The Twilight Zone is an American media franchise based on the anthology television series created by Rod Serling and owned by Paramount Skydance in which characters find themselves dealing with often disturbing or unusual events, an experience described as entering "The Twilight Zone". The episodes are in various genres, including science fiction, fantasy, absurdism, dystopian fiction, suspense, horror, supernatural drama, black comedy, and psychological thriller, frequently concluding with a macabre or unexpected twist, and usually with a moral. A popular and critical success, it introduced many Americans to common science fiction and fantasy tropes. The first series, shot entirely in black-and-white, ran on CBS for five seasons from 1959 to 1964.
The Twilight Zone followed in the tradition of earlier television shows such as Tales of Tomorrow (1951–53), Out There (1951–1952) and Science Fiction Theatre (1955–57); radio programs such as The Weird Circle (1943–45), Dimension X (1950–51) and X Minus One (1955–58); and the radio work of one of Serling's inspirations, Norman Corwin. The success of the series led to a feature film (1983), a TV film (1994), a radio series (2002–12), various literature, theme park attractions and various other spin-offs that spanned five decades, including three revival television series. The second series (1985–1989) ran on CBS and in syndication in the 1980s, while the third series ran on UPN (2002–03). The fourth Twilight Zone series, helmed by Jordan Peele, was released on CBS All Access from 2019–20.
TV Guide ranked the original TV series #5 in their 2013 list of the 60 greatest shows of all time and #5 in their list of the 60 greatest dramas.Roush, Matt (February 25, 2013). "Showstoppers: The 60 Greatest Dramas of All Time". TV Guide. pp. 16–17.
Television history
Background
As a boy, Rod Serling was a fan of pulp fiction stories. As an adult, he sought books with themes such as racism, government, war, society, and human nature in general. Serling decided to combine these interests to broach these subjects on television at a time when they were considered taboo.
Throughout the 1950s, Serling established himself as one of the most popular names in television. He was as famous for writing televised drama as he was for criticizing the medium's limitations. His most vocal complaints concerned censorship, which was frequently practiced by sponsors and networks. In a 1957 production for Studio One called "The Arena," Serling intended to explore contemporary politics. However, Serling said he "was not permitted to have [his] senators discuss any current or pressing problem." He explained that talking about tariffs would align him with Republicans, and talking about labor would associate him with Democrats. According to Serling, "To say a single thing germane to the current political scene was absolutely prohibited."
"The Time Element" (1958) CBS purchased a teleplay in 1958 that writer Rod Serling hoped to produce as the pilot of a weekly anthology series. "The Time Element" marked Serling's first entry in the field of science fiction.
Plot 13 years after the end of World War II, a man named Peter Jenson (William Bendix) visits a psychoanalyst, Dr. Gillespie (Martin Balsam). Jenson tells him about a recurring dream in which he tries to warn people about the "sneak attack" on Pearl Harbor before it happens, but the warnings are disregarded. Jenson believes the dream's events are real and he travels back to 1941 each night. Dr. Gillespie insists that time travel is impossible given the nature of temporal paradoxes. While on the couch, Jenson falls asleep once again, but this time dreams that the Japanese planes shoot and kill him. In Dr. Gillespie's office, the couch on which Jenson was lying is now empty. Dr. Gillespie goes to a bar where he finds Jenson's picture on the wall. The bartender tells him that Jenson had tended bar there, but he was killed during the Pearl Harbor attack.
Production With the "Time Element" script, Serling drafted the fundamental elements that defined the subsequent series: a science-fiction/fantasy theme, opening and closing narration, and an ending with a twist. "The Time Element" was purchased immediately but shelved indefinitely.
This is where things stood when Bert Granet, the new producer for Westinghouse Desilu Playhouse, discovered "The Time Element" in CBS' vaults while searching for an original Serling script to add prestige to his show. "The Time Element" (introduced by Desi Arnaz) debuted on November 24, 1958, to an overwhelmingly delighted audience of television viewers and critics alike. "The humor and sincerity of Mr. Serling's dialogue made 'The Time Element' consistently entertaining," offered Jack Gould of The New York Times. More than 6,000 letters of praise flooded Granet's offices. Convinced that a series based on such stories could succeed, CBS again began talks with Serling about the possibilities of producing The Twilight Zone. "Where Is Everybody?" was accepted as the pilot episode and the project was officially announced to the public in early 1959. Other than reruns at the time, "The Time Element" was not aired on television again until it was shown as part of a 1996 all-night sneak preview of the new cable channel TVLand. It is available in an Italian DVD boxed set titled Ai confini della realtà – I tesori perduti. The Twilight Zone Season 1 Blu-ray boxed set released on September 14, 2010, offers a remastered high-definition version of the original Desilu Playhouse production as a special feature. The program's supporting cast features Darryl Hickman, Jesse White, Bartlett Robinson and future Three Stooges member Joe DeRita.
