Stream It Or Skip It: 'The Family Stallone' On Paramount+, Where Sly And His Family Try To Be The New Kardashians YouTube Star Hank Green Reveals Hodgkin's Lymphoma Diagnosis: "This Sucks So Bad"ĭisney+’s Content Purge Is Just The Latest WTF-ery In Streaming’s Rapid Dive Off a Cliff '1, 2, 3, All Eyes On Me' Movie Is Trending on TikTok: How to Watch The Full Movie About a Devastating School Shooting Sex Scene “Expert” Michael Douglas Shares His Secret To Filming A Good Sex SceneĪlec Baldwin Can't Seem to Quit Guns, Joins New Movie About Infamous Kent State Shooting The “White Men Can’t Jump: The Musical” Storyline in ‘Girls’ Is More Memorable Than the 2023 Hulu RemakeĬannes Film Festival 2023: Molly Manning Walker's 'How To Have Sex' Plays Like An Episode of 'Love Island' Directed By Éric Rohmer Who Plays Ocean Park on 'XO, Kitty'? It's 2PM's Taecyeon Jack Harlow Calls Out Chick-fil-A’s “Homophobic Chicken Sandwiches” in ‘White Men Can’t Jump’ 'XO, Kitty' Ending Explained: Who Does Kitty End Up With? Is 'Love Again' Streaming on HBO Max or Netflix? Gwyneth Paltrow Recalls "British Press Being So Horrible" After Her 'Shakespeare in Love' Oscar Win: "Totally Overwhelming" Stream It Or Skip It: 'Royalteen: Princess Margrethe' on Netflix, the Second in a Series of DOA Norwegian Teen Romances Television is still television, dominated by advertising, but now subscription services offer an alternative to what Serling called the “basic weakness of the medium,” advertising’s disruption of narrative and its control over content.Seth Rogen Slams Streaming Service Execs for Their "Secretiveness" and "Insane Salaries": "Thank God for These Labor Unions" “One wonders how Serling would have fared in today’s very different television environment,” muses Murray. The invaders won’t have to do a thing but spread fear and watch as humans do their monstrous thing. As the camera pulls back from the dark, murderous chaos of middle-class Americans descending into anarchy, it develops that they are right: there are aliens out there, watching. Here, neighbors turn on each other in fearful paranoia about a supposed alien landing nearby. This episode in particular mixes the source of the danger. Uneven, sometimes hokey, often didactic, yet clearly striking a nerve, The Twilight Zone is still watchable today.īoth Murray and Worland highlight the episode called “The Monsters Are Due on Maple Street,” first broadcast in 1960. Serling himself was a combat vet who, according to his daughter’s biography, suffered from what was then still called shell shock. Worland examines the show’s “ often confused treatment of contemporary socio-political themes.” It was an epitome of “Cold War liberalism,” which differed from Cold War conservatism “mainly in locating the source of the mutually agreed-upon communist threat.” For liberals, it was out there for conservatives, it was domestic. At 192 episodes, it’s an amazing catalog of on-screen talent, including then-stars, character actors, and up-and-comers who made the big time in the late 1960s, 1970s, and beyond.įilm and media arts scholar Rick Worland notes that the show, remembered now as an icon of Cold War entertainment, actually came out of the experience of World War II. The program also streams on various platforms, from Netflix to YouTube. The Syfy channel broadcasts the run of the series as a New Year’s Day marathon and has done so for more than two decades. Steven Spielberg, Chris Carter, and Spike Jonze have tipped their hats to the show’s influence. The series inspired two reboots and a feature film, as well as a board game, a magazine, and graphic novels. As Murray argues, the show’s legacy reveals its enduring hold on the cultural imagination. The Twilight Zone proceeded to have a spectacular life in syndication, the afterlife of television. Rod Serling, executive producer, host, and writer of 92 of the 156 episodes, sold back his large stake in the show in 1966, “suspecting, apparently, that the show would just gather dust in the network’s vault,” according to scholar Brian Murray. But nothing lasts forever, and the show’s plug would ultimately be pulled for its low ratings and idiosyncrasy in a network line-up that included The Beverly Hillbillies, Petticoat Junction, and The Munsters. When Newton Minnow became the head of the FCC in 1961, he decried television’s “vast wasteland.” The only weekly series he applauded was The Twilight Zone, then in the midst of its five season run on CBS (1959–1964).
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