The Outer Limits (1963): The Architects of Fear

"The Architects of Fear." (S1E3) First aired 30 September 1963. Directed by Byron Haskin. Written by Meyer Dolinsky. Starring Robert Culp, Geraldine Brooks, Leonard Stone and Martin Wolfson. 8/10

In the hopes of preventing an eventual nuclear attack, a group of American scientists develops a plan to unite all nations by creating a common, external threat. They set out to biologically transform one of the men into an alien creature, modelling it after a creature captured from Theta. A mock saucer landing is to be staged, with the creature attacking a United Nations gathering, to be taken down by the defending humans. For the plan to be carried out successfully, the person selected for transformation must ultimately die.

The chosen candidate, selected by lot, is physicist Dr. Alan Leighton. The main complication, aside from the biological difficulties in carrying out the mutation, is that Leighton is happily married. Moreover, soon after being selected, he learns that his wife, believed to have been barren due to a murmuring heart, is pregnant.

The (mad) scientific plot to save the world is a great concept. For one thing, the "mad scientists" are, unlike standard mad scientists, trying to unselfishly save Earth rather than destroy it. The idea of transforming a man into an altogether different, alien being is fascinating, and the progression by which this is achieved in the episode is great to watch. Aside from cold, rational science, there is also the inherent moral considerations, mainly, how can a small group of men toy around with the people of the world and place them at risk? The moral consideration that the episode elects to focus on is quite simple: these men have decided to end the life of a fellow human being, and seem unaware of consequences to those he loves.

This last point is where the episode proves most effective. Leighton's loving wife Yvette is, as expected, devastated by her husband's death. Her grieving is solitary, and she is even dismissed by her husband's colleagues who push her away, and would rather focus on the delicate series of operations they must perform. The most powerful scene is not the moment of alien attack, or even the final instant when [spoiler] Yvette learns that the creature is her husband, but the scene when she appears at the lab to gather her husband's belongings. The sequence cuts from the final stages of the complex operation to Yvette. While she is grieving her husband's death, he is in the next room being made un-human, essentially being killed by his colleagues. When she is done crying in Leighton's office and steps out into the hall, the scientists have just completed the transformation and have also stepped out, pushing the stretcher carrying Leighton's body. Yvette and the men look at one another, and it is implied that she suspects what lies beneath the sheet of the stretcher. The personal crisis is proven to be sometimes greater than the international.

Again some solid performances, with Robert Culp in his first of three lead Outer Limits appearances, Geraldine Brooks is superb as Yvette and essentially steals the show, and Leonard Stone is great as scientist and friend Dr. Phillip Gainer. Directed by Byron Haskin, his second Outer Limits effort immediately after "The Hundred Days of the Dragon," who once again helps produce a patient story focusing on human elements brought together by a brief climax. The climax in this story is fully integrated with the thematic considerations, more so than with "Dragon," since the death of Leighton is what ultimately provides the plot with pure tragedy. As sentimental as the death scene might appear, it is more the powerful it, rather than weakened by it. This was the first of three Outer Limits episodes written by Meyer Dolinsky, who wrote for a variety of shows over twenty-five years, including two for Science Fiction Theatre (1956), four for Lock-Up (1960), two for The Invaders (1967) and one for Star Trek ("Plato's Stepchildren," that controversial episode that featured the first interracial kiss on western television).

And of course there's the alien. Very well conceived, the creature was evidently considered too frightening for prime time (read a summary on censorship on wikipedia). The creature holds up to today's viewer, not because of its realism, but because of the episode's involving morality, as well as the slow progression of creation, allowing the viewer glimpses of what to expect. It is early 60s make-up and costume, and the eyes look artificial to our eyes, and proves that good dramatic television transcends our need for eye candy and unnecessary violence.

The Outer Limits (1963): The Hundred Days of the Dragon

"The Hundred Days of the Dragon." (S1E2) First aired 23 September 1963. Directed by Byron Haskin. Written by Allan Balter and Robert Mintz. Starring Sidney Blackmer, Phillip Pine, Joan Camden, Nancy Rennick, Mark Roberts, Aki Aleong, Richard Loo, Bert Remsen and James Hong. 9/10

The government of an unnamed Asian country south of Mongolia (in other words, China) has developed a remarkable spying technique: the ability to impersonate any man through physical alteration. This alteration has little to do with surgery, and instead relies on the injection of a drug that makes a person's skin malleable, and like clay can then be sculpted. Add voice training, character impersonation, and the best possible infiltration through body snatching can be achieved.

The shady government's intended target for replacement is William Lyons Selby, the leading candidate for President of the United States. Successfully infiltrating the White House in the guise of President Selby, the shady government can soon put into play its plan for world domination. First by withdrawing American fleets from eastern waters, and then by imitating other members of office, primarily the principled and suspicious Vice President and dear friend of Selby's, Ted Pearson.

"The Hundred Days of the Dragon" is an exceptional piece of Cold War paranoia, reminiscent of the body snatching in Don Siegel's Invasion of the Body Snatchers (1956). Aside from Cold War fears, and even threats of all-out war, the episode is a truly chilling piece of dramatic suspense. Incredibly well filmed, with a great script and patient sequencing, this could have been worked into a good film, with an additional half-hour to play out an extended finish.

[Spoiler.] The sudden and somewhat flat ending is the only weak point, yet with such a strong overall production the ending is only part of the whole, rather than what it culminates into. I would not ask for a massive climactic chase scene, but a more involved way of outing the criminals. Yes, the public face peeling moment is fantastic, but the lead-up is just too convenient. At the same time, had the script covered a broader and longer ending sequence, we would have lost the great pacing of the rest of the episode.

The episode was directed by Berkley graduate and former cartoonist Byron Haskin, the man behind the camera for the 1953 H. G. Wells adaptation of War of the Worlds, 1954's The Naked Jungle (adaptation of the Carl Stephenson story "Leiningen versus the Ants"), and a total of six Outer Limits episodes. Haskin combines talents with cinematographer Conrad L. Hall (who will go on to work on some great films) to deliver a truly taught, visually compelling, atmospheric piece of TV cinema. There are shadows and blinking lights everywhere, dark plant shadows reflected against white walls, and elegantly decorated rooms thrown into darkness. Low camera angles and shots peering in from behind objects, like desk lamps and plants, even peeping through doors, enhance the feeling of spying and being spied upon. Claustrophobia and paranoia are evident in nearly every frame. The visuals are necessary, especially for a script with important sequences wholly absent of dialogue.

The plot progression is played out patiently. The opening which explains the fantastic premise is given time to develop, and because of the unique and far-fetched idea, it is always compelling. The scene in which our imposter takes over the President's form is slow, patient and methodical, a lengthy scene made tenser with the lack of dialogue and the good, subdued TV music with the hint of oriental sound. There are many low shots here as we watch our communist tread across the carpeted hotel floor. The shooting of the president is cold and sudden, part of the plan, and effective still in this decade.

Special effects of 1963 prove yet again to be innovative and to hold up to the test of time. It is obvious that the faces being molded are made of clay, yet the effect of watching fingers dragging forcefully across a man's face is still quite powerful, especially when the eyebrows get pulled and the nose gets mashed. There is no silly alien in this episode, yet the alien unknown is still prevalent, and when that alien is human, the stakes are somehow higher. There is a small goof in the opening sequence, however. We learn that both Selby and the imposter have the third finger of their left hand missing, and yet when the imposter is placing the face mold over his face, the camera acting as the imposter's eyes, that third finger is clearly intact. Likely the hand doesn't even belong to the actor, and might even be Haskin's own. Throughout the episode it is clear that Blackmer himself has all his fingers intact, and that when the missing finger is prominent, it is obvious that the finger is simply taped down to look like a stub. A fat stub.

