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
Nostalgia is a sentimentality for the past for a period or place with happy personal associations. The word nostalgia is learned formation of a Greek compound, consisting of νόστος, meaning "homecoming", a Homeric word, ἄλγος, meaning "pain" or "ache", was coined by a 17th-century medical student to describe the anxieties displayed by Swiss mercenaries fighting away from home. Described as a medical condition—a form of melancholy—in the Early Modern period, it became an important trope in Romanticism. Nostalgia is associated with a yearning for the past, its personalities, events the "good old days" or a "warm childhood"; the scientific literature on nostalgia refers to nostalgia regarding the personal life and has studied the effects of nostalgia induced during the studies. Smell and touch are strong evokers of nostalgia due to the processing of these stimuli first passing through the amygdala, the emotional seat of the brain; these recollections of one's past are important events, people one cares about, places where one has spent time.
Music and weather can be strong triggers of nostalgia. Nostalgic preferences, the belief that the past was better than the present, have been linked to biases in memory. Nostalgia's definition has changed over time. Consistent with its Greek word roots meaning "homecoming" and "pain," nostalgia was for centuries considered a debilitating and sometimes fatal medical condition expressing extreme homesickness; the modern view is that nostalgia is an independent, positive, emotion that many people experience often. Occasional nostalgia has been found to have many functions, such as to improve mood, increase social connectedness, enhance positive self-regard, provide existential meaning. Many nostalgic reflections serve more than one function, overall seem to benefit those who experience them; such benefits may lead to a chronic disposition or personality trait of "nostalgia proneness." Although nostalgia is triggered by negative feelings, it results in increasing one's mood and heightening positive emotions, which can stem from feelings of warmth or coping resulting from nostalgic reflections.
One way to improve mood is to cope with problems that hinder one's happiness. Batcho found that nostalgia proneness positively related to successful methods of coping throughout all stages—planning and implementing strategies, reframing the issue positively; these studies led to the conclusion that the coping strategies that are among nostalgia prone people lead to benefits during stressful times. Nostalgia can be connected to more focus on coping strategies and implementing them, thus increasing support in challenging times. Nostalgia sometimes involves memories of people you were close to, thus it can increase one's sense of social support and connections. Nostalgia is triggered by feelings of loneliness, but counteracts such feelings with reflections of close relationships. According to Zhou et al. lonely people have lesser perceptions of social support. Loneliness, leads to nostalgia, which increases perceptions of social support, thus and colleagues concluded that nostalgia serves a restorative function for individuals regarding their social connectedness.
Nostalgia helps people to feel better about themselves. Vess et al. found that the subjects who thought of nostalgic memories showed a greater accessibility of positive characteristics than those who thought of exciting future experiences. Additionally, in a second study conducted, some participants were exposed to nostalgic engagement and reflection while the other group was not; the researchers looked again at self-attributes and found that the participants who were not exposed to nostalgic experiences reflected a pattern of selfish and self-centered attributes. Vess et al. however, found that this effect had weakened and become less powerful among the participants who engaged in nostalgic reflection. Nostalgia helps increase one's self-esteem and meaning in life by buffering threats to well-being and by initiating a desire to deal with problems or stress. Routledge and colleagues found that nostalgia correlates positively with one's sense of meaning in life; the second study revealed that nostalgia increases one's perceived meaning in life, thought to be mediated by a sense of social support or connectedness.
Thirdly, the researchers found that threatened meaning can act as a trigger for nostalgia, thus increasing one's nostalgic reflections. By triggering nostalgia, one's defensiveness to such threat is minimized as found in the fourth study; the final two studies found that nostalgia is able to not only create meaning, but buffer threats to meaning by breaking the connection between a lack of meaning and one's well being. Follow-up studies completed by Routledge in 2012 not only found meaning as a function of nostalgia, but concluded that nostalgic people have greater perceived meaning, search for meaning less, can better buffer existential threat. Nostalgia makes people more willing to engage in growth-oriented behaviors and encourages them to view themselves as growth-oriented people. Baldwin & Landau found that nostalgia leads people to rate themselves higher on items like "I am the kind of person who embraces unfamiliar people and places." Nostalgia increased interest in growth-related behavior such as "I would like to explore someplace that I have never been before."
In the first study, these effects were statistically mediated by nostalgia-induced positive affect—the extent to which nostalgia made participants feel good. In the second study, nostalgia le
Leora Dana was an American film and television actress. Dana was born in New York City and graduated from Barnard College and the Royal Academy of Dramatic Art. In 1947, Dana made her stage debut in London. In 1948, she debuted on Broadway in The Madwoman of Chaillot. After appearing in the 1957 western 3:10 to Yuma with Van Heflin and Glenn Ford, Dana had supporting roles in two 1958 Frank Sinatra films, her other film credits included Pollyanna, A Gathering of Eagles, The Group, The Boston Strangler, Change of Habit, Tora! Tora! Tora!, Wild Rovers, Shoot the Moon, Baby It's You, Amityville 3-D. Dana guest-starred in three episodes of the television series Alfred Hitchcock Presents. In 1961, Dana appeared in an episode of the television series The Asphalt Jungle, appeared in the 1977 miniseries Seventh Avenue. In 1978-1979, Dana played the role of alcoholic clothing designer Sylvie Kosloff, the biological mother of villainess Iris Cory on the NBC daytime soap opera Another World. Dana won the Tony Award for Best Performance by a Featured Actress in a Play in 1973 for The Last of Mrs. Lincoln and the Clarence Derwent Award for her work in The Madwoman of Chaillot.
