The Big Tall Wish
"The Big Tall Wish" is episode twenty-seven of the American television anthology series The Twilight Zone, with an original score by Jerry Goldsmith. It aired on April 8, 1960 on CBS. Bolie Jackson is a washed-up boxer, he is knocked down and just about to be counted out, when he magically switches places with the other boxer. Bolie is now standing over his vanquished opponent. Bolie celebrates his victory, he remembers being knocked down and has no memory of getting back up to win, nor can he figure out why his knuckles feel fine. His manager tells Bolie. Bolie figures. However, there is one other person. Henry Temple, the young son of Bolie's girlfriend Frances, not only remembers, he has an explanation for what happened. Henry tells Bolie that he made "the biggest, tallest wish" he could come up with for Bolie, for the two boxers to switch positions, it came true. Bolie cannot accept this. Henry warns him. If Bolie does not believe, the wish will not work, but he is unswayed. As soon as he rejects the idea that a wish could have been responsible for what happened, he is returned to the fight, on the canvas.
This time the referee finishes counting Bolie out. Neither Bolie nor Henry have any memory of the alternate outcome. Henry remembers making the biggest wish he could for Bolie, but it did not work, so he declares with resignation that he will not be making any more wishes. "There ain't no such thing as magic, is there?", he asks Bolie. "I guess Henry", Bolie replies sadly. "Or maybe...maybe there is magic. And maybe there's wishes, too. I guess the trouble is...there's not enough people around to believe..." Ivan Dixon as Bolie Jackson Stephen Perry as Henry Temple Kim Hamilton as Frances Temple Walter Burke as Joe Mizell Charles Horvath as Joey Consiglio Carl McIntire as Announcer The all-black principal cast was a novelty for television in 1960. Said Rod Serling at the time:Television, like its big sister, the motion picture, has been guilty of the sin of omission... Hungry for talent, desperate for the so-called'new face,' searching for a transfusion of new blood, it has overlooked a source of wondrous talent that resides under its nose.
This is the Negro actor. A few other Twilight Zones followed the example of this episode and cast blacks in significant roles, including the pastor in "I Am the Night—Color Me Black", with Ivan Dixon, a child in the mall in "The Night of the Meek", the electrician in "The Brain Center at Whipple's"; these inclusions, though insignificant by modern standards, were so revolutionary at the time that The Twilight Zone was awarded the Unity Award for Outstanding Contributions to Better Race Relations in 1961. Cast in the lead role was champion boxer Archie Moore, who exclaimed, "Man, I was in the Twilight Zone!" when describing the punch delivered by his opponent Yvon Durelle. This is one of several episodes from season one where some broadcast prints have the opening title sequence replaced with that of season two; this was done during the summer of 1961 to help the season one shows fit in with the new look the show had taken during the following season. They use the same hallway shown in this episode in "Mr. Bevis", episode 33, but altered.
However, the door and stair railings remain the same. The boxing match takes place at "St. Nick's Arena", the name of a boxing arena in New York City, the St. Nicholas Rink. Zircee, Marc Scott: The Twilight Zone Companion. Sillman-James Press, 1982 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 "The Big Tall Wish" on IMDb
The Twilight Zone (1959 TV series)
The Twilight Zone is an American anthology television series created and presented by Rod Serling, which ran for five seasons on CBS from 1959 to 1964. Each episode presents a stand-alone story in which characters find themselves dealing with disturbing or unusual events, an experience described as entering "the Twilight Zone," ending with a surprise ending and a moral. Although predominantly science-fiction, the show's paranormal and Kafkaesque events leaned the show towards fantasy and horror; the phrase “twilight zone,” inspired by the series, is used to describe surreal experiences. The series featured both established stars and younger actors who would become much better known later. Serling served as executive head writer, he was the show's host and narrator, delivering monologues at the beginning and end of each episode. Serling's opening and closing narrations summarize the episode's events encapsulating how and why the main character had entered the Twilight Zone. In 1997, the episodes "To Serve Man" and "It's a Good Life" were ranked at 11 and 31 on TV Guide's 100 Greatest Episodes of All Time.