Sixty days after the episode featuring the murder of a US president is aired, on November 22nd, President John F. Kennedy is assassinated. Technically, though, Selby is not yet president when he is shot.

Longtime character actor Sidney Blackmer is excellent as the charming President Selby, and as the imposter pretending to be the charming President Selby. His use of eye and mouth motions to both intensify the charade and illuminate the characters' (particularly the imposter's) inner thoughts and feelings is fantastic. I remember Blackmer best in the excellent AHP episode "Don't Come Back Alive" (S1E4). Phillip Pine is just as good as the conscience-prone and suspicious friend and VP Pearson, with strong support from the rest of the cast.


Anthology Cast Notes (other TV anthology appearances):

Sidney Blackmer. Suspense: "Post Mortem" (S1E9) & "This Is Your Confession" parts 1 and 2 (S3E52); Tales of Tomorrow: "The Dark Angel" (S1E8); Climax!: "Flame-Out in T-6" (S2E30) & "Scream in Silence" (S4E13); Thriller: "The Premature burial" (S2E3); Alfred Hitchcock Presents: "Don't Come Back Alive" (S1E4) & "The Faith of Aaron Menefee" (S7E17).

Phillip Pine. Tales of Tomorrow: "Plague from Space" (S1E30) & "The Bitter Storm" (S2E17); Science Fiction Theatre: "Before the Beginning" (S1E34); Twilight Zone, "The Four of Us Are Dying" (S1E13) & "The Incredible World of Horace Ford" (S4E14); Alfred Hitchcock Presents: "The Safe Place" (S3E36); One Step Beyond: "Where Are They?" (S1E12); Kraft Mystery Theatre: "The Problem in Cell Block 13" (S2E8); Ghost Story: "The Ghost of Potter's Field (S1E21). Also The Invaders, Star Trek and over a hundred different shows.

Nancy Rennick. Twilight Zone: "The After Hours" (S1E34) & "The Odyssey of Flight 33" (S2E18).

Mark Roberts. Suspense: "I'm No Hero" (S2E41) & "Wisteria Cottage" (S2E42).

Bert Remsen. Suspense: "The Moving Target" (S5E4), Alfred Hitchcock Presents: "The Throwback" (S6E20), "Gratitude" (S6E28), "Services Rendered" (S7E10), "The Right Kind of Medicine" (S7E11); Alfred Hitchcock Hour: "Annabel" (S1E7)

Aki Aleong. Outer Limits: "Expanding Human" (S2E4).

James Hong. One Step Beyond: "House of the Dead" (S2E37); Tales from the Darkside: "It All Comes Out in the Wash" (S1E10). Also Wonder Woman, War of the Worlds, The X-Files & countless others.

The Outer Limits (1963): The Galaxy Being

[Edit: Mr. Cliff Robertson (1923-2011), thank you for all the great work.]


I will not be providing an overview since this is one series that was well documented and researched. Wikipedia has summaries, cast notes and interesting production information. The David J. Schow and Jeffrey Franzen companion is exhaustive, so I'm given to understand. (I have not read it and do not have a copy, though will try to nab one.)


"The Galaxy Being." (S1E1) First aired 16 September 1963. Directed and written by Leslie Stevens. Starring Cliff Robertson, Lee Philips, Jacqueline Scott, and Burt Metcalfe. 7/10

Owner of a small, local mainstream radio station, Alan Maxwell has been usurping the station's power after picking up an odd signal. By creating a series of radio waves that can emit three-dimensional images, he is able to give form to the originator of the broadcasts: an exploratory alien from another world. Like Maxwell, this being is taking part in the communication illegally, for while Max is acting against contracts with his sponsors by diminishing the station's broadcast range, the alien is communicating with Earth, an act forbidden to his people. These wise aliens are aware of Earth's destructive potential, yet this particular one believes in the benefits of sharing and exploration.

[Minor spoiler] Maxwell leaves the station to attend a social event in his honour, as does his brother, DJ Gene "Buddy" Maxwell. Replacing Gene for the evening is young and ambitious Eddie Phillips, who raises the power levels to the transmitter so he can be heard in the distant, foreign land of Canada (also inhabited by wise, exploratory aliens). Through his benevolent wish of sharing some good American music with Canadians, Phillips essentially overloads the electromagnetic field that is generating the alien's form and keeping it safely locked away, and the poor exploratory galaxy being is magica--I mean, scientifically transported Earth. It leaves the station and begins to wreak havoc on the small, unsuspecting town, but not through any form of maliciousness, rather because of his natural radiation. What will the poor, destructive humans do? (He should have materialized in Canada; the army is not as massive.)

[Major spoiler] After wreaking some havoc, the police appear, and are soon followed by the military, who show up with their arsenal and start shooting, nearly Killing Maxwell's wife, Carol. The alien tells them to go home and "give thought to the mysteries of the universe," after which he de-materializes, but since the aliens do not experience death, his fate is unknown.

Written and directed by series creator Leslie Stevens, "The Galaxy Being" is a strong entry into the series. Stevens's background included stage and Broadway work, as well as scripting many teleplays for the popular Playhouse 90. It is superbly scripted, patiently detailing the relationship troubles between Maxwell and Carol, and appropriately sympathetic with Carol rather than the neglectful hero amateur scientist. Even minor characters are well developed, from Maxwell's brother to the young DJ, as is the alien creature.

This episode is a great example of a successful hour-long anthology teleplay, showing patience, care in development and combining elements of family drama, competent 1963 science, and even some horror (the standoff a little reminiscent of many early sci-fi films, such as The Day the Earth Stood Still, but of course on a smaller scale). The episode's production budget of $213,000 (David J. Schow & Jeffrey Franzen, The Outer Limits: The Official Companion, as quoted on Wikipedia) was probably generous for a TV episode, and well spent, with varied sets, a strong cast and nice camera work. Except maybe for that scene when our wise alien is walking the streets and the camera acts as his eyes; the lights behind the camera cast some unfortunate shadows on the ground). My favourite scene is when the alien enters a pawn shop, perhaps looking for a souvenir, and curiously handling some objects, at one point peers through a pair of binoculars that magnify his radiation glow. Clever and humourous stuff.

The special effects are 1963, and yet in this case still effective, aided by the black and white and overall slick look of the episode. Cliff Robertson is great as Maxwell, and the always reliable Jacqueline Scott is superb as Carol (she did great work on two episodes of Planet of the Apes). Leslie Stevens provided the voice of the alien, and proves to be not only a fine writer and director, but a good voice performer.

Twilight Zone (2002): Overview and episodes 1 through 6

This is the second attempt at reviving Rod Serling's groundbreaking The Twilight Zone (1959-1964). While some episodes do maintain the spirit of the original, by focusing primarily on character, character development, and/or on some element of human nature, a number of episodes focus on their science fiction, fantasy or horror elements rather than on character or theme/morals. While these episodes might not necessarily be bad, some are even quite good, they are not necessarily TZ material. Examples of this are the good episode "The Pool Guy" (S1E9) which is more in line with The Outer Limits, or the terrible "The Harsh Mistress" (S1E9) which is more suited to Friday the 13th.

