Third from the Sun
"Third from the Sun" is episode 14 of the American television anthology series The Twilight Zone. It is based on a short story of the same name by Richard Matheson which first appeared in the first issue of the magazine Galaxy Science Fiction in October 1950. Will Sturka, a scientist who works at a military base, has been producing a great number of H-bombs in preparation for imminent nuclear war. Sturka realizes that there is only one way to escape—steal an experimental, top-secret spacecraft stored at the base, he plans to bring Sturka's daughter Jody. The two plot for months, making arrangements for their departure; when production of the bombs increases, Sturka realizes. He and Riden decide to put their plan in action—take their families to the craft to tour it, overpower the guards and take off. Sturka's superior Carling overhears the two men talking; that night, everyone gathers for a game of cards where Riden reveals that he has found a place to go—a small planet 11 million miles away. During the game, Carling unexpectedly appears at the door and hints that he knows what the group is planning.
He hints at trouble: "A lot can happen in forty-eight hours." After he leaves and Riden inform the women that they must leave that moment. When the five arrive at the site of the spacecraft and Riden spot their contact, who flashes a light; when the contact steps forward, though, he is revealed to be Carling, armed with a gun. He prepares to call the authorities; the women, who have been waiting in the car, watch as Carling orders them out. Jody throws the car's door open, knocking the gun from Carling's hand and giving the men enough time to overpower him; the group rushes into the ship. That evening, the group has safely escaped their doomed planet and are on course. Sturka comments. Riden smiles as he points out on the ship's viewer their mysterious destination, 11 million miles away—the third planet from the Sun, called "Earth". Todd VanDerWerff of The A. V. Club rated it A and called the twist "justifiably famous". "Probe 7, Over and Out", another Twilight Zone episode with a similar plot. "The Invaders", another episode in which a farm woman encounters tiny "alien" astronauts, who are Earthlings.
"Death Ship" is a TZ episode again featuring the Forbidden Planet Cruiser, where explorers find their ship E-89 has somehow crashed on the alien planet they have just found. Ancient astronaut theory DeVoe, Bill.. Trivia from The Twilight Zone. Albany, GA: Bear Manor Media. ISBN 978-1-59393-136-0 Grams, Martin.. The Twilight Zone: Unlocking the Door to a Television Classic. Churchville, MD: OTR Publishing. ISBN 978-0-9703310-9-0 "Third from the Sun" on IMDb "Third from the Sun" at TV.com Matheson, Richard. "Third from the Sun". Galaxy Science Fiction. P. 61. Retrieved 17 October 2013
Hubert Prior "Rudy" Vallée was an American singer, actor and radio host. He was one of the first modern pop stars of the teen idol type; the son of Charles Alphonse Vallée and Catherine Lynch, Rudy Vallée was born Hubert Prior Vallée in Island Pond, Vermont. His parents were born and raised in Vermont; the Vallées were Francophone Canadians from Quebec. Vallée grew up in Maine. In 1917, he enlisted for World War I but was discharged when United States Navy authorities discovered he was only 15 years old, he enlisted in Portland, Maine, on March 29, 1917, under the false birthdate of July 28, 1899. He was discharged at the Naval Training Station, Rhode Island, on May 17, 1917, with 41 days of active service. After playing drums in his high school band, Vallée played clarinet and saxophone in bands around New England as a teenager. From 1924 through 1925, he played with the Savoy Havana Band at the Savoy Hotel in London, where band members discouraged his attempts to become a vocalist, he returned to the United States attending the University of Maine.
He received a degree in philosophy from Yale University, where he played in the Yale Collegians with Peter Arno, who became a cartoonist for The New Yorker magazine. After graduation, he formed Rudy Vallée and the Connecticut Yankees, having named himself after saxophonist Rudy Wiedoeft. With this band, which included two violins, two saxophones, a piano, a banjo, drums, he started singing, he seemed more at home singing sweet ballads than jazz songs. But his singing, suave manner, boyish good looks attracted attention from young women. Vallée was given a recording contract, in 1928 he started performing on the radio, he became one of the first crooners. Singers needed strong voices to fill theaters in the days before microphones. Crooners had soft voices. Vallée's trombone-like vocal phrasing on "Deep Night" would inspire Bing Crosby, Frank Sinatra, Perry Como to model their voices on jazz instruments. Vallée was one of the first celebrity pop stars. Flappers pursued him, his live appearances were sold out.
