Michael Rhodes is asked to help Lisa Wolf, who is frightened by an image of her recently drowned husband whom she believes she accidentally killed. Rhodes is strongly opposed by Linchou, brother of ...
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
Each episode of this TV series depicts a short, strange tale...with a twist! With eerie stories vaguely reminiscent of 'The Twilight Zone,' viewers learn to appreciate that things are often... See full summary »
A continuation of the dramatic anthology series hosted by the master of suspense and mystery. When the series Alfred Hitchcock Presents was revived in 1962, the name was changed, but the ... See full summary »
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
John Astin appeared in three separate episodes of Night Gallery (1969). During each episode, his character was killed, and during two episodes, his character found himself in Hell. Also directed three episodes of the show. See more »
For those of you who've never met me, you might call me the under-nourished Alfred Hitchcock.
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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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