A number of experienced TV directors were involved in many of the episodes. This includes veteran Allan Kroeker (3 episodes), who had directed an episode of the 1980s TZ as well the season finales of three different Star Trek series (DS9, Voyageur, Enterprise), and the always pleasant actor, writer and director Bob Balaban (2 episodes), who directed the series pilot for Tales from the Darkside. Other long-time TV directors include John T. Kretchmer (5 episodes), Suicide Kings director Peter O'Fallon (2 episodes), and Brad Turner (4 episodes), who helmed a 1980 TZ episode while a directing rookie, and who has filmed a large portion of 24, along with ST:DS9, Stargate and its spin-offs, and an impressive seventeen episodes of The Outer Limits (1995).

The second season of the original TZ began a trend of presenting Rod Serling on-screen for the episode introductions. That same concept was borrowed here, hiring the talented Forest Whitaker as host. Whitaker was unfortunately not a great host, yet I would blame this not on the actor, but on production. While Serling was often filmed on set, sometimes filmed post production with a blurry camera pan making it appear he was amid the action, Whitaker was pasted onto the screen, photoshopped if you will, sometimes a little too obviously. Particularly during rain, grasping a useless umbrella. Likely his ultra brief intros were filmed in a studio over the course of a day or two, and the effect comes across as cheap. Of course times are different, and while Serling was fully invested in TZ, Whitaker was an employee and obviously wasn't expected to be on set. Moreover, writing for the host post was not done with Whitaker in mind, but rather the gruff, oddly eloquent and aggressively charismatic chimney that was Serling. Whitaker sounds too gentle quoting lines like "Chalk one up for the good guy," (S1E10) whereas phrases like these came off of Serling's tongue so naturally that they never felt written. Whitaker should have been considered more, and the intros and episodes would have been more effective as a result. I am glad that a talented black actor was hired to fill Serling's shoes, since the racial aspect is appropriate, in line with TZ philosophy, and would have greatly pleased TZ's creator.

In short, the 2002 Twilight Zone need not have been The Twilight Zone, but another anthology series of the fantastic. Mixed like most such series, it did not have its own consistent and unique feel that the original TZ, Alfred Hitchcock Presents, Tales from the Darkside or Friday the 13th had, likely because too many industry hands were involved so it was no particular group's personal investment. There there were nonetheless a number of truly great episodes that are worth a watch, and the show should have been given a second season.


"Evergreen." (S1E1) First aired 18 September 2002. Directed by Allan Kroeker. Written by Jill E. Blotevogel. Starring Amber Tamblyn, Jesse Moss and Chantal Conlin. 4/10

"Meet the Winslows. A family searching for a way to control their troubled teen. How far they're willing to go will take them to a gated community who's address can only be found [dramatic pause] in the Twilight Zone."

There is a problem with the revival opener: it's not the family that wishes to control the troubled teen, but the parents. It would have been accurate to say that "a couple," since the troubled teen herself, as well as her clean-cut little sister, are just fine with the way she is.

The Winslow family moves into the gated community of Evergreen in the hopes of transforming their rebellious daughter Jenna into a respectful community kid. Yet Evergreen is creepy, a conformist society where nearly everyone dresses alike. And the sign on the gate reads:

"EVERGREEN ESTATES
Our children are our greatest resource"

which of course made me wonder if Jenna would become part of the weekend community barbecue, or perhaps used to fire up the gas stove or the car's engine. Resource is such an inclusive word. This immediate speculation is telling of how generic the concept has become, the utopian community that reveals itself to be willing to sacrifice its most deviant members for the good of the whole. Recently an episode of the Mick Garris creation Fear Itself, titled "Community," featured the same basic idea. The most recognizable dark community is probably from Ira Levin's The Stepford Wives, which, though dated, is nonetheless a good read.

The first episode of the new Twilight Zone is a "safe" one, an attempt to find fresh viewers while bringing in those adamantly faithful to the original by maintaining elements of the original show, such as the twist ending and, well, maybe only the twist ending. Everything about the episode is generic, from the basic premise to the story-line, the dialogue and stock characters, some of whom are completely non-descript, and you wonder why they are even there. They are there simply for plot progression purposes, of course, so that we can be guided to that final twist. Sadly, everything is molded toward that ending, conscious of the final great reveal, which is, truth be told, not at all spectacular. Whether or not we figure out exactly what makes children such great community resources really doesn't matter, because you have an idea of the gist of it all, and that inkling alone removes any shock or sense of satisfaction.

This is the first of three TZ episodes directed by longtime television director Allan Kroeker, who also directed one of the 1980s TZ episodes and might have been hired due to that link. Kroeker certainly cannot be blamed for the weak episode. Amber Tamblyn is fine as the rebel Jenna, but the role is so thinly written that a doorknob would have performed just as well. The gated community is pretty, very green, so at least we're offered something worth looking at.


"One Night at the Mercy." (S1E2) First aired 18 September 2002. Directed by Peter O'Fallon. Written by Christopher Mack. Starring Jason Alexander, Tyler Christopher Lynda Boyd and a pretty red rose. 7/10

His second day on the job, ER Doctor Jay Ferguson first barely saves a life, then encounters Death. An average looking man is brought to the hospital as a suicide attempt, having hung for twenty-two hours, and introduces himself as Death. Well, it turns out that Death is depressed due to the fact that he is responsible for killing everyone. Yes, every single person since persons existed. Talk about work-related stress. Unbelieving, Dr. Jay is confounded when the morning paper lists no obituaries because nobody has died that dead. Death has given up, quit his position and refuses to kill anyone else.

"One Night at the Mercy" is a surprisingly good episode. It combines ghost-like chills with a touch of humour, and its plot is driven by its theme. Unlike its predecessor "Evergreen," this episode is true to the original TZ concept, of dealing with issues affecting humanity and of individual sacrifice. It is also well written and directed, with some nice dim cinematography that adds the element of classic ghost story. The late night, power-disrupted hospital atmosphere is a nice touch. Performances are strong, with Tyler Christopher as Jay and Seinfeld's George Costanza Jason Alexander is excellent as Death, not simply adding a touch of humour to the role, but maintaining the depth of its crisis. Ironically, Christopher is best known for his lengthy stint on the daytime soap General Hospital, a fact most likely in favour of his getting the part. Moreover, before Seinfeld fame, Alexander also appeared in a hospital series, where the lead, played by Elliott Gould, was a Dr. Sheinfeld. This show lasted a single season in 1984-85, was titled E/R, and also featured in its cast George Clooney.

It's also aptly titled: what is the consequence of one night of mercy on humanity? Can death itself be a kind of mercy?


"Shades of Guilt." (S1E3) First aired 18 September 2002. Directed by Perry Lang. Written by Ira Steven Behr. Starring Hill Harper, Vincent Ventresca, Mari Morrow and Barbara Tyson. 5/10

On a rainy night, successful white dude Matt McGreevy is sitting in his car at the light, when a black guys appears, slapping his window and begging to be let inside. Matt freaks, drives off, and looks through his mirror to see the guy getting attacked by three men. It turns out that Matt is an upper-class husband and dog-owner living in a lovely white suburban and corporate world. Wife and friends do little to ease his feelings of guilt, which are enhanced when he learns that the black man was college professor John Woodrell who has published three books. Because this is The Twilight Zone, Matt begins to change, first showing scars such as Woodrell would have received from his beating, and then turning black.