Serling himself stated that his favorite episodes of the series were "The Invaders" and "Time Enough at Last". In 2016, the series was ranked No. 7 on Rolling Stone's list of the 100 greatest shows of all time. In 2002, The Twilight Zone was ranked No. 26 on TV Guide's 50 Greatest TV Shows of All Time. In 2013, the Writers Guild of America ranked it as the third best-written TV series and TV Guide ranked it as the fourth greatest drama and the fifth greatest show of all time. By the late 1950s, Rod Serling was a prominent name in American television, his successful television plays included Patterns and Requiem for a Heavyweight, but constant changes and edits made by the networks and sponsors frustrated Serling. In Requiem for a Heavyweight, the line "Got a match?" had to be struck because the sponsor sold lighters. But according to comments in his 1957 anthology Patterns, Serling had been trying to delve into material more controversial than his works of the early 1950s; this led to Noon on Doomsday for the United States Steel Hour in 1956, a commentary by Serling on the defensiveness and total lack of repentance he saw in the Mississippi town where the murder of Emmett Till took place.
His original script paralleled the Till case was moved out of the South and the victim changed to a Jewish pawnbroker, watered down to just a foreigner in an unnamed town. Despite bad reviews, activists sent numerous wires protesting the production. Serling thought that a science-fictional setting, with robots and other supernatural occurrences, would give him more freedom and less interference in expressing controversial ideas than more realistic settings. "The Time Element" was Serling's 1957 pilot pitch for his show, a time travel adventure about a man who travels back to Honolulu in 1941 and unsuccessfully tries to warn everyone about the impending attack on Pearl Harbor. The script, was rejected and shelved for a year until Bert Granet discovered and produced it as an episode of Desilu Playhouse in 1958; the show was a great success and enabled Serling to begin production on his anthology series, The Twilight Zone. Serling's editorial sense of ironic fate in the writing done for the series was identified as significant to its success by the BFI Film Classics library which stated that for Serling "the cruel indifference and implacability of fate and the irony of poetic justice" were recurrent themes in his plots.
There is a fifth dimension, beyond that, known to man. It is a dimension as timeless as infinity, it is the middle ground between light and shadow, between science and superstition, it lies between the pit of man's fears and the summit of his knowledge. This is the dimension of imagination, it is an area. The Twilight Zone premiered the night of October 1959, to rave reviews. "Twilight Zone is about the only show on the air that I look forward to seeing. It's the one series that I will let interfere with other plans", said Terry Turner for the Chicago Daily News. Others agreed. Daily Variety ranked it with "the best, accomplished in half-hour filmed television" and the New York Herald Tribune found the show to be "certainly the best and most original anthology series of the year"; as the show proved popular to television's critics, it struggled to find a receptive audience of television viewers. CBS was banking on a rating of at least 21 or 22; the series' future was jeopardized when its third episode, "Mr. Denton on Doomsday" earned a 16.3 rating.
Still, the show attracted a large enough audience to survive a brief hiatus in November, after which it surpassed its competition on ABC and NBC and convinced its sponsors to stay on until the end of the season. With one exception, the first season featured scripts written only by Rod Serling, Charles Beaumont or Richard Matheson; these three were responsible for 127 of the 156 episodes in the series. Additionally, with one exception, Serling never appeared on camera during any first-season episode (as he woul
Television in the United States
Television is one of the major mass media of the United States. As of 2011, household ownership of television sets in the country is 96.7%, with 114,200,000 American households owning at least one television set as of August 2013. The majority of households have more than one set; the peak ownership percentage of households with at least one television set occurred during the 1996–97 season, with 98.4% ownership. As a whole, the television networks that broadcast in the United States are the largest and most distributed in the world, programs produced for U. S.-based networks are the most syndicated internationally. Due to a recent surge in the number and popularity of critically acclaimed television series during the 2000s and the 2010s to date, many critics have said that American television is undergoing a modern golden age. In the United States, television is available via broadcast – the earliest method of receiving television programming, which requires an antenna and an equipped internal or external tuner capable of picking up channels that transmit on the two principal broadcast bands high frequency and ultra high frequency, in order to receive the signal – and four conventional types of multichannel subscription television: cable, unencrypted satellite, direct-broadcast satellite television and IPTV.