First series (1959–1964)
The series was produced by Cayuga Productions, Inc., a production company owned and named by Serling. It reflects his background in Central New York State and is named after Cayuga Lake, on which he owned a home, and where Cornell University and Ithaca College are located.
Aside from Serling, who wrote or adapted nearly two-thirds of the series' total episodes, writers for The Twilight Zone included leading authors such as Charles Beaumont, Ray Bradbury, Earl Hamner, Jr., George Clayton Johnson, Richard Matheson, Reginald Rose, and Jerry Sohl. Many episodes also featured new adaptations of stories by classic writers such as Ambrose Bierce and Lewis Padgett, and by contemporary writers such as Jerome Bixby, Damon Knight, and John Collier.
Twilight Zone writers frequently used science fiction as a vehicle for social comment, as networks and sponsors who censored controversial material from live dramas were less concerned with seemingly innocuous fantasy and sci-fi stories. Frequent themes on The Twilight Zone included nuclear war, McCarthyism, and mass hysteria, subjects that were avoided on less serious primetime television. Episodes such as "The Monsters Are Due on Maple Street" and "I Am the Night—Color Me Black" offered specific commentary on current events and social issues. Other stories, such as "The Masks", "I Dream of Genie", or "Mr. Denton on Doomsday" were allegories, parables, or fables that reflected the moral and philosophical choices of the characters.
Despite his esteem in the writing community, Serling found the series difficult to sell. Few critics felt that science fiction could transcend empty escapism and enter the realm of adult drama. In a September 22, 1959, interview with Serling, Mike Wallace asked a question illustrative of the times: "...[Y]ou're going to be, obviously, working so hard on The Twilight Zone that, in essence, for the time being and for the foreseeable future, you've given up on writing anything important for television, right?" While Serling's appearances on the show became one of its most distinctive features, with his clipped delivery still widely imitated today, he was reportedly nervous about it and had to be persuaded to appear on camera. Serling often appeared in medias res with the characters remaining oblivious to him, with one notable exception: In "A World of His Own", a writer (Keenan Wynn) with the ability to make characters appear and disappear protests Serling's narration and promptly erases Serling from the show.
In season two, due to budgetary constraints, the network decided – against Serling's wishes – to cut costs by shooting some episodes on videotape rather than film. The requisite multicamera setup of the videotape format precluded location shooting, severely limiting the potential scope of the storylines, and the experiment was abandoned after just six episodes ("Twenty Two", "Static", "The Whole Truth", "The Lateness of the Hour", "The Night of the Meek", and "Long Distance Call").
The first series contains 156 episodes. The episodes in seasons one through three are 30 minutes long with commercials (24 or 25 minutes without commercials). Season four (1962–63) consists of one-hour episodes with commercials (51 minutes without commercials). Season five returned to the half-hour format.
Second series (1985–1989)
It was Serling's decision to sell his share of the series back to the network that eventually allowed for a Twilight Zone revival. As an in-house production, CBS stood to earn more money producing The Twilight Zone than it could by purchasing a new series produced by an outside company. Even so, the network was slow to consider a revival, turning down offers from the original production team of Rod Serling and Buck Houghton and later from American filmmaker Francis Ford Coppola.
CBS gave the new Twilight Zone a greenlight in 1984 under the supervision of Carla Singer, then Vice President of Drama Development. While the show did not come close to matching the enduring popularity of the original, some episodes – particularly Alan Brennert's love story "Her Pilgrim Soul" and J. Neil Schulman's "Profile in Silver" – were critically acclaimed. In a tribute to the first series, the opening credits include a brief image of Rod Serling. Four episodes are remakes of those from the first series: "Night of the Meek", "Shadow Play", "The After Hours" and "A Game of Pool", while "Dead Woman's Shoes" is an adaptation of "Dead Man's Shoes". Unlike the first, third and fourth series, this version does not include the opening monologue during the title sequence. As well, the narration is all strictly voice-over and the narrator never appears on-screen.
Rod Serling's Lost Classics (1994)
In the early 1990s, Richard Matheson and Carol Serling produced an outline for a two-hour made-for-TV movie which would feature Matheson adaptations of three yet-unfilmed Rod Serling short stories. Outlines for such a production were rejected by CBS until early 1994, when Serling's widow discovered a complete shooting script ("Where the Dead Are") authored by her late husband, while rummaging through their garage. She showed the forgotten script to producers Michael O'Hara and Laurence Horowitz, who were significantly impressed by it. "I had a pile of scripts, which I usually procrastinate about reading. But I read this one right away and, after 30 pages, called my partner and said, "I love it," recalled O'Hara. "This is pure imagination, a period piece, literate – some might say wordy. If Rod Serling's name weren't on it, it wouldn't have a chance at getting made."