Taken from the annals of the original series, which was a forerunner in anti-racism on TV, "Shades of Guilt" does not have the impact it would have back in the late 1950s and early 1960s. The idea is, of course, still relevant, because racism is, sadly, very much alive sixty years later, only mutated and modernised and, in the case of the suburban corporate landscape, often repressed. The episode means well, but suffers from being too obvious and predictable. The story is reminiscent of the disastrous John Landis production that killed actor Vic Morrow and two children during filming for the Twilight Zone: The Movie. Rather than being a vocal man of many prejudices, however, our protagonist here is an average white guy (as though all "average" white people owned such beautiful homes) whose latent racism comes to the fore. Unfortunately, there are a number of problems with the episode.

For one thing, the episode was made for white people. Matt is a sympathetic character who feels truly guilt for having driven off in a fright, so is not an obvious "bad guy." A risky but likely more convincing show of sympathy would be a true portrayal of the blatant and subtle forms of racism extant in modern society, but instead we have a wrist slapping episode for white people, one that shows Nazi skinheads beating on a suburbanised black man while a bystander white guy is punished. Why were the gang members not shown what it is like to be a visible minority? It would be better to remove one violent aggressor from the streets than to reform an average guy who just happens to be driving by during a racial beating. (Really, driving late at night and some guy starts banging on my car, black or white or orange, I can't imagine how I'd react, and do get that right: it's not an action but a reaction.) Note also that the black man, the good guy here, is a lighter shade of black, psychologically easier for the average white person to sympathise with since he is not as removed racially as a very dark man would appear to be.

TZ magic works in mysterious ways, I suppose, but despite being killed college professor of three books lives to write a fourth, and one upper-middle-class man can live long and prosperous lives while the rest of the world kills each other.

There is another point to ponder. When Matt shows up at the Woodrell's place begging for forgiveness so his life, ultimately, can be saved, Mrs. Woodrell is satisfied to let him get killed when he can't deny that he would have, on that fateful night, saved a white man. Essentially, the message here is that murderous vengeance (albeit in grief) is acceptable. Which brings me away from notions of race to notions of gender. The two lead men in this piece are presented quite sympathetically, and drive away like modern cowboys on horseback off into the horizon. The two lead women, though, are irrationally ruled by emotion. Matt's wife Hilary frustrates him when he tries to show himself up as a bad guy, and nearly kills him when he shows up as black dude John (who doesn't look in the least threatening), while John's wife Clare appears to us in a form of primal, bloodthirsty vengeance; I can almost see the blood dripping from between her teeth.

Of course I'm exaggerating a little, but the seeds are all there, and it's certainly food for thought.


"Dream Lover." (S1E4) First aired 18 September 2002. Directed by Peter O'Fallon. Written by Frederick Rappaport. Starring Shannon Elizabeth, Adrian Pasdar and John Reardon. 5/10

Working on the sequel to his successful graphic novel Sleepless City, Andrew Lomax is struggling, until he receives help from his dream girl, Sondra: a sketch of a beautiful woman he has drawn who has suddenly come to life. Everything is working well, until Sondra begins to flirt with the cable guy, drive into town, and essentially gain some independence.

If you stop to think about this episode, putting the pieces together, there are far too many holes. Andrew Lomax is unsympathetic, and his ridiculous bouts of jealousy quite silly. It also becomes predictable near the end (though certainly not at the beginning) because it becomes evident that is only one way for it to end. The episode is not terrible, as there are some nice camera angles, a nice location, some good initial suspense, and the beautiful Shannon Elizabeth is more than watchable.

The second of two 2002 TZ directed by Peter O'Fallon after the much better "One Night at the Mercy," it's the first of five scripted by Frederick Rappaport.


"Cradle of Darkness." (S1E5) First aired 2 October 2002. Directed by Jean de Segonzac. Written by Kamran Pasha. Starring Katherine Heigl, James Remar, Nancy Sivak and Jillian Fargey. 7/10

Andrea Collins is sent back in time to kill the child who will grow up to be Adolph Hitler. A simple premise, which of course challenges notions of time travel and the consequences of altering past events: should baby Hitler be killed, how can we be certain that an even more horrific crime would not transpire as a result, that an even more horrible person won't then rise to destroy the world? Of course this is all speculation, and time travel stories such as these require a good deal of suspension of logic. Toss the speculation aside, especially considering this is a terrific episode.

What impresses me most here is the quality of production, the gorgeous sets and great cinematography. A larger cast than we normally see in a half-hour episode, everyone does a great job alongside the beautiful Katherine Heigl (Grey's Anatomy) as Collins and the handsome James Remar (Dexter) as the madman's father, Alois Hitler. Supporting cast members do well, including the baby, who performs babyness with natural ease. The accents are inaccurate, inconsistent and even needless, especially since we already accept that they are really speaking German, and that the English is an illusion. Making them have accents is just ridiculous.

I found most interesting the characterization of the Hitler household, and especially of Alois Hitler. A hard, very particular customs official who takes liberties with his female servants. While much of what we know regarding the real Alois is speculation, there are no blatant inaccuracies, and with Remar's solid performance, the character is more dimensional than one would expect in a half-hour slice of historical science-fiction.
The first of two TZ screenplays by Kamran Pasha, who also wrote "To Protect and Serve" (S1E15). Directed by experienced television director Jean de Segonzac, who also directs the next episode, "Night Route," and the straight-to-video Mimic 2, along with many episodes of the various Law & Order series. Writing and direction are both strong.


"Night Route." (S1E6) First aired 2 October 2002. Directed by Jean de Segonzac. Written by Jill E. Blotevogel and Pen Densham. Starring Ione Skye, Dylan Walsh, Nicky Klyne and Emily Perkins. 7/10

Melina Kroner is nearly hit by a car, and soon begins to experience odd episodes, from a city bus seemingly following her to strangers recognising her. She refuses to believe that she has died, unfair since she is happy and soon to be married, and tries to escape that fate. Director Jean de Segonzac's strong follow-up to the (slightly) stronger "Cradle of Darkness" took me by surprise. not only did the end surprise me, but thematically the episode's simple message of live life to the fullest is nicely achieved. The episode plays out like a classic TZ, yet it manages to defy expectation.

A strong performance by Ione Skye is a plus, with good back up from Dylan Walsh (Nip/Tuck) as husband-to-be Adam. It's also nice to see some talented Canadians even though in bit parts, such as Emily Perkins, the lead in the great Ginger Snaps, and Nicky Klyne from Battlestar Galactica.

Tales from the Darkside Season Four: Episodes 14 through 20

Season One begins here
Season Two begins here
Season Three begins here
Season Four episodes 1 through 7 appear here
Season Four episodes 8 through 13 appear here


"The Cutty Black Sow." (First aired 8 May 1988) Directed by Richard Glass. Written by Michael McDowell from a story by Thomas F. Monteleone. Starring Huckleberry Fox, Mary Griffin and Paula Trueman. 7/10

Before she dies on All-Hallows-Even, Jamie's Scottish grandmother grumbles about the Cutty Black Sow, that creature that appears on Halloween night to take the soul of a family member in the household that has seen a death. Jamie is the only one who believes her, records her deathbed rantings, and makes preparations to protect the family from the legendary monster. A good, suspenseful episode, but the pacing is just a little uneven and drags at some points. The episode works thanks to good cinematography, the use of darkness, shadows and flickering lights, and thanks to the young actors. The kids are very well cast, Huckleberry Fox as the believing and determined Jamie, and Mary Griffin as his photogenic sister Gloria (who also appeared in the amusing Monsters episode "Parents from Space"). In fact, the kids are so believable as older brother and younger sister that the viewer truly wishes they come to no harm, and this becomes an excellent example of the importance of casting. The episode was also Paula Trueman's final screen appearance; she had a small part in season two episode, "Monsters in My Room." Her performance as the dying grandmother is truly effective. The ending is sort of predictable, but it does not come across predictably, making its final moment quite effective as well.