Among screaming female fans, his voice failed to project in venues without microphones and amplification, so he sang through a megaphone. A caricature of him singing this way was depicted in the Betty Boop cartoon Poor Cinderella. Another caricature is in Crosby and Vallee, which parodies him, Bing Crosby, Russ Columbo. In the words of a magazine writer in 1929, At the microphone he is a romantic figure. Faultlessly attired in evening dress, he pours into the radio's delicate ear a stream of mellifluous melody, he appears to be coaxing, pleading and at the same time adoring the invisible one to whom his song is attuned. Vallée had his share of detractors as well as fans. Radio Revue, a radio fan magazine, held a contest in which people wrote letters explaining his success; the winning letter, written by a man who disliked Vallee's music, said, "Rudy Vallee is reaping the harvest of a seed, sown this day and age: LOVE. The good-looking little son-of-a-gun and LOVES his audience and his art, he LOVES to please listeners—LOVES it more than he does his name in the big lights, his mug in the papers.
He loved all those unseen women as passionately as a voice can love, long before they began to purr and to caress him with two-cent stamps."Vallée made his first records in 1928 for Columbia's low-priced labels Harmony, Velvet Tone, Diva. He signed to RCA Victor in February 1929 and remained with the company through 1931, leaving after a heated dispute with executives over title selections, he recorded for the short-lived Hit of the Week label which sold records laminated onto cardboard. In August 1932, he signed with Columbia and stayed with the label through 1933, his records were issued on Victor's low-priced Bluebird label until November 1933, when he was back on the Victor label. He remained with Victor until signing with ARC in 1936. ARC issued his records on the Perfect, Melotone and Romeo labels until 1937, when he again returned to Victor. With his group the Connecticut Yankees, Vallée's best-known recordings include "The Stein Song" in 1929 and "Vieni, Vieni" in the latter 1930s, his last hit record was a reissue of "As Time Goes By", popularized in the 1942 film Casablanca.
Due to the mid-1940s recording ban, RCA Victor reissued the version he had recorded in 1931. During World War II, he enlisted in the United States Coast Guard to help direct the 11th district Coast Guard band as a Chief Petty Officer, he was led the 40 piece band to great success. In 1944 he was returned to radio. According to George P. Oslin, Vallée on July 28, 1933 was the recipient of the first singing telegram. A fan telegraphed birthday greeting, Oslin had the operator sing "Happy Birthday to You". In 1995, a Golden Palm Star on the Palm Springs, Walk of Stars was dedicated to him. In 1929, Vallée began hosting The Fleischmann's Yeast Hour, a popular radio show with guests such as Fay Wray and Richard Cromwell in dramatic skits. Vallée continued hosting radio shows such as the Royal Gelatin Hour, Vallee Varieties, The Rudy Vallee Show through the 1930s and 1940s; when Vallée took his contractual vacations from his national radio show in 1937, he insisted his sponsor hire Louis Armstrong as his substitute This was the first instance of an African-American hosting a national radio program.
A World of Difference
"A World of Difference" is episode 23 of the American television anthology series The Twilight Zone. You're looking at a tableau of reality, things of substance, of physical material: a desk, a window, a light; these things have dimension. Now this is Arthur Curtis, age thirty-six, real, he has flesh and blood and mind. But in just a moment we will see how thin a line separates that which we assume to be real with that manufactured inside of a mind. Arthur Curtis is a businessman planning a vacation to San Francisco with his wife Marian. After arriving at his office and talking with his secretary Sally, after finding that his telephone is not functional and hearing someone yell "cut," he discovers his office to be a movie set on a sound stage, he is told that Arthur Curtis is a role he is playing, that his real identity is Gerald Raigan, a movie star, caught in the middle of a brutal divorce from a hostile wife Nora, his own alcoholism, a declining career. He leaves the studio with Nora, he tries in vain to locate Arthur Curtis's house, mistakes a little girl for his daughter, scaring her.
