Unwahrscheinliche Geschichten

Whatever incantation, whatever form, whatever decade, this show has managed to intrigue and defy logic with its use of imaginary story lines and ideas, mixing a palate of intrigue and genius to allow the common viewer to become engrossed in the weirdest television has to offer. While the original series was cheesy at some points, this show was always different, always something to look forward to in regards to the eeriness it created. Rod Serling helped usher in a generation of paranoia and science fiction thanks to this groundbreaking show, and I'm thankful for this. I could only imagine what the world would be like if all we had were terrible dramas and average sitcoms filling the airwaves. This show will rank as one of the best in my book, no matter what people say.

In 1959, network TV was dominated by pretty-boy detective shows (77 Sunset Strip; Hawaiian Eye), law & order westerns (Gunsmoke; Have Gun, Will Travel), and innocuous sitcoms, (Ozzie & Harriet; Leave It to Beaver; The Donna Reed Show). If little else, most of these were entertaining in a blandly narcotizing way. TV producers may have wanted to experiment, but were hamstrung by a production code that was even more restrictive than the notorious motion picture code (crime must not be rewarded; moral transgressors must be punished; the sexes must not be shown in the same bed, etc.). Perhaps more important, producers were strait-jacketed by sponsors who insisted that programming should be as inclusive as possible so as not to risk offending or "confusing" any segment of the audience-- all the better, of course, to sell the sponsor's product, a not unreasonable requirement, given TV's commercial basis.

I mention this background, because it's hard to appreciate the cultural significance of Serling's Twilight Zone without it. For the above restrictions inevitably produced a product that was almost uniformly bland, superficial, and, by most accounts, boringly predictable-- (One near exception was the series from that sly old subversive, Alfred Hitchcock.) But pity the poor writers who week after week had to search for fresh water in the middle of this much traversed desert. Because of the conformist approach, two of the biggest casualties were, not unnaturally, Reality and Imagination. For rarely did any of these shows demonstrate even a nodding acquaintance with reality as most of us live it, while what imagination was shown was, of course, channeled into safe variations on the usual. I think many of us old enough and imaginative enough at the time, knew that network programming could be a lot better than what FCC Commissioner Newton Minnow characterized as TV's "vast cultural wasteland".

Obviously, it would be a great overstatement to view The Twilight Zone as a magic cure for this blighted situation. But, Serling did boldly and persistently set out to challenge the blandness, and in the process prepare the way for greater offbeat programming. Of course, TZ never claimed to introduce 'reality' into a weekly series-- that would come later with 1971's All in the Family. However, Serling did insist upon that other missing ingredient, 'imagination'-- and by the bucket loads. How well I remember that 1959 evening when I tuned in "Where Is Everybody?", the series' pilot and first installment-- Earl Holliman wandering through a mysteriously deserted town, running smack-dab into a mirror, and winding up in a plausibly topical outcome. I expect many others besides myself were bowled over by the novelty of what we had seen. A whole new world of what TV could be opened up, thanks to Serling, and his success in getting sponsors to take a chance on an innovative concept. Even more happily, was the promise of more to come.

Sure, few of the following episodes reached the riveting level of that first installment, at least in my book. But rarely did an entry completely disappoint. Then too, after the first couple of years, the quality dropped off as scripts began buckling under the weekly pressure by falling back on old material for new variations. However, such classics from the first year as "Walking Distance", "And When the Sky Opened", and "The Hitch-Hiker" are among the finest dramatizations of the supernatural ever to appear on TV, and hold up as well today as in that long ago black-and-white. Of course, Serling shouldn't get all the credit. As other reviewers point out, authors such as Charles Beaumont and the greatly under-rated Richard Matheson contributed much to the series' classic standing, as did the often overlooked producer Buck Houghton and director Douglas Heyes. Still and all, it was D-Day paratrooper Serling who exhausted himself in the struggle to deliver three key qualities always in short supply on public airways-- intelligence, innovation, and insight. And for that, those of us graybeards who still enjoy a re-run or two, will always be ready with a tip of the hat to the squinty-eyed gentleman with the cigarette and the powerful belief in the liberating role of imagination.

This show never gets old. It ages extremely well. The psychological horror of this is SO much better than any CGI horror you'll see these days. Every episode (or at least all the good ones) have a spooky element or something out of the ordinary, a twist ending, and a moral or something to think about. There are so many of these that are just, SO GOOD. Rod serling is a greek god. tres bien.

Rod Serling's distinctive approach gave "The Twilight Zone" a unique character that will always keep it among the best-remembered of all classic television shows. Not only that, but it set high goals for itself, and it took a lot of chances - and not chances in the phony, trivial sense in which a lot of more recent series "take chances" by resorting to unnecessarily provocative or indecent material that actually guarantees them attention and acclaim.

"The Twilight Zone" took chances by experimenting with many different kinds of stories and material, and by aiming to provide high-quality entertainment while simultaneously giving you something to think about. As a result, there were a few episodes that didn't quite click, and that seem odd or even dull. But when it worked - as it did a great deal of the time - no television show then or now was more imaginative.

In a short review, it would be impossible to list all of the memorable episodes, or even to cover the full range of the kinds of material that it used. There were chilling episodes like "To Serve Man", which is often remembered by those who saw it decades ago, and there were thought-provoking episodes like "In the Eye of the Beholder", which was also imaginatively filmed.

Many episodes relied primarily on a well-written and well-conceived story, while others, like "The Invaders", relied heavily on excellent acting performances (in that case, by Agnes Moorehead). There were occasional light-hearted episodes like "Once Upon a Time", which was also a nice showcase for the great Buster Keaton.

It's too bad that these anthology-style series went out of fashion, because a number of them were of high quality. This one, in particular, stands well above its subsequent imitators. The best science fiction, like the best of any genre or art form, appeals to the imagination, not to the senses, and imagination is what "The Twilight Zone" was all about.

It is completely impossible to narrow down the best episodes of this classic TV series...everything about it (writing, acting, production values) is leaps and bounds above anything around today! That being said, since the Christmas season is approaching, Serling made two holiday episodes that are worth taking the time to watch all over again: "The Night of the Meek" with Art Carney and (my personal favorite) "The Changing of the Guard" with Donald Pleasance. Both are timeless classics, and show a very sentimental side to the Twilight Zone...Every year at the holiday season I like to sit back and take these episodes in; they get better and better with each repeated viewing! Merry Christmas & Enjoy!