"Do Not Open This Box." (First aired 15 May 1988) Directed by Jodie Foster. Written by Bob Balaban and Franco Amurri. Starring Eileen Heckart, William LeMassena and Richard B. Shull. 7/10

Unlucky and simple inventor Charles Pennywell accidentally receives a box in the mail containing the inscription "DO NOT OPEN THIS BOX." He wishes to comply, but his wife Rose, a bitter and selfish materialistic woman, assumes there are valuables of some kind within, and promptly disobeys. Well, the box is empty, but the postman soon appears asking for it to be returned, claiming that he would give anything -- ANYTHING -- to have it back. Of course, Mrs. Pennywell takes advantage.

This is a great episode based on a classic scenario, and good writing, direction and acting make for an even-paced, suspenseful story. Directed by multi-talented Jodie Foster, her directorial debut, and co-written by Bob Balaban, director of the series pilot, as well as actor, writer and director of a number of other projects, who was also involved in the production of the excellent Gosford Park. It is clear that special attention went into this episode as it was produced with care, filmed with patience, allowing the actors to act so everything comes across naturally. The set is a nice, cluttered basement, as any inventor's basement should be, and we can even forgive the fact that the postman comes in by the cellar door rather than the front door, where you would think mail is normally delivered. (Of course it is just easier to produce the low budget series by keeping everything as contained as possible.) Eileen Heckart is excellent as Rose, while William LeMassena is super-sympathetic as Charles, and both are well balanced by Richard B. Shull as the unconventional postman.
Now, we can find some fault with the character dynamics. Kind Charles puts up with overbearing Rose, but are Rose's complaints so invalid? She is stuck at home while Charles fails at inventing; perhaps Charles should be husband to his wife, take her out once in a while, pay some attention to her rather than just involve himself with his inventions. Any woman--any person--would become bitter after years of neglect. Poor Rose has been suffering punishment all her life, only to be punished once more. Now, we can also speculate that she has always been this way and manipulated or somehow guilted Charles into marrying her, but there just isn't enough textual evidence to support this. Relationship vagueness aside, a truly fine episode.


"Family Reunion." (First aired 22 May 1988) Directed by Tom Savini. Written by Edithe Swensen. Starring Stephen McHattie, Patricia Tallman, Daniel Terence Kelley and Marilyn Rockafellow. 7/10

"What's behind that door, Mr. Perry?"

Robert Perry is in a rented house with his son Bobby. He's taken Bobby here to keep him safe, locking him up and away from the boy's mother. The thing is, Bobby is a werewolf, and Robert is worried he'll harm his own mother. But mother Janice has found them, and with the help of a social worker is determined to get her boy back.

Finally Edithe Swensen gets it right; her final of ten Darkside scripts, which includes some of the series' lower points, this one packs a punch. Though I wouldn't give Ms. Swensen credit for its impact; Tom Savini's make-up and direction are excellent, as is busy Nova Scotian actor Stephen McHattie's performance as protective father Robert Perry. The other performances are strong as well, with Marilyn Rockafellow doing a great job in the small part as family services employee Trudy.

There are so many small things that make this episode so much fun to watch. Savini is not only great at doing make-up, he proves himself to be great at revealing his make-up. We witness Bobby transforming through his shadows against the wall, and we see the creature behind so much darkness, little bits of boy and monster appearing in fragments. We keep getting hints at his wolfish appearance with tricks of light and sharp editing, and yet when we finally see him in full lycanthropic guise, we are not disappointed. The build-up is great without taking away from the final revelation. Savini also adds some nice, self-referential decor to Bobby's room. the boy reads Fangoria #47, the 1985 cover that features Savini's make-up for George A. Romero's Day of the Dead. On the boy's wall is a poster of Romero's 1982 Creepshow, a film not only make-upped by Savini, but that also features him in a cameo role as a garbage collector. There's also a nice transition from the full moon to the boy's face, the moment that confirms our suspicions that he is a werewolf.

Another nice touch is Trudy's ashtray cleaning. When Janice is sitting in her office the first time, Trudy wipes the ashtray her visitor has just crushed a cigarette, though Janice simply lights another. Now despite the nice, nearly unnoticeable moment, there is a continuity error with the same ashtray. When the camera first lights upon the scene, Janice is crushing her cigarette in the tray. The camera then cuts to Trudy, and there is a lit cigarette in the same tray. We then cut back to Janice is holding a fresh, unlit cigarette, which quickly Trudy lights for her. Minor detail, of course. There are more serious problems with the episode though, which are in Swensen's script.

[Spoiler] Janice's interview with Trudy makes the ending too obvious by letting us know she was injured along with Bobby on a trip to Ireland. Though we can also figure it out a little later through Janice's unnatural strength. Now, if Janice is that strong, that desperate to get bobby back and knows where Robert is keeping him hid, why can she not just walk over, do away with hubby and take custody of her little boy? Why does she need Trudy with her? And what is the point of the magistrate? Trudy tells Janice that a magistrate will arrive at the house, and yet it is odd that the magistrate should visit on official business so late at night. Maybe that's a trend in this unnamed town, since Trudy herself in still in her office. When they arrive at the house there is no magistrate, an individual never mentioned again, yet they enter anyway (illegally). So what is the point of that character? It's a way of getting Janice and Trudy to the house during a full moon, and a lazy way at that. Trudy is needed so that we can get some back story from Janice, but the episode would have made more sense if perhaps Janice uses Trudy to find out where they live, since with her strength she can barge into the house at any time. The way the script is pieced together makes for utter silliness, but thanks to Savini's skill, fine acting and great overall production values, it is a great episode.


"Going Native." (First aired 19 June 1988) Directed by Andrew Weiner. Written by Theodore Gershuny from a story by Weiner. Starring mostly Kim Greist, along with John Aprea, Cynthia David, Richard Kuhlman, Pamela Kenny, Alison Sweeney and lots of people in photographs. 8/10

"They have an expression here. Losing... your... mind."

We all feel alienated from time to time, a character says, but she doesn't realise how much this statement relates for Claire. The thing is, Claire is from another world, metaphorically and literally; she cannot relate to others since she comes from another planet. Her mission here is to studying Earth's natives, and at this she is diligent, photographing everything and, to understand us humans better, joining a social group. Members of this group (referred to simply as "Group") gather to express and release emotion, from hurt to rage, in an attempt to better understand themselves and those around them. In an attempt to better function in society. A great way to study human emotion, yet for Claire it also involves a risk.

"Stupid. Stupid. I should not have joined the Group."

