![]() We can pump oxygen in and waste material out. A doctor tells him, “We can feed the stomach, we can supply microfilm for reading, recreation, even movies of a sort. We learn that he is an Air Force test pilot who has been in isolation for three weeks to prepare him for a solo space flight to the moon. He begins losing his mind he cries out for help while repeatedly pressing the button on a Walk/Don’t Walk sign. Another rack is loaded with copies of The Last Man on Earth. In a book store, he finds a rack with William Goldman’s The Temple of Gold and Ignazio’s Salone’s Bread and Wine – classic works addressing man’s search for meaning. When he finds a radio at the police station, he picks up the microphone and pleads, “Calling all cars! Calling all cars!” Now it’s a desperate prayer, but the response is only silence. Listened to.” It’s as if he’s appealing to the heavens, an omnipresent something. ![]() As he walks about searching for someone, anyone, we realize something’s amiss, but what? He wonders aloud, “Who’s watching the store? Who’s watching any of the stores?” And a moment later: “I wish I could shake that crazy feeling of being watched. That first episode, “Where Is Everybody?”, focuses on a man who wanders into a small town, only to find it deserted. Such ideas were evident right from the start, when it debuted on CBS on October 2, 1959. It was a young boy’s dream and nightmare, all at once.īut now, revisiting the series as an adult, I’ve come to appreciate the weight and depth of the Zone, especially its philosophical, ethical, and spiritual themes. Aliens! Apparitions! Monsters! Horrors! Suspense! As a kid, I used to watch The Twilight Zone, Rod Serling’s masterful, mind-blowing television series from the early 1960s, because it scared the crap out of me.
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