Nora drives him to their actual home. Inside, he meets his agent, who tells him that if he fails to continue work that day, he will drop him as a client. Curtis still protests that he is not Raigan, tries to call his workplace, but the operator cannot find any listing of it, his agent believes that he is having a nervous breakdown, shows him the shooting script of a movie called The Private World of Arthur Curtis. He tells him that the movie is being canceled due to his outburst in the studio. Raigan/Curtis rushes back to the set, being dismantled, pleads not to be left in the uncaring world of Gerald Raigan. Curtis reappears in his office. Sally gives Arthur his plane tickets; as Arthur hears echoes of the studio sounds, he tells Marian that he never wants to lose her, that they should leave for their vacation immediately. Meanwhile, in the other world, Raigan's agent shows up on the set to find; as the set is being dismantled, a teaser shows the "Arthur Curtis" script left on a table, waiting to be thrown into the rubbish bin.
In the last scene and Marian board a plane, which takes flight and fades away into the sky. The modus operandi for the departure from life is a pine box of such and such dimensions, this is the ultimate in reality, but there are other ways for a man to exit from life. Take the case of Arthur Curtis, age thirty-six, his departure was along a highway with an exit sign that reads, "This Way To Escape". Arthur Curtis, en route to the Twilight Zone. DeVoe, Bill.. Trivia from The Twilight Zone. Albany, GA: Bear Manor Media. ISBN 978-1-59393-136-0 Grams, Martin.. The Twilight Zone: Unlocking the Door to a Television Classic. Churchville, MD: OTR Publishing. ISBN 978-0-9703310-9-0 "A World of Difference" on IMDb "A World of Difference" at TV.com the-croc.com episode page
A casino is a facility which houses and accommodates certain types of gambling activities. The industry that deals in casinos is called the gaming industry. Casinos are most built near or combined with hotels, retail shopping, cruise ships or other tourist attractions. There is much debate over whether the social and economic consequences of casino gambling outweigh the initial revenue that may be generated; some casinos are known for hosting live entertainment events, such as stand-up comedy and sporting events. The term "casino" is a confusing linguistic false friend for translators. Casino is of Italian origin; the term casino may mean summerhouse, or social club. During the 19th century, the term casino came to include other public buildings where pleasurable activities took place. In modern-day Italian a casino is either a brothel, a mess, or a noisy environment, while a gaming house is spelt casinò, with an accent. Not all casinos were used for gaming; the Catalina Casino, a famous landmark overlooking Avalon Harbor on Santa Catalina Island, has never been used for traditional games of chance, which were outlawed in California by the time it was built.
The Copenhagen Casino was a theatre, known for the mass public meetings held in its hall during the 1848 Revolution, which made Denmark a constitutional monarchy. Until 1937, it was a well-known Danish theatre; the Hanko Casino in Hanko, Finland—one of that town's most conspicuous landmarks—was never used for gambling. Rather, it was a banquet hall for the Russian nobility which frequented this spa resort in the late 19th century and is now used as a restaurant. In military and non-military usage in German and Spanish, a casino or kasino is an officers' mess; the precise origin of gambling is unknown. It is believed that gambling in some form or another has been seen in every society in history. From the Ancient Greeks and Romans to Napoleon's France and Elizabethan England, much of history is filled with stories of entertainment based on games of chance; the first known European gambling house, not called a casino although meeting the modern definition, was the Ridotto, established in Venice, Italy in 1638 by the Great Council of Venice to provide controlled gambling during the carnival season.
