in the early 1960s, if not more so.

Serling was one of those writers who tapped into the nature of the human condition, who wanted to understand what made us who we are, what drives us to do what we do, good and bad.  His plots often held a universal appeal, one that transcended culture and decade.  He also possessed a genuine talent for dialogue, for the use of words, for the crafting of intelligent & insightful scripts.  And finally, as these episodes demonstrate, he had a gift for tapping into human fears, and scarring the hell out of his audience.

Tony Isabella returns to Black Lightning with “Cold Dead Hands”

“The tools of conquest do not necessarily come with bombs and explosions and fallout. There are weapons that are simply thoughts, attitudes, prejudices – to be found only in the minds of men. For the record, prejudices can kill – and suspicion can destroy – and a thoughtless frightened search for a scapegoat has a fallout all of its own – for the children – and the children yet unborn.” – Rod Serling

I am very pleased to see writer Tony Isabella back on his signature creation, Black Lightning.  Jefferson Pierce, schoolteacher by day, superhero by night, was the first African American character to headline a solo book published by DC Comics.  Isabella previously chronicled Black Lightning’s adventures in the late 1970s, and again in the mid 1990s.  This new six issue miniseries Black Lightning: Cold Dead Hands is the first opportunity Isabella has had to return to Jefferson Pierce’s world in 20 years.  It was well worth the wait.

Black Lightning Cold Dead Hands 1 cover

Black Lightning: Cold Dead Hands is actually something of a reboot to the character’s mythos.  All of the reality-altering events to have taken place in the DCU over the past two decades have provided Isabella with a chance to give Black Lightning a bit of a fresh start, keeping some elements of Jeff’s back story intact, revising and/or jettisoning others.

Jeff, as seen in Cold Dead Hands, has been a costumed hero for only a few years.  He is relatively young, and still single. Jeff is teaching at John Malvin High School, located in a predominantly black area of his hometown Cleveland.  An idealist who wants to make a genuine difference in his community, Jeff has made it his mission to help his teenage students achieve not just an education, but to also set aside hate & violence.

Jeff also works closely with Detective Tommi Colvalito, who he has known since they were children, and who he fondly refers to as “my sister from another mister.”  I was appreciative of the fact that Isabella established right off the bat that Tommi knows that Jeff is Black Lightning, avoiding the clichéd scenario of a hero’s close friend unknowingly pursuing them in their costumed identity.

The story opens shortly after the death of Jeff’s father, a veteran journalist.  Jeff has scarcely had an opportunity to mourn his father’s passing when a violent crime spree begins to engulf Cleveland.  Gangs armed with high-tech weapons are carrying out hold-ups across the city.

Jeff in his guise of Black Lightning attempts to stop this rash of robberies, a task made more difficult by the racial tensions inflaming the city, and by the fact that certain members of the police department resent that a black vigilante is, in their minds, upstaging them.  Matters are made even worse when Black Lightning is framed for murder by Tobias Whale, the mysterious crime lord responsible for arming the gangs.

Black Lightning Cold Dead Hands 1 pg 14

In Black Lightning volume two, Isabella had Jeff describe Tobias Whale as “the single most evil human being I’ve ever known… an insidious and ruthless predator.”  Those remain the defining characteristics of the Whale in this new continuity.  Having scoured the country for technology left over in the wake of various failed alien invasions, the Whale has had his technicians reverse engineer the recovered artifacts, producing a lethal arsenal of “sci-fi guns.”

Tobias Whale is a monster obsessed solely with the acquisition of wealth and power.  He is willing to sacrifice anyone, even the members of his own family, to achieve his dreams of avarice.  Tobias explains to Black Lighting his vicious plan to flood first the city, and then the entire country, with the alien weapons…

“The frightened citizens will want to arm themselves against these guns, legally or otherwise. The NRA will demand the guns be available to all, and their toadies in Congress will agree. The gun manufacturers will spend millions, maybe billions, to make that happen. Eventually a great many of those millions will make their way to me. Once I lease my designs to those gun manufacturers, I will become richer and more powerful than entire nations.”