A story told through the point of view of an alien living among us for the purpose of studying us has been done before. Immediately I think of that fun Robert Silverberg short story, "The Reality Trip." It is an idea, however, with a lot of promise, and with "Going Native" the idea reaches a pinnacle. Focusing primarily on human emotion, "Going Native" shows us up as primarily emotional creatures, but also portrays the ridiculousness of how we try to rationalize those emotions. Other human elements are touched upon through appalled alien eyes, such as human materialism and the power of media, asking the important question: "Who dictates these images?"

The concept works because the production values are excellent. This is like a short, experimental film by talented, emerging artists, or a successful graduate film project, something willing to take risks and investing fully in its idea. The script by Darkside regular Theodore Gershuny is top-notch, seemingly made up of broken sentences that are nonetheless inter-related. There is dark humour imbedded in these short lines. Group member Lee is pounding on a pillow, yelling at it, hurling insults at it, then stops, short of breath, and Group leader Amy asks, "Are you finished with your wife?" Later Amy says to Claire, "I'd like you to put your mother on the pillow."

There are good visual contrasts. Claire's studio is dark, so dark that details are difficult to make out, while the group meeting area is overly bright, the glare almost painful. (These contrasts made it difficult to capture a decent image for this review, but I so wanted to include one.) Contrast is used also to highlight human inconsistency, as when Claire, having slept with Lee, wonders how someone filled with so much anger can be so tender. Camera angles are great, and the photos Claire takes of everything and everyone are excellent. Sound is well used too, especially as a soundtrack to the studio photography slideshow.

The attractive Kim Greist is great as Claire. Greist is best known as Jill Layton, Jonathan Price's love interest in the excellent Terry Gilliam film Brazil; unfortunately she appears to have abandoned acting somewhere around 2001. Her cold, dry delivery is great, especially when she is trying to pretend emotion as an emotionless being ("YeeeEEESS?"), a difficult thing to pull off. And the way she looks at the people around her, intently and expectantly, like a child and yet looking down on them. Her climactic scene is fantastic, her body language sharp, and her voice work in narrating the episode is also good. John Aprea is good as soap opera actor Lee, delivering his lines well; it helps that his lines are well written as it's evident he is comfortable with them. Even that sleaze Claire picks up at the bar is good in a bit part.

This is the last of the great, unconventional risk-taking Darkside episodes, and from that unique bunch, it is also the best.


"Hush." (First aired 10 July 1988) Directed by Allen Coulter. Written by John Harrison from a story by Zenna Henderson. Starring Nile Lanning, Eric Jason and Bonnie Gallup. 7/10

With her inventor husband out of town, Beth Warren goes out to "a reception down at the high school" (aka to meet her lover), and babysitter Jennifer must take care of lonely, sickly Buddy. Buddy is productive in his loneliness. Learning no doubt from his father, he built a few little machines from household scraps. One of these is a "noise eater," a machine that looks like a run-down vacuum cleaner that is attracted to noise and essentially quiets it. When the machine runs amok, Buddy and Jennifer must be absolutely still, or risk being silenced themselves.

Chase episodes have been attempted for a few shows, and the idea was likely inspired by the Richard Matheson scripted "The Invaders" for The Twilight Zone, an episode almost wholly devoid of dialogue. The chase in "Hush" is inventive, which alone is impressive since chase episodes for any TV series are normally quite dull. It works here because the set up is well established. First off, the two-room space does well in creating a good geographical consistency, and the viewer becomes quickly familiar with the space that we might as well be there with the characters. The characters themselves are sympathetic so we care what happens to them, and the unknown cast is good, especially Bonnie Gallup as mother Beth, whose briefer role in the opening sequence is spot-on, hurried and well delivered. The cast is well directed, with the opening sequence delivered as nearly a single shot, and the choreography is excellent. While Beth getting ready to go out and she and Jennifer are pacing the room, a number of the items are clearly established for the viewer, items that will come into play during the showdown. The episode is well scripted, as we learn a good deal about the family and Beth's husband who never makes an appearance. What the purpose is of having Beth meeting a man while her husband is away (she could be meeting a friend just as easily), but it gives the episode additional colour, realism, and something interesting to notice. Whether any of this was scriptwriter John Harrison's doing or borrowed directly from Zenna Henderson's short story, I can't attest to as I haven't read it, but will hopefully rectify that soon.

Sure the monster doesn't look scary, being little other than a household vacuum cleaner, but the fact that it is household and familiar is the point, the threat within the house become more real. Its snout, of course, is at times too long and, sadly, at times comical. It is also odd that the noise eater doesn't attack Buddy when he first introduces it to Jennifer, but that's a minor detail, though you'd think he'd want to whisper. Shhhhhh...


"Barter." (First aired 17 July 1988) Directed by Christopher T. Welch. Written by Jule Selbo from a story by Lois McMaster Bujold. Starring Jack Carter, Jill Jaress, Michael Santiago and Miguel Alamo. 3/10

(This one could also have been titled "Hush.")

Dedicated housewife Ruthie is being driven around the bend by musician husband Nicky and their son, aspiring drummer Little Nicky. Salesman Klaatzu appears at the door seeking ammonia, for which he offers in trade (hence the title) an instrument that can freeze Little Nicky so that poor Ruthie can work on winning a freezer at an upcoming competition. This episode is a parody of the classic I Love Lucy, where iconic housewife Lucy (Lucille Ball) wishes she were a star, and puts up with bandleader husband Ricky Ricardo (Desi Arnaz) who wants her to be the ideal housewife. The names are nearly identical and they even look (somewhat) alike, and dress (somewhat) alike; Ricky is Cuban and from his (flawed) accent we can assume Nicky is as well; just like Lucy, Ruthie wants fame and attention while Nicky (just like Ricky with his Lucy) wishes she remain a simple housewife. And of course there are the hilarious antics (well, attempted anyway), along with a dash of the Darkside. Unfunny (even that uninspired moment when Ruthie and Nicky sneak in to replace ammonia with bleach wearing... cleaning stuff. Is this a reference to a specific I Love Lucy episode? Even then, was it really necessary?

This was actually a neat idea for television (it was close to the thirty-year anniversary of I Love Lucy), based on a story by Lois McMaster Bujold. It just isn't funny and feels at times too forced, as though everyone involved was trying so hard to be I Love Lucy (Michael Santiago as Desi Arnaz bothered me from the get-go). Sound guy Christopher T. Welch was behind the camera for season two's "The Shrine" (episode 17), a better effort than this, though we can't blame the directing here. The script is lame, the ending is anticlimactic and the acting is overly average, except for Santiago who was likely cast for his physical appearance rather his ability to successfully embody Desi. Moreover, the alien Klaatzu (comedian Jack Carter, who has appeared in the original Alfred Hitchcock Presents and Tales of Tomorrow) fails to be funny as either a 1950s alien or a 1950s salesman.


"Basher Malone." (First aired 24 July 1988) Directed by Anthony Santa Croce. Written by Peter O'Keefe. Starring Vic Tayback, Steve Strong, Marie Denn and Magic Schwarz. 1/10

There exists a darkside, and ample proof is given by the fact that this episode was produced. A "good guy" wrestler is challenged to fight a demon from hell. It turns out that pro wrestling is the devil's tool to lead young, impressionable kids to the road to hell, and our hero Basher Malone is infuriating demon manager Tippy Ryan by being a good role model. This episode was produced at the height of pro wrestling, and good guy wrestler Steve Strong (Steve DiSalvo by birth) is appropriately cast as Basher Malone, except for the fact that he can't act. Strong's lack of acting talent is well accompanied by other terrible performances, with the exception of Vic Tayback as Tippy Ryan in his second Darkside appearance, following "The New Man" (S1E2).