It was closed in 1774. In American history, early gambling establishments were known as saloons; the creation and importance of saloons was influenced by four major cities: New Orleans, St. Louis and San Francisco, it was in the saloons that travelers could find people to talk to, drink with, gamble with. During the early 20th century in America, gambling became outlawed and banned by state legislation and social reformers of the time. However, in 1931, gambling was legalized throughout the state of Nevada. America's first legalized casinos were set up in those places. In 1976 New Jersey allowed gambling in Atlantic City, now America's second largest gambling city. Most jurisdictions worldwide have a minimum gambling age. Customers gamble by playing games of chance, in some cases with an element of skill, such as craps, baccarat and video poker. Most games played have mathematically determined odds that ensure the house has at all times an overall advantage over the players; this can be expressed more by the notion of expected value, uniformly negative.
This advantage is called the house edge. In games such as poker where players play against each other, the house takes a commission called the rake. Casinos sometimes give out complimentary comps to gamblers. Payout is the percentage of funds returned to players. Casinos in the United States say that a player staking money won from the casino is playing with the house's money. Video Lottery Machines have become one of the most popular forms of gambling in casinos; as of 2011 investigative reports have started calling into question whether the modern-day slot-machine is addictive. Casino design—regarded as a psychological exercise—is an intricate process that involves optimising floor plan, décor and atmospherics to encourage gambling. Factors influencing gambling tendencies include sound and lighting. Natasha Dow Schüll, an anthropologist at the Massachusetts Institute of Technology, highlights the decision of the audio directors at Silicon Gaming to make its slot machines resonate in "the universally pleasant tone of C, sampling existing casino soundscapes to create a sound that would please but not clash".
Dr Alan Hirsch, founder of the Smell & Taste Treatment and Research Foundation in Chicago, studied the impact of certain scents on gamblers, discerning that a pleasant albeit unidentifiable odour released by Las Vegas slot machines generated about 50% more in daily revenue. He suggested. Casino designer Roger Thomas is credited with implementing a successful, disruptive design for the Las Vegas Wynn Resorts casinos in 2008, he broke casino design convention by introducing natural sunlight and flora to appeal to women. Thomas put in skylights and antique clocks, defying the commonplace notion that a casino should be a timeless space; the following li
Where Is Everybody?
"Where Is Everybody?" is the first episode of the American anthology television series The Twilight Zone. It was broadcast on October 2, 1959 on CBS. A man finds himself alone on a dirt road dressed in a U. S. Air Force flight suit, having no memory of how he got there, he finds a diner and walks in to find a jukebox playing loudly and a hot pot of coffee on the stove, but there are no other people besides himself. He accidentally breaks a clock, upon which the jukebox stops playing; the man walks toward a nearby town. Like the diner, the rest of the town seems deserted, but the man seems to find evidence of someone being there recently; the man grows unsettled as he wanders through the empty town, needing someone to talk to but at the same time feeling that he is being watched. In a soda shop, the man notices an entire spinning rack of paperback books titled The Last Man on Earth, Feb. 1959. As night falls, the lights in the park turn on, leading the man to a movie theater, the marquee of, illuminated.
He remembers he is an Air Force soldier from Battle Hymn. When the film begins onscreen, he runs to the projection booth and finds nobody there becomes more paranoid that he is being watched. Running through the streets in a panic, the man hits a pedestrian call button; the call button is revealed to be a panic button: the man, whose name is given as Sgt. Mike Ferris, is in an isolation booth being observed by a group of uniformed servicemen, he has been undergoing tests to determine his fitness as an astronaut and whether he can handle a prolonged trip to the Moon alone, though the town was a hallucination caused by sensory deprivation. The officiating general warns Ferris that while his basic needs will be provided for in space travel, he will not have companionship: "next time be alone". Ferris is carried from the hangar on a stretcher as he tells the Moon in the sky not to "go away up there", reminding himself of the loneliness he faces. Earl Holliman as Mike Ferris James Gregory as General Garry Walberg as Colonel Serling's original pilot for The Twilight Zone was "The Happy Place", which revolved around a society in which people were executed upon reaching the age of 60, being considered no longer useful.