In addition to utilizing this miniseries to touch upon the epidemic of gun violence in America, Isabella also casts his gaze at the tragic rash of police shootings of unarmed black men, something that I do not believe has been examined anywhere near as closely as it ought to be.

As a white male, I cannot imagine what it is to be black in this country.  I simply cannot know what it must be like as a black man to walk down the street, knowing that any minute you might get shot and killed by a cop because you happened to be holding a wallet, or a cell phone, or a metal pipe, in your hands that was somehow mistaken for a gun, or because you were wearing a hoodie, or because you were moving in a “furtive” manner, and so on.  And I cannot conceive of the outrage and disgust that a black person must feel, witnessing again and again and again cops who have shot and killed unarmed black men getting off with, at most, a slap on the wrist.

Black Lightning Cold Dead Hands 3 pg 17

Isabella is very concerned with the toxic effects of fear and bigotry on people, and upon society as a whole.  Us versus them, white versus black, cop versus civilian… fear plays a significant role in all of these exchanges.  And of course there will always be individuals such as Tobias Whale who will take every opportunity to fuel and exploit those fears for their own personal benefit.

The classic The Twilight Zone episode “The Monsters Are Due on Maple Street” is alluded to throughout this miniseries, with Jeff’s class staging a school play which is a thinly-veiled version of Rod Serling’s story.  At one point Assistant Principal Lynn Stewart tells Jeff that that another teacher has disparagingly referred to the school play as “SJW Theater,” and I chuckled.

Despite the manner in which some comic book fans have recently utilized the term Social Justice Warrior as a pejorative, the fact remains that for much of the history of comic books numerous creators have utilized the medium to advocate for progressive causes, and to rail against injustice.  Isabella has certainly been doing that for his entire career, and via his invocation of The Twilight Zone reminds us that Rod Serling was also doing so in one of the most popular television series of the 1960s.

Black Lightning: Cold Dead Hands is a very political work, blunt and honest in its addressing of the issues and crises of racism, gun violence, and the unchecked excesses of the police.  I am appreciative of the fact that DC Comics gave Isabella carte blanche to write about these controversial issues.

Black Lightning Cold Dead Hands 4 pg 6

The main artist on Black Lightning: Cold Dead Hands is Clayton Henry.  He does good, solid work.  It is flashy, but at the same time solidly rendered.  I previously enjoyed Henry’s work on various titles for Marvel over the past decade and a half, so it’s nice to see him teamed with Isabella on this miniseries.

Also contributing to Cold Dead Hands is the underrated Yvel Guichet, who is the co-artist on issue #s 4-6.  Guichet is an underrated artist who has been in the biz since the early 1990s.  I fondly recall his early work for Valiant, and I’ve also enjoyed his more recent assignments at DC.

Additionally, the talented Ken Lashley drew the cover for issue #5, as well as a variant cover for the first issue.  Mark Morales inks Henry’s covers for #1, #2 and #4.

I think it’s worth noting that Isabella, the creator of the Black Lightning character, is white, but he has often worked with black artists.  That is especially the case on Black Lightning.  Trevor Von Eeden (the penciler on the original series), Eddy Newell (the artist on volume two), Clayton Henry, Yvel Guichet and Ken Lashley are all black.  Isabella has always strived to make Jefferson Pierce an authentically African-American character, and I think it’s wonderful that a significant part of that has involved collaborating with artists of color.

Black Lightning Cold Dead Hands 5 cover

Black Lightning: Cold Dead Hands is a very effective miniseries, with passionate and insightful writing from Tony Isabella.  He does a fine job both in developing his characters and in broaching important issues facing American society.  His writing is complemented by dynamic work from talented artists.