In addition to the poor acting we have an unbelievably, shamelessly bad script by Peter O'Keefe, whose Darkside track record is a poor one, as he was also responsible for the "My Ghostwriter - The Vampire" (S3E14) and the terrible "Let the Games Begin" (S3E21). Worst yet is the new low in horrid 80s TV music. Finally, the episode closes off as a kind of ad for Pepsi Cola, another popular yet horrid item from the 80s. Pepsi paraphernalia appears throughout the series (good advertising for them & no doubt good advertising revenue for the series; while I never liked the stuff I'm pleased it supported Darkside). The only good thing this episode has to offer is that it reveals the true secret of Pepsi Cola: it is the gateway to Hell through its own vending machine.

It is unfortunate that Darkside ended its run - and a strong fourth season - with its all-time weakest episode. The episode even goes so far as to contradict itself: when Tippy hands brass knuckles to his fighter in the middle of a bout, everyone is shocked, yet Malone's mother doesn't hesitate in cheating herself, by dumping cold lemonade on demon fighter Trog's hellishly flaming body, and searching her purse for other cheating tools in helping her son win. So how does one distinguish the "Good Guy" (proudly emblazoned on Malone's shirt) from the demon, since both parties use the same means for their ends. Is it the ends then, and not the means, that determines who we are?

Finally, the episode also generates the most unbelievable idea to ever from Tales from the Darkside: the fighting in pro wrestling is real.

Various Authors: Stories from The Fiction Desk 1 (2011)

Various Authors: Stories from The Fiction Desk 1, edited by Rob Redman, The Fiction Desk, 2011. 188 pp

There seems to have been a number of new journals appearing over the last little while, literary to genre, Prole to Dark Moon Digest, and many others promising to appear soon. The quality of these journals tend to be a little all over the place, especially when first starting out, attempting to recruit talented writers, uncover good slush, and hopefully pick up a few readers along the way. I like to support new publications and urge the reading and (especially) writing public to do so as well, since a healthy subscription allows for better long-term quality, and, if nothing else, at least survival.

And if it weren't for these new journals, we wouldn't have such excellent books as Various Authors. I have read a number of new and established fiction journals over the past two years, and Various Authors is without hesitation the strongest, most compelling of the group.

Various Authors is the first anthology published by the fine blog The Fiction Desk, by Rob Redman. The book is attractive, more book-like than journal-like, with a nice cover and great, easy-to-read layout. The quarterly's great looks are surpassed by its consistently readable contents. There is not one bad story among the dozen collected here, and at least half are above the average. Of course this can range from one person's taste to another person's, but the variety here is immediately noticeable, and I am pleased that the journal is unafraid to print serious fiction, from short stories to sketches, serious and comedic, along with fantasy and the absurd. It is this variety that is missing in many contemporary journals, especially the most established ones. Journals with broader readership might feel that, since they have wide and loyal readers, they need to cater to the tastes of their perennial subscribers. If the people at The Fiction Desk maintain this level of consistency, I will be a perennial subscriber. Indeed, I am already itching to see issue number two.

As for which is the strongest story of the group, The Fiction Desk offered a generous prize for the best story, as voted by its authors. There was a three-way tie, so book blogger John Self (The Aylum) was brought in to select one of the three, and the prize went to the excellent "Crannock House," by Ben Lyle, which would probably have been my personal second choice.


"Two Buses Away" by May Lynsey. 6/10
This is a character sketch of a young, lethargic man that plays itself out in a triptych of scenes: Gerry on the bus on his way to visit his parents; Gerry at his parents'; Gerry waiting for the bus after having visited his parents. It's a simple and generally underwhelming series of events, but a subtle yet powerful change occurs in its course. While at his parents', Gerry learns that things between his folks are not too healthy and that his mother has moved out, possibly permanently, yet nothing concrete is offered. Permanent or not, this little chip in Gerry's universe alters his attitude and world-view; the world is not as stable and predictable as it may have been for a child. The adult world is unreliable, and Gerry's self-contained bubble has burst. While the most interesting portion of the story is its middle, a very well written scene between son and father, with tight dialogue and an immeasurable weight of tension, the two bookend moments are the ones that illustrate the change in Gerry. It is through his interaction with strangers, commuters specifically, that we note the transformation, for the once seemingly harmless figure in the world have now become potentially deadly.

Though a great little sketch and well written, I would not have chosen it to open the volume, but would have the subtlety nestled between two more "active" stories.


"How to Fall in Love With an Air Hostess" by Harvey Marcus. 5/10
In this humourist piece of self-referential fiction, the author/narrator/protagonist places himself on a train seated not too far from an attractive stewardess (air hostess, if you want to be politically up-to-date), and considers how he should approach her. The goal is, of course, not so simple as love, but a consideration of eternal happiness amid the wasted past, a past enveloped with youthful apathy. The piece is inconsistently funny though the humour is there, and though it evokes some interesting ideas, it only touches upon them, so that thematically it becomes as light and evasive as our protagonist's world-view. While it lacks both the subtlety and depth of the first story, it is nonetheless enjoyable, and a good contrast to the darkly serious opener. Somewhat reminiscent of Lorrie Moore's "How to Become a Writer," though not as funny, nor as subtle or memorable.


"Crannock House" by Ben Lyle. 7/10
At Crannock House boarding school, an alternative education school in rural Scotland, a young teen befriends Mervyn, the new, eccentric Mathematics teacher. More accurately, the teen narrator forces friendship onto the other, a quiet recluse seemingly content with his home-brew cider, crossword puzzles and made-up games.

The story title is misleading: it's not about the school itself, though it at first appears to be, but about the two men, their friendship, and about the notion of friendship itself. It's not a fuzzy friendship story, but rather shows the darker implications and the inherent responsibilities of friendship. Ben Lyle has put together a multi-dimensional story, at times comic, always vivid, and finally powerfully tragic. Amid these vast dimensions are smaller, creative details, such as the word games and how "nutant" and "beriberi" get incorporated incorporated into the text. An excellent work, and deserving of the prize for Various Authors's best story.


"Rex" by John Wallace. 7/10
Rex's wife has been grieving now for some time since the loss of her beloved dog, so Rex is surprised when he hears playful voices and laughter coming from the bedroom. He enters the room to see her with a dog, as we expect, but surprisingly (and a great surprise it is) it's not a dog so much as some guy in a dog suit. Rex soon learns the dog, William, is an actor (a method actor, I suppose) who takes his role as beloved household pet very seriously, so seriously he is even willing to eat dog food. Well, feeling that it would be best not to disappoint his wife, Rex decides to play along along her wounds begin to heal.

"Rex" is a truly enjoyable story, not just for its quirky fun and originality, but the idea of how far one must go to keep up appearances becomes pleasantly crazed. The little complication that Rex never cared for dogs is a nice touch, and the story is not so much about Sylvia's coming to terms with losing her companion, but about Rex having to face and deal with glitches in their relationship. While he appears to want what is best for his wife, Rex is actually thinking only of himself. Fairly passive and non-confrontational, Rex takes advantage of the advantages of the situation, learning from William his wife's secrets (since people talk to their dogs more openly than to their spouses) rather than learning to listen and understand his partner's needs. He is disinterested in her interest in dogs, and it's likely she wants a companion because Rex himself is so withdrawn. Indeed, he is happy whenever William informs him that she wants to be alone, taking advantage by having drinks with the guys or simply walking by himself in the park (perhaps the same park where Sylvia takes William to share her secrets with). Of course this is all speculation since little detail is even offered about their past and the evolution of their relationship, but there is a reason why the story is titled "Rex" instead of "William," "Sylvia" or something silly like "Dog Day Afternoon"; the story is about the guy and not the grieving process, and the guy's name, Rex, is a name common to dogs, while as the dog's name, "William," is not only common to human males, but generally evokes the image of a decent man (as opposed to something like, say, "Butch").