Dana was married to actor Kurt Kasznar from 1950 to 1958. Dana died of cancer, aged 60, December 1983 in New York City, she was survived by Doris Dana. Leora Dana at the Internet Broadway Database Leora Dana at the Internet Off-Broadway Database Leora Dana on IMDb Leora Dana at the University of Wisconsin's Actors Studio audio collection
Ruth White (actress)
Ruth Patricia White was an American actress who worked in theatre and television. She was an Emmy Award and Obie Award winner and a Tony Award nominee. A lifelong resident of Perth Amboy, New Jersey, White attended St. Mary's High School and graduated with a bachelor's degree in Literature from New Jersey College for Women, now Douglass Residential College, Rutgers University in 1935. While pursuing her acting career in nearby New York City, she taught acting and drama at Seton Hall University. During this period, she studied acting with Maria Ouspenskaya. White began her acting career in 1940 as an apprentice at the Cape May Playhouse. Late in World War II, she spent six months in Alaska and the Aleutians touring with a USO troupe. For five years, beginning in 1948, she was the leading resident actress at Bucks County Playhouse. White's Broadway debut came in The Ivy Green. White's career was delayed in the late 1950s. During her mother's illness White looked older than her age. However, she managed to recover and appeared in off-Broadway plays of Samuel Beckett and Edward Albee.
White earned a Tony Award nomination in 1968 for her role in Harold Pinter's "The Birthday Party." By the end of the 1960s, she had become one of New York's most praised and in demand character actresses, appeared in Midnight Cowboy, Hang'Em High and No Way To Treat A Lady. White's final film role was in The Pursuit of Happiness, released 14 months after her death. In 1962, White won an Obie Award for Distinguished Performance by an Actress for her work in the play Happy Days. In 1964, she won an Emmy Award for her role in the Hallmark Hall of Fame TV Movie Little Moon of Alban. White, who never married, died of cancer on December 3, 1969, she is interred with her brothers Charles and Richard in their family plot at Saint Mary's Cemetery, Perth Amboy, New Jersey. Ruth White on IMDb Ruth White at the Internet Broadway Database Ruth White at the Internet Off-Broadway Database
Studio One (U.S. TV series)
Studio One is an American radio anthology drama series, adapted to television. It was created in 1947 by Canadian director Fletcher Markle, who came to CBS from the CBC, it aired under several variant titles: Studio One in Hollywood, Studio One Summer Theatre, Westinghouse Studio One and Westinghouse Summer Theatre. On April 29, 1947, Fletcher Markle launched the 60-minute CBS Radio series with an adaptation of Malcolm Lowry's Under the Volcano. Broadcast on Tuesdays, opposite Fibber McGee and Molly and The Bob Hope Show at 9:30 pm, ET, the radio series continued until July 27, 1948, showcasing such adaptations as Dodsworth and Prejudice, The Red Badge of Courage, Ah, Wilderness. Top performers were heard on this series, including John Garfield, Walter Huston, Mercedes McCambridge, Burgess Meredith, Robert Mitchum. CBS Radio received a Peabody Award for Studio One in 1947, citing Markle's choice of material and the authenticity of his adaptations "in a production, which at its best, is distinguished for its taste and radio craftsmanship".
In 1948, Markle made a leap from radio to television. Sponsored by Westinghouse Electric Corporation, the television series was seen on CBS, from 1948 through 1958, under several variant titles: Studio One Summer Theatre, Studio One in Hollywood, Summer Theatre, Westinghouse Studio One, Westinghouse Summer Theatre, it was telecast in black-and-white only. Offering a wide range of dramas, Studio One received Emmy nominations every year from 1950 to 1958; the series staged some memorable teleplays among its 467 episodes. Some created such an impact, they were adapted into theatrical films. William Templeton's 1953 adaptation of George Orwell's novel Nineteen Eighty-Four, starring Eddie Albert as Winston Smith, led to the 1956 feature-film version with Edmond O'Brien in the principal role. Reginald Rose's drama "Twelve Angry Men", about the conflicts of jurors deciding a murder case, originated on Studio One on September 20, 1954. Sal Mineo had the title role in the January 2, 1956, episode of Reginald Rose's "Dino", he reprised the role for the movie Dino.
In 1954, "Crime at Blossoms", scripted by Jerome Ross, was given an Edgar Award for Best Episode