This article explores Rod Serling's unconventional decision to appear on-screen for the closing narration in select episodes of 'The Twilight Zone,' highlighting the impact and significance of this departure from the series' established format. It delves into the specific episodes where Serling broke tradition, analyzing the unique reasons behind these choices and the effect they had on the viewing experience.
The back end of the 1950s gave us The Twilight Zone, an episodic anthology series centered on the strange, disturbing, and peculiar happenings of a fictional alternate reality, and its lasting impact has never faded. Created and presented by Rod Serling, the series explores everything from dark comedy to dystopian horror. No matter the genre of the week, The Twilight Zone surely gave audiences something worth talking about in a pre-streaming world with limited networks from which to choose.
The closing narrations, delivered by Serling himself, famously wrapped each episode, often offering more than a simple epilogue of the events — they'd posit a perspective worth considering. We, the audience, walk away with more than just having watched a narrative. The closing narrations feel like conversation starters, especially in the series' more serious episodes. Until the first season's finale, these were done through voice-overs. That is until Serling broke tradition and appeared on-screen for the closing narration, adding a twist to the already twisty world of The Twilight Zone. When Rod Serling broke tradition and appeared on-screen for the closing narration of'A World of His Own,' the moment may have been jarring. Because it was the debut instance of Serling reappearing at an episode's end, the effect seems twofold. First, it's a special sendoff for the viewers at the end of the season. Moreover, with the episode being more comedic and quirky than The Twilight Zone's norm, Serling's appearance adds a touch of oddity that may have otherwise been missing. Victoria (Phyllis Kirk) sees her husband, a playwright named Gregory (Keenan Wynn), flirting with another woman, Mary (Mary LaRoche). Before Victoria enters the room to confront her husband, Gregory destroys a tape, causing Mary to disappear. He explains what occurred — that the subjects of his dictation are physically manifested and disposed of when he destroys their portion of his tapes — but Victoria doesn't believe him. So, he brings Mary back to demonstrate. Mary, upset about living only in these brief moments (which feels like a spiritual predecessor to Severance), pleads not to be brought back. Still, Victoria thinks her husband is insane, threatening to have him committed to an institution. Gregory reveals that even she is one of his creations, showing the tape that contains her description. Still in disbelief, Victoria destroys the tape, and, just as Gregory warned, she fades away. Although he considers dictating her description again, he opts to bring Mary back once more — this time, as his new wife.For the closing narration, Serling walks onto the set, even interacting directly with the cast and environment.'We hope you enjoyed tonight's romantic story on The Twilight Zone,' Serling says.'At the same time, we want you to realize that it was, of course, purely fictional. In real life, such ridiculous nonsense could never—,' he continues, before Gregory interrupts him. Gregory, clearly offended, demands Serling doesn't call his work and ability'nonsense.' He reveals an envelope marked with Serling's name, containing his personal description.'Well, that's the way it goes,' Serling says before fading away. 'The Twilight Zone' Aimed To Leave You With Something To Ponder Close Two more episodes similarly broke the tradition. For the third season's'The Fugitive' (this time, not a finale), Serling appears with a photograph to make the episode's final big reveal. It serves no particular shock value, so it's a little fun to imagine Serling was feeling bored and wanted to record his narration on camera to shake up the day. For'The Obsolete Man' (the second season's finale), the break of tradition is uncharacteristically heavy-hitting in the best way. The opening, for one, is longer than usual, as Serling prepares us for the lofty ideas ahead. The episode depicts a dystopian future under a totalitarian regime. Romney Wordsworth (Burgess Meredith) faces trial for being an'obsolete' man. He's a librarian and a believer in God, which, according to the state, renders him obsolete in a world that has declared itself to have moved past such ways of thinking. Wordsworth is sentenced to death, but an intricate game of intellect ensues. The Chancellor (Fritz Weaver) grants Wordsworth some final wishes — he can choose his method of execution, and the act will be televised live. Wordsworth secretly opts for his execution to be carried out by bombing his holding room, but he traps the Chancellor in with him. During the broadcast, as the Chancellor begs to be spared, Wordsworth reads from the Bible before allowing him to escape. Due to his cowardly behavior, the Chancellor is then declared obsolete and beaten to death by a crow
THE TWILIGHT ZONE ROD SERLING CLOSING NARRATION TRADITION DYSTOPIA COMEDY HORROR TELEVISION HISTORY
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