"The Puzzle" by Alex Cameron. 5/10
An elderly stroke victim bound to a wheelchair in a retirement home is surprised when a stranger leaves him a small package. His attending nurse, Bertha, opens the package to reveal a jigsaw puzzle, and helps him to assemble it. Once involved in the art world through shady means, secrets from the man's past come back to challenge him.

A quiet narrative, and though well written I did not find it as engaging as the other stories. Much of the back-story is told through exposition, and the ending is just too dramatic and overdone for something so quiet, especially that final paragraph. Yet the prose is good, visually precise and, ending aside, smooth and consistent.


"Dave Tough's Luck" by Matthew Licht. 6/10
A former drummer turned drumming teacher takes on a new student, Andy Shrover. Andy is the member of a large, musically talented family, yet through a birthing accident was left brain damaged. Drumming instructor soon discovers, however, that little Andy has talents of his own, and does not merely ape what he hears. Through his idol, the great Dave Tough, our narrator tells of his attempts to bring Andy's talents to light, but the parents won't listen, especially since we're talking noisy drums rather than classy violins. Andy, like the drum, is society's perceived "retard."

I liked the story well enough, with its interesting ideas and energetic writing, the fragmented sentences that often sound like percussions themselves. The structure, however, could have used some tuning. For such a short story the preamble is too long and I was waiting and waiting for the story to start. To me it started at the line, "The first time I saw Andy, he had a kooky smile stretched over his entire face," and I wondered why the author didn't start it here, fitting in the necessary preamble info later and doing away with padding. The title, however, is quite neat, evoking the expression "Tough luck!"


"Assassination Scene" by Jason Atkinson. 7/10
"A government job means that you are set for life... if you suddenly fade out... They'll find a little corner for you in the complex mechanism and there you will sit until retirement."

Middle-aged Washington DC government employee Daniel is about to encounter change. In fact, he will soon be assassinated. When he calls young rookie employee Sadie to his office to warn her that it has become apparent that she is the first to leave for the day, he learns that she has been busy directing a play: William Shakespeare's Julius Caesar. Well, it turns out they need some smaller roles filled, and Daniel might do. In fact, when he proves to be a good reader, Sadie asks him to try out for the part of main man Caesar himself (though of course we all know that Caesar is not the star of Shakespeare's play, but a middling character, along the lines of the ghost of King Hamlet). This is a simple story with a simple lesson, yet well written with a great last line. The tone and language is distant, very formal, like Daniel himself, and like Daniel it wants to be more. The interview with Sadie is well constructed, with Daniel fighting between wanting to be a part of her project, and his official government side creeping in to warn him it is not a good idea. The assassination is, of course, a metaphor, a symbolic death, a removal from the corner Daniel has been shuffled into.


"Celia and Harold" by Patrick Whittaker. 8/10
As a result of re-routing of train lines, a man finds himself waiting for a transfer in the village of Midwick. While biding his time at the local pub, a resident barfly warns him to leave for his own good. What seems like an ordinary story premise soon becomes quite original, so original and engaging that I don't wish to discuss it anymore for fear of removing any of its inherent suspense for other readers. Hopefully this story will re-surface in another anthology over the next couple of years as it needs a wider audience. "Celia and Howard" is my vote for the best Various Authors story.

[Spoiler: Elements of fantasy and literature combine for a tight piece that can be read on many levels, from an unusual yet horrific form of apocalyptic plague, to a story about a man finding his place in the world. Our narrator is unnamed and, in many ways, unformed; he is a professional working in the city and living in its outskirts. A modern English everyman. What he finds in Midwick (perhaps named in homage to John Wyndham's Midwich) is the opportunity to begin anew, to leave his generic work and self behind, and head out, no longer alone, to redefine himself. The story's sense of the absurd is wonderfully rendered in a straightforward, realistic tone, that the fantastic is almost ordinary. Reminiscent of the stories of the neglected John Keefauver.]


"All I Want" by Charles Lambert. 7/10
While teaching English in beautiful Italy, a pair of roommates befriend a local couple, and spend a weekend at their house on Lake Garda. Teddy is interested in the woman, Anna, imagining a wealthy woman who could spoil any man with material wealth, while Simon the narrator is interested in Luigi, a somewhat dark, even mysterious traditional Italian man who carries a gun in his suitcase. Yet another well written story, with some great character portrayals, excellent dialogue, and a story filled with fine contrasts and disturbingly repressed emotions.


"A Covering of Leaves" by Danny Rhodes. 6/10
Train station employee Webster is at work following a tragic train wreck. He is watching the sparse crowds, the ample leaves that he is sweeping from the track points, the incessant rain, and the cars abandoned in the parking lot. These cars, he speculates, belong to victims of the wreck, and watches as one by one they are claimed, except for the little red Nissan parked at the far corner. A sad sight indeed, until one day the Nissan drives away... all by itself, and Webster quickly pursues. An eloquent fantasy dealing with grief and loss, loss of people as well as places. The loss of one's past is also affected, especially when attached to memories of those we have loved. A nice, quiet little story.


"Sometimes the Only Way Out Is in" by Ben Cheetham. 5/10
Ten year-old Finn runs away from from home as his mum lies in a drug-induced stupor and the social worker has come to (re)claim him. He decides to seek out his dad, and from a family trip a few years ago, he believes dad is living in Wales, so he heads off on foot. Meanwhile, Finn has a voice in his head named Zack who is more mature and rational than he, so I suppose they both head off. Frightening things happen in a the darker edge of town as some shady figures appear in Finn's path. This story, the longest in the collection, failed to grip me. I thought it well written and interesting enough, but I read it slowly, a couple of times checking to see how many pages were left, and all in all, it left me unsatisfied. The problem for me was that the story never seemed to have any concrete direction, that it just wandered aimlessly, and the fact that a ten year-old with a voice in his head had more purpose than his narrative is indicative of its weaker points. Why am I reading this? I wondered, and as soon as I was done I stopped wondering about the story altogether. Moreover, I did not care for the title.


"Nativity" by Adrian Stumpp. 6/10
Adrian Stumpp's "Nativity" begins as a kind of rant, the kind of rant on middle-class suburban life and the dark and looming reality of fatherhood a stand-up comic might deliver. Only, the story is not terribly funny, the writing stiff in that attempt to generate comedy through the serious learned language of an academic. Yet the narrator of this rant, thirty-five year-old Dr. Edward Devereaux, is an academic, and the more we learn about him, the more the ungrounded opening begins to make sense. The narrative swerves from ranting to a portrait of Devereaux's upbringing, so that we can understand where his anxieties come from. Despite the almost irritating beginning, stemmed from the fact that the narrator came across as whiny and selfish, "Nativity" is a powerful story about inherent family ties, responsibility, faith in one's self, and so many other little interwoven things that culminate quite nicely.