I hope that Isabella will once again have an opportunity to return to Jefferson Piece in the near future, either to recount his continuing adventures, or to explore his origins in this new continuity.

April 30th Update: It was great meeting Tony Isabella yesterday at the East Coast Comicon at the Meadowlands Exhibition Center.  Of course I asked him to autograph my copy of Cold Dead Hands #1. I recommend checking out Isabella’s most recent Bloggy Thing installment for some behind-the-scenes info on the miniseries.

Richard Matheson: 1926 – 2013

Horror author Richard Matheson passed away on June 23th at the age of 87.  I was a pretty big fan of his work.  He wrote some incredibly imaginative, genuinely scary stories.

My first exposure to Matheson’s work had to be this anthology of short stories that someone gave me as a gift in the mid-1980s.  The Twilight Zone: The Original Stories collected together all of the previously published short stories that were subsequently adapted into episodes of Rod Serling’s classic Twilight Zone television series.  Matheson was the co-editor of the book, and it also contained several of his stories.

The most famous of those was “Nightmare at 20,000 Feet,” the one featuring the monster on the airplane wing.  Originally written in 1961, it was filmed two years later starring a young William Shatner.  Of course I had heard all about this one previously, but I’d never actually had the opportunity to view it on television.  Reading the original Matheson story was quite a harrowing experience, so much so that a couple of years later when I finally did catch the Twilight Zone episode, I was pretty much biting my nails, dreading the upcoming moment when Shatner was going to whip open the curtain over the airplane window to find the monster’s face glaring right at him.  Inevitably the monster that my mind conjured up when reading Matheson’s actual story was infinitely more terrifying than the man in a panda bear suit that made it to television screens in 1963.  (Matheson reportedly critiqued the on-screen realization of his gremlin as “a surly teddy bear.”)  Nevertheless, the flawless direction by a young Richard Donner, combined with Matheson’s adaptation of his own material, made “Nightmare at 20,000 Feet” a truly scary episode.

Twilight Zone Nightmare At 20000 FeetAnother of Matheson’s great works was his 1954 novel I Am Legend.  In the book, Robert Neville is the last man on Earth… but he is not alone.  Every other human being across the globe has been infected by a plague which has transformed them into vampires.  Neville spends the novel struggling to survive an unending onslaught of the undead, as well as the threat of madness & despair that threatens to engulf him in his solitude.  I Am Legend is an extremely bleak, downbeat, apocalyptic novel.  It is regarded as having been a major influence on the horror field, particularly the zombie sub-genre.  The book has been adapted into three different movies: The Last Man on Earth starring Vincent Price (1964), The Omega Man starring Charlton Heston (1971) and I Am Legend starring Will Smith (2007).  I haven’t seen that most recent one, but the Price version is quite atmospheric and remains pretty faithful to the original novel.  The Heston version plays much more fast & loose with the material, and at times is sort of cheesy, but still entertains.

(As a side note, The Omega Man, with its scenes of Charlton Heston running around toting a machine gun, shooting at anything that moves, does almost come across as his audition tape for President of the NRA.)

Matheson also penned the chilling, atmospheric novel Hell House, which was published in 1971.  Hell House details an attempt by a group of parapsychologists and psychics to investigate the infamous Belasco House, which is described as “the Mount Everest of Haunted Houses.”  All of the previous individuals who have sought to explore the mysteries of Belasco House have met with either death or insanity.  Matheson wrote the screenplay for the 1973 film version The Legend of Hell House, another one which I have not had the opportunity to see.

Hell House graphic novel adaptation by Ian Edginton & Simon Fraser
Hell House graphic novel adaptation by Ian Edginton & Simon Fraser

Hell House was adapted into a graphic novel by writer Ian Edginton & artist Simon Fraser, which IDW published in 2005.  I have to admit, I hadn’t actually read Hell House before that point in time.  But I was a fan of Fraser’s art, and intended to get the IDW book, so I picked up the original Matheson novel in order to read it first.  Edginton & Fraser did a very good job on their version.