There are competing video services on the World Wide Web, which have become an popular mode of television viewing since the late 2000s with younger audiences as an alternative or a supplement to the aforementioned traditional forms of viewing television content. Individual broadcast television stations in the U. S. transmit on either VHF channels 2 through 13 or UHF channels 14 through 51. During the era of analog television, broadcast stations transmitted on a single universal channel; the UHF band spanned from channels 14 to 83, though the Federal Communications Commission has twice rescinded the high-end portions of the band from television broadcasting use for emergency and other telecommunications purposes in 1983 and 2009. As in other countries, television stations require a license to broadcast and must comply with certain requirements in order to retain it. Free-to-air and subscription television networks, are not required to file for a license to operate. Over-the-air and free-to-air television do not necessitate any monthly payments, while cable, direct broadcast satellite, IPTV and virtual MVPD services require monthly payments that vary depending on the number of channels that a subscriber chooses to pay for in a particular package.
Channels are sold in groups, rather than singularly. Most conventional subscription television services offer a limited basic tier, a minimum base package that includes only broadcast stations within the television market where the service is located, public and government access cable channels. Elevated programming tiers start with an expanded basic package, offering a selection of subscription channels intended for wide distribution. A la carte subscription services in the U. S. are limited to pay television channels that are offered as add-ons to any programming package that a customer of a multichannel video programming distributor can subscribe to for an additional monthly fee. The United States has a "decentralized", market-oriented television system in regard to broadcast television; the nation has a national publi
Leith Stevens was an American music composer and conductor of radio and film scores. Leith Stevens was born in Mount Moriah, Missouri, He was a child prodigy pianist who accompanied operatic vocalist and early audio recording artist Madame Schumann-Heink. During World War II Stevens worked as radio director for the Southwest Pacific Area for the U. S. Office of War Information, he was musical director of the War Production Board series Three Thirds of a Nation presented on Wednesdays on the NBC Blue Network. As early as 1934, Stevens was active in radio broadcasting. Radio highlights in an April 28, 1934, newspaper listed "Romantic songs have been chosen by Charles Carlile, for his broadcast with Leith Stevens' orchestra over WBBM at 5:45."Stevens worked as an arranger for CBS radio, his numerous radio credits over several decades include The Abbott and Costello Show, Academy Award Theater, Action Eighty, American School for the Air, Arch Oboler's Plays, Big Town, The Black Book, CBS Radio Workshop, The Doctor Fights, Encore Theater, The Free Company Rogue's Gallery, The Burns and Allen Show, The Judge, Lights Out, Men Against Death, The Miracle of America, No Help Wanted, Request Performance, Saturday Night Swing Club and radio crime melodrama Yours Truly, Johnny Dollar.
Stevens' piano concerto in C minor was his first work to be used on cinema for the 1947 Hollywood film Night Song. In it Arthur Rubinstein played piano accompanied by the New York Philharmonic and conducted by Eugene Ormandy; the music is tonal, with a horizontal compositional approach, with sophisticated harmonies and challenging virtuoso passages for the piano. The work is influenced by Delius and Gershwin, is both impressionist and romantic, he co-wrote the Oscar-nominated title song from the 1956 movie Julie starring Doris Day. His other film scores included: He provided uncredited contributions to the Frank Capra film classic It's a Wonderful Life. Stevens conducted the music accompanying the film The James Dean Story. In 1957, Capitol Records released the eponymous album containing this music, its anonymous sleeve notes state, "Here is the music direct from the soundtrack of The James Dean Story, a different kind of motion picture; this is a film in which there are no actors, there is no fiction.
It is, the story of a young man in search of himself - a story of a lonely boy growing into a lonely manhood, of a quest for discovery and meaning, of a great talent and zest for creative expression, of a tragic end which brought more questions than answers." The sleeve notes continue, "The life of James Dean is presented on the screen through the means of a new technique - dramatic exploration of a still photograph. Together with tape recordings, existing motion picture material, the people with whom he lived and worked, these photographs create the presence of the living character. If there are supporting roles in this picture, the parts must be credited to the people of Fairmount, where Dean lived as a boy; the sleeve notes describe the music as"... exciting as the motion picture itself. Leith Stevens, the composer, captures a haunting reflection of the violent yet strangely understandable uncertainties of modern youth. Stevens, whose musical scores have distinguished such films as The Wild One, Private Hell 36, Destination Moon and Julie, describes the loneliness and frustrations, the fury and tenderness of James Dean's life and the world in which he moved.
