Rod Serling's seminal anthology series focused on ordinary folks who suddenly found themselves in extraordinary, usually supernatural, situations. The stories would typically end with an ironic twist that would see the guilty punished.
Produced at the same time as the more well-known Twilight Zone, this series fed the nation's growing interest in paranormal suspense in a different way. Rather than creating fictional ... See full summary »
Will J. White
Within the course of one hour 5 stories are shown. None of these stories have any logical explanation, and some of them actually occurred. You are left to decide which of these stories, if ... See full summary »
Night Visions is an anthology series similar to The Twilight Zone - some tales are supernatural, others are just commentaries on twisted human nature. Each hour episode is made up of two half-hour episodes aired back-to-back.
Similar in format to Serling's much more famous "Twilight Zone" series. Each week we get a new tale, represented by a painting in an old museum. Whereas the tales in "Twilight Zone" were more science fiction, these tales have a darker, more horrific edge. Written by
Two segments, and possibly a third, were directed by a young Steven Spielberg. According to the book, "Rod Serling's Night Gallery: An After Hours Tour", Spielberg was scheduled to direct the 1971 vignette "A Matter of Semantics" starring Cesar Romero. Those involved with the production are unclear in their memory as to whether Spielberg actually directed the piece, which was ultimately credited to Jack Laird. At least one actor involved in the 2-minute mini-episode recalls a director who more closely fits Spielberg's description than Laird's. Beginning with the second season, and despite Rod Serling's objections, the producers began to insert brief 1-3 minute "blackout comedy" sketches in between main segments of some episodes, usually when an episode was running short. The merits of these brief vignettes remain controversial among Rod Serling's Night Gallery (1969) fans to this day. See more »
Good evening, and welcome to a private showing of three paintings, displayed here for the first time. Each is a collectors' item in its own way - not because of any special artistic quality, but because each captures on a canvas, and suspends in time and space, a frozen moment of a nightmare.
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Often lost in the shadow of Rod Serling's first series, "The Twilight Zone," "Night Gallery" was a fascinating experiment in the anthology format. Instead of one story per episode, the hour was splintered into two, three, or four different stories of varying length. Some were quite brief, lasting no more than a minute; others lasted over 40 minutes. The quality often varied, too. A few of the little vignettes were quite bad. Some stories were quite good. And on more than a few occasions, this little mini-film festival on Wednesday nights produced segments that were as good as anything else on TV at the time. Classic episodes included "They're Tearing Down Tim Riley's Bar," "Pickman's Model" (both nominated for Emmys), "The Caterpillar," "Class of '99," "Green Fingers," "The Messiah on Mott Street," "The Sins of the Fathers," "The Doll," "Cool Air," "Silent Snow, Secret Snow," "A Question of Fear," "The Little Black Bag," and "The Dead Man." Because one of these classics could often be followed or preceded by a story of lesser quality, the series got a reputation for being wildly uneven. It was universally lambasted during its network run by near-sighted critics who were thrown off by its inconsistency, and missed the quality elements: intelligent, stylish writing by Serling and others, top-notch production values (particularly in cinematography and music), and innovative directorial touches. For its syndication run, the series segments were butchered to fit into a half-hour time slot, some losing half their length in the editing, and is a travesty, a mere shadow of its former self. Episodes of a boring ESP potboiler, "The Sixth Sense," were annexed into the syndie package with terrible results. Stick to the uncut version.
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