CBS executive William Self rejected the story, feeling it was too dark. Unlike other episodes, which were filmed at Metro-Goldwyn-Mayer, "Where is Everybody?" was filmed at Universal. The episode featured Westbrook Van Voorhis as narrator; when Voorhis was unavailable for episodes, Serling re-recorded the narration himself for consistency. Serling notably changed the opening narration to place the Twilight Zone within the fifth dimension, among other alterations. Serling adapted "Where is Everybody?" for a novelization titled Stories From the Twilight Zone. Serling grew dissatisfied with the lack of science fiction content and changed the story to include Ferris discovering a movie ticket in his pocket while on the stretcher. A variation on this plotline was used in the episode "King Nine Will Not Return"; the New York Times praised the episode, saying that Serling proved "that science cannot foretell what may be the effect of total isolation on a human being", though " resolution... seemed trite and anticlimactic.
In the desultory field of filmed half-hour drama, however, Mr. Serling should not have much trouble in making his mark. At least his series promises to be different. Charles Beaumont praised the episode in The Magazine of Fantasy and Science-Fiction, writing that he "read Serling's first script... Old stuff? Of course. I thought so at the time... but there was one element in the story which kept me from my customary bitterness. The element was quality. Quality shone on every page, it shone in the scene set-ups. And because of this, the story seemed new and powerful. There was one compromise, but it was made for the purpose of selling the series." DeVoe, Bill.. Trivia from The Twilight Zone. Albany, GA: Bear Manor Media. ISBN 978-1-59393-136-0 Grams, Martin.. The Twilight Zone: Unlocking the Door to a Television Classic. Churchville, MD: OTR Publishing. ISBN 978-0-9703310-9-0 Full video of the episode at CBS.com "Where Is Everybody?" on IMDb "Where Is Everybody?" at TV.com
In religion and folklore, Hell is an afterlife location, sometimes a place of torment and punishment. Religions with a linear divine history depict hells as eternal destinations while religions with a cyclic history depict a hell as an intermediary period between incarnations; these traditions locate hell in another dimension or under the Earth's surface and include entrances to Hell from the land of the living. Other afterlife destinations include Heaven, Purgatory and Limbo. Other traditions, which do not conceive of the afterlife as a place of punishment or reward describe Hell as an abode of the dead, the grave, a neutral place located under the surface of Earth; the modern English word hell is derived from Old English hel, helle reaching into the Anglo-Saxon pagan period. The word has cognates in all branches of the Germanic languages, including Old Norse hel, Old Frisian helle, Old Saxon hellia, Old High German hella, Gothic halja. All forms derive from the reconstructed Proto-Germanic feminine noun *xaljō or *haljō.
In turn, the Proto-Germanic form derives from the o-grade form of the Proto-Indo-European root *kel-, *kol-:'to cover, save'. Indo-European cognates including Latin cēlāre and early Irish ceilid. Upon the Christianization of the Germanic peoples, extension of Proto-Germanic *xaljō were reinterpreted to denote the underworld in Christian mythology, for which see Gehenna. Related early Germanic terms and concepts include Proto-Germanic *xalja-rūnō, a feminine compound noun, *xalja-wītjan, a neutral compound noun; this form is reconstructed from the Latinized Gothic plural noun *haliurunnae, Old English helle-rúne, Old High German helli-rūna'magic'. The compound is composed of two elements: *xaljō and *rūnō, the Proto-Germanic precursor to Modern English rune; the second element in the Gothic haliurunnae may however instead be an agent noun from the verb rinnan, which would make its literal meaning "one who travels to the netherworld". Proto-Germanic *xalja-wītjan is reconstructed from Old Norse hel-víti'hell', Old English helle-wíte'hell-torment, hell', Old Saxon helli-wīti'hell', the Middle High German feminine noun helle-wīze.