With his use of such instruments as the recorder and bongo drums, in his unique utilization of the jazz idiom, Leith Stevens produces music with dynamic personal identification, not only for James Dean, but for every boy who's worn a leather jacket and for every girl who's danced without her shoes. Stevens traces the development of Dean throughout his boyhood, his early rebellion against conventions, the discovery of his artistic abilities, his failure to resolve his personal problems. “Who Am I?” Depicts the young Dean groping for self-identification. Tommy Sands, the nation's newest singing sensation, sings the theme song “Let Me Be Loved” by Jay Livingston and Ray Evans." Stevens' television work was extensive, including composing and conducting music for 36 television series, nearly two dozen from the 1950s through the late 1960s, including the haunting theme song for the CBS television show Climax!.. He was the Music Supervisor for six popular television series, including Mannix, Mission: Impossible, "Mr. Novak,", The Odd Couple, The Brady Bunch, The Immortal, Love, American Style.
Stevens scored episodes for: Stevens died at the age of 60 years due to a heart attack after learning that his wife had died in a car accident. With Chet Baker and Bud Shank Theme Music from "The James Dean Story" Terrace, Vincent. Radio Programs, 1924-1984. Jefferson, North Carolina: McFarland, 1999. ISBN 0-7864-0351-9 Leith Stevens on IMDb
Editing is the process of selecting and preparing written, visual and film media used to convey information. The editing process can involve correction, condensation and many other modifications performed with an intention of producing a correct, consistent and complete work; the editing process begins with the author's idea for the work itself, continuing as a collaboration between the author and the editor as the work is created. Editing can involve human relations and a precise set of methods. There are various editorial positions in publishing. One finds editorial assistants reporting to the senior-level editorial staff and directors who report to senior executive editors. Senior executive editors are responsible for developing a product for its final release; the smaller the publication, the more these roles overlap. The top editor at many publications may be known as the chief editor, executive editor, or the editor. A frequent and regarded contributor to a magazine may acquire the title of editor-at-large or contributing editor.
Mid-level newspaper editors manage or help to manage sections, such as business and features. In U. S. newspapers, the level below the top editor is the managing editor. In the book publishing industry, editors may organize anthologies and other compilations, produce definitive editions of a classic author's works, organize and manage contributions to a multi-author book. Obtaining manuscripts or recruiting authors is the role of an acquisitions editor or a commissioning editor in a publishing house. Finding marketable ideas and presenting them to appropriate authors are the responsibilities of a sponsoring editor. Copy editors correct spelling and align writings to house style. Changes to the publishing industry since the 1980s have resulted in nearly all copy editing of book manuscripts being outsourced to freelance copy editors. At newspapers and wire services, copy editors write headlines and work on more substantive issues, such as ensuring accuracy and taste. In some positions, they select news stories for inclusion.
At U. K. and Australian newspapers, the term is sub-editor. They may communicate with the printer; these editors may have the title of makeup editor. Within the publishing environment, editors of scholarly books are of three main types, each with particular responsibilities: Acquisitions editor, who contracts with the author to produce the copy Project editor or production editor, who sees the copy through its stages from manuscript to bound book and assumes most of the budget and schedule responsibilities Copy editor or manuscript editor, who prepares the copy for conversion into printed form. In the case of multi-author edited volumes, before the manuscript is delivered to the publisher it has undergone substantive and linguistic editing by the volume's editor, who works independently of the publisher; as for scholarly journals, where spontaneous submissions are more common than commissioned works, the position of journal editor or editor-in-chief replaces the acquisitions editor of the book publishing environment, while the roles of production editor and copy editor remain.
However, another editor is sometimes involved in the creation of scholarly research articles. Called the authors' editor, this editor works with authors to get a manuscript fit for purpose before it is submitted to a scholarly journal for publication; the primary difference between copy editing scholarly books and journals and other sorts of copy editing lies in applying the standards of the publisher to the copy. Most scholarly publishers have a preferred style that specifies a particular dictionary and style manual—for example, the Chicago Manual of Style, the MLA Style Manual or the APA Publication Manual in the US, or the New Hart's Rules in the U. K. Technical editing involves reviewing text written on a technical topic, identifying usage errors and ensuring adherence to a style guide. Technical editing may include the correction of grammatical mistakes, mistyping, incorrect punctuation, inconsistencies in usage, poorly structured sentences, wrong scientific terms, wrong units and dimensions, inconsistency in significant figures, technical ambivalence, technical disambiguation, statements conflicting with general scientific knowledge, correction of synopsis, index and subheadings, correcting data and chart presentation in a research paper or report, correcting errors in citations.