In addition to adapting his own writings for film & television, Matheson wrote screenplays based on others’ works, such as Edgar Allen Poe and Fritz Leiber.  Among these was the script for The Devil Rides Out, based on Dennis Wheatley’s 1934 novel.  Released in 1968, and starring Christopher Lee, it is definitely one of my favorite Hammer films.

 All this is only the tip of the iceberg when it comes to Richard Matheson’s prolific pen.  If you are not familiar with his work, I encourage you to seek out some of his writings.  Hell House and I Am Legend are both extremely haunting, unsettling reads.

You are watching Me TV

The last couple of months, Michele and I have been watching a lot of television.  It seems like we’re paying a small fortune to Time Warner for cable, so we figure we might as well take advantage of that, instead of buying even more DVDs.  Out of what we’ve been watching, a pretty good portion of the viewing material has been reruns on the cable channel Me TV, aka Memorable Entertainment Television.

This whole thing started in late December of last year.  Actor Jack Klugman had just passed away, and there was a 24 hour marathon of The Odd Couple on some channel or another.  For those who aren’t familiar with it, The Odd Couple is based on a play by Neil Simon.  The premise of the series is that neat, fussy photographer Felix Unger, played by Tony Randall, is kicked out by his wife, who has finally gotten completely fed up of his anal retentive behaviors.  He moves in with his old friend Oscar Madison, played by Klugman, a sloppy, grumpy newspaper sports writer who several years before was divorced by his own wife.  The opening narration asks “Can two divorced men share an apartment without driving each other crazy?”  And the answer to that is usually a resounding “NO!”  Felix and Oscar are complete polar opposites, and the comedy of the show derives from how the two of them react in completely different ways when they get thrust into a variety of bizarre and oddball situations.  Most of the time Oscar is convinced that nosy, neat freak Felix is ruining his life, and badly wants him out of the apartment.  But underneath his grumpy exterior, Oscar is a decent guy, and inevitably he ends up letting Felix stay because he can’t bear to see his pal get cast out, no matter how much they aggrivate each other.

Odd Couple
Tony Randall and Jack Klugman on The Odd Couple

Anyway, after watching a few hours of this marathon of The Odd Couple around the holidays, Michele, who used to watch it when she was growing up, became totally hooked on it again.  She had me do a search on the DVR to see if any channels were repeating it.  That’s how we found Me TV, which airs it every weekday night at 10:00 PM.  So now it’s set to record every episode.  And, yeah, after watching it for a week or so, I ended up becoming a fan, as well.

We soon discovered that there is a lot of other cool stuff on Me TV.  There is Dick Van Dyke and The Mary Tyler Moore Show.  I used to watch both of those in high school when they were rerun on Nick at Nite.  There’s “Sunday Night Noir” with shows like The Fuguitive.   I’ve also taped a couple of episodes of Irwin Allen’s Voyage to the Bottom of the Sea on the DVR, but I haven’t had a chance to actually view them yet.

For fans of more spooky fare, there are Rod Serling’s two famous anthology series, The Twilight Zone and Night Gallery.  Obviously I’ve seen endless reruns of The Twilight Zone in syndication.  But Night Gallery pops up much less often on television, so even though it wasn’t nearly as good as its predecessor, I’m enjoying being able to see many of the shows for the first time.  Serling was certainly a brilliant writer, and he did such an amazing job of seamlessly working social commentary into sci-fi and horror material.

Rod Serling Night Gallery
Rod Serling hosting Night Gallery

Michele and I were reflecting that some of the best material we’re currently watching on television originally aired decades ago.  I’m not going to go so far as to say that everything that’s on the networks nowadays is crap.  And certainly there was plenty of awful stuff on in the 1960s and 70s.  But I really do have to wonder how many shows that are currently on the main channels will be considered classics thirty or forty years from now.