The compound is a compound of * * wītjan. Hell appears in several religions, it is inhabited by demons and the souls of dead people. A fable about Hell which recurs in folklore across several cultures is the allegory of the long spoons. Hell is depicted in art and literature most famously in Dante's Divine Comedy. Punishment in Hell corresponds to sins committed during life. Sometimes these distinctions are specific, with damned souls suffering for each sin committed, but sometimes they are general, with condemned sinners relegated to one or more chamber of Hell or to a level of suffering. In many religious cultures, including Christianity and Islam, Hell is depicted as fiery and harsh, inflicting suffering on the guilty. Despite these common depictions of Hell as a place of fire, some other traditions portray Hell as cold. Buddhist - and Tibetan Buddhist - descriptions of Hell feature an equal number of hot and cold Hells. Among Christian descriptions Dante's Inferno portrays the innermost circle of Hell as a frozen lake of blood and guilt.
But cold played a part in earlier Christian depictions of Hell, beginning with the Apocalypse of Paul from the early third century. The Sumerian afterlife was a dark, dreary cavern located deep below the ground, where inhabitants were believed to continue "a shadowy version of life on earth"; this bleak domain was known as Kur, was believed to be ruled by the goddess Ereshkigal. All souls went to the same afterlife, a person's actions during life had no effect on how the person would be treated in the world to come; the souls in Kur were believed to eat nothing but dry dust and family members of the deceased would ritually pour libations into the dead person's grave through a clay pipe, thereby allowing the dead to drink. Nonetheless, funerary evidence indicates that some people believed that the goddess Inanna, Ereshkigal's younger sister, had the power to award her devotees with special favors in the afterlife. During the Third Dynasty of Ur, it was believed that a person's treatment in the afterlife depended on how he or she was buried.
The entrance to Kur was believed to be located in the Zagros mountains in the far east. It had seven gates; the god Neti was the gatekeeper. Ereshkigal's sukkal, or messenger, was the god Namtar. Galla were a class of demons, they are fr
The Last Night of a Jockey
"The Last Night of a Jockey" is an episode of the American television anthology series The Twilight Zone. In this episode, a diminutive jockey's wish to be tall is granted; the only actor in this entire episode is Mickey Rooney. Rod Serling wrote this episode for Rooney. A jockey named Grady is lying alone in his room after being banned from horse racing for life for fixing races by horse doping, he drinks in his depression, rues his five foot height, which horse riding had served to compensate for. He hears a voice; the voice claims to live in Grady's head. He argues with the alter ego, trying to justify his life and his actions lying about his crimes, but the alter ego knows all about him. Grady is offered the chance to change his life with one wish. Grady says. After Grady wakes from a nap he finds. Ecstatic, Grady calls his ex-girlfriend over the phone, he boasts. The alter ego remains unimpressed, he derides his dumb and "cheap" wish, says that Grady could've wished to win the Kentucky Derby, or perform a heroic act.
A telephone call from the racing commission informs Grady that he has been reinstated and can jockey again. Grady joyfully thanks everyone who petitioned to give him a second chance, but the alter ego laughs at him. Grady realizes he has become larger, about 10 feet tall — too tall to ride a horse, or properly fit in his own apartment. Devastated, the now-giant Grady wrecks his room and pleads with the alter ego to make him small again; the alter ego denies the request, instead replies, "You are small, Mr. Grady. You see, every time, but right now, they just don't come any smaller." CBS's Program Practices department criticized this episode for use of the word "dwarf" in a negative context, suggesting that instead the terms "half-pint", "runt" or "shrimp" could be used. DeVoe, Bill.. Trivia from The Twilight Zone. Albany, GA: Bear Manor Media. ISBN 978-1-59393-136-0 Grams, Martin.. The Twilight Zone: Unlocking the Door to a Television Classic. Churchville, MD: OTR Publishing. ISBN 978-0-9703310-9-0 Zicree, Marc Scott: The Twilight Zone Companion.
Sillman-James Press, 1982 "The Last Night of a Jockey" on IMDb "The Last Night of a Jockey" at TV.com