Large companies dedicate experienced writers to the technical editing function. Organizations that cannot afford dedicated editors have experienced writers peer-edit text produced by less experienced colleagues, it helps. The "technical" knowledge that an editor gains over time while working on a particular product or technology does give the editor an edge over another who has just started editing content related to that product or technology, but essential general skills are attention to detail, the ability to sustain focus while working through lengthy pieces of text on complex topics, tact in dealing with writers, excellent communication skills. Editing is a growing field of work in the service industry. Paid editing services may be provided by self-employed editors. Editing firms may employ a team of in-house editors, rely on a network of individual contractors or both; such firms are able to handle editing in a wide range of topics and genres, depending on the skills of individual editors
And When the Sky Was Opened
"And When the Sky Was Opened" is episode eleven of the American television anthology series The Twilight Zone. It aired on December 11, 1959, it is an adaptation of the Richard Matheson short story "Disappearing Act". United States Air Force Colonel Clegg Forbes arrives at a military hospital to visit his friend and co-pilot Major William Gart; the two had piloted an experimental spaceplane, the X-20 DynaSoar, on a mission that took them 900 miles beyond the confines of the Earth's atmosphere for the first time. During their voyage the men blacked out for four hours and the craft itself disappeared from radar screens for a full day before reappearing and crash landing in the desert leaving Gart with a broken leg. Gart inquires as to the status of the plane, but Forbes is agitated and asks Gart if he remembers how many people were on the mission, producing a newspaper whose front page shows the likenesses of the two men and a headline stating that two astronauts were rescued from the desert crash.
Gart confirms that only he and Forbes piloted the plane but Forbes insists that a third man – Colonel Ed Harrington, his best friend for 15 years – accompanied them. In the flashback, the previous morning and Forbes are shown joking with Gart as they are discharged from the hospital after passing their physical exams, leaving the Major to recuperate alone; the same newspaper that Forbes would show Gart is present but instead asserts three astronauts were recovered from the crash of the X-20 with a photo depicting a crew of three. The two men visit a bar downtown. While there, Harrington is overcome by a feeling that he no longer "belongs" in the world. Disturbed, he phones his parents who tell him they have no son named Ed Harrington and believe the person calling them to be a prankster. Harrington mysteriously vanishes from the phone booth and no one in the bar but Forbes remembers his existence. Desperate, Forbes searches for any trace of his friend but can find nothing in the bar, his girlfriend, does not remember Harrington, neither does his commanding officer.
Returning to the closed bar, he breaks in calling his name repeatedly. He returns to the hospital the next morning to talk with Gart. Back in the present, Forbes is dismayed by Gart's claim that he doesn't know anyone named Harrington. Forbes glances at a mirror and discovers he casts no reflection, causing him to flee the room in terror. Gart tries to hobble. Calling the duty nurse to ask if she saw where Forbes went, Gart is stunned at the nurse's claim that nobody named Forbes has been in the building and that Gart was the only man, aboard his plane. After getting back into bed, he notices, it now says that Gart was the sole pilot of the X-20 – all mention of Forbes, including his photo, is gone. Horrified, Gart disappears. An officer enters the building and asks the duty nurse if there are any unused rooms available to accommodate new patients; the nurse takes him to the now empty room which hosted the three astronauts, stating that it has been unoccupied. In the hangar which housed the X-20, the sheet that covered the craft is shown lying on the ground.
There is no trace of the plane. Rod Taylor as Lieutenant Colonel Clegg Forbes Charles Aidman as Colonel Ed Harrington Jim Hutton as Major William Gart Maxine Cooper as Amy Sue Randall as Nurse Paul Bryar as Bartender Joe Bassett as Medical officer Gloria Pall as Girl in bar Elizabeth Fielding as Blond Nurse This episode is loosely based on the short story "Disappearing Act" by Richard Matheson; the story was first published in The Magazine of Science Fiction. Rod Taylor and director Douglas Heyes worked together on the TV series Bearcats!. "Remember Me", an episode of Star Trek: The Next Generation, in which ship's doctor Beverly Crusher undergoes a comparable experience. "Revisions", a Stargate SG-1 episode with a similar plot. "Games People Play", a Eureka episode with a similar plot. 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.
"And When the Sky Was Opened" on IMDb "And When the Sky Was Opened" at TV.com And When The Sky Was Opened | John's Twilight Zone Page