Why did the shepherds of the Al -Shafa region reject a dark episode for the second season

Rod Serling, “Al Shafak Zone”, was a work of love It has become possible because of the consistent contribution to the specialized writers. While Serling wrote a large part of the episodes himself, two authors such as Charles Boumont, Richard Mattison and Ray Bradbury were often stories challenging what was considered “appropriate” for network TV. Some of them were amendments to classic tales with the ideal development of “Twilight Zone”, while others were extracted from real life accidents by re -interpreting the TV audience. Regardless of the place where the source of inspiration lies, the “twilight” is the root of social suspension, which is rooted at the forefront, and criticizes everything from the collective moral hysteria to the consumerism that is rampant in an excessive capitalist society.

Among the writers contributing to the presentation, the author of science fiction George Cleiton Johnson (“Logan Ran”), who wrote several prominent episodes, including Robert Redford star “Nothing in the Dark”, “ “A penny for your thoughts” and “billiards game”. When he was a new writer, Johnson joined the Southern Book College in California, where he exchanged ideas with their peers such as Pomont and Bradbury. Through them, Johnson Rudd Serling, who would continue to write a scenario based on Johnson’s short story “We are all dying.” This was just the beginning of fixed cooperation, as it paved the way for the profession of science fiction in writing the script. Johnson is also known as the formation of the first broadcasting episode in “Star Trek” and The 1960’s Story/Ocean’s 11.

However, not everything Johnson wrote about “The Twilight Zone”, which reached its climax in a broadcast episode. in The Twilight Zone Enceclopedia“Johnson spoke at length about” sea change “, a story of his books He was rejected by a presentation of the show for his dark topic. What would this episode be exactly? Let’s dive into it.

According to Johnson’s interview in 1994 at “The Twilight Zone Enceclopedia”, Serling bought the sea change “immediately, because” I love the things that were tense and dark “or anything that raised” dangerous, mysterious or a poetic mood. ” This was in line with the type of stories that Johnson sold to Serling, such as “execution” for the first season (revolving around a horrific audience) or “four of us dies” (includes the death of many, including a man who deceives the face). The “change of the sea” was not different, but one of the sponsors of the second season had other ideas:

“Then I did one called” changing the sea “, which is the story of the person who cuts his hand, and he restores the hand. But what he does not realize is that the hand (also) grows a man. There is only room for one of them. It is a terrifying story.

Details can also be found about this story that was canceled in “Rod Serling’s The Twilight Zone Magazine”, which spread the horror imagination alongside extensive articles about the “Al Shafak Zone” (and its revival) between 1981 and 1989. October number 1981 It includes an excerpt from “sea change”, detailing the nuances of Johnson’s story and the reasons behind their rejection. A long short story, the shepherd of the show believes that the side of the “Sea Change” will lead to the destruction of viewers ’appetite (and thus impedes the effect of advertisements by the company), which causes the Buck Houghtton series to be reluctantly rejected. Johnson agreed to buy the story again, provided that he is given an opportunity to write the original Teleplay for “The Twilight Zone”. Hytone agreed, and the rest is the date.

It is a shameful matter that “changing the sea” has never had a chance to flower like a “twilight” episode. Johnson’s story does not move away from being worrying or strange and characterized by strong and derived characters stuck in a core scenario. You can read “Sea Change” by drilling digital versions of magazines that are now not printed, a story that definitely worth this effort. After all, he won the Balrog Award (which is now over) for the superior achievement in the short imagination and is considered one of Johnson’s most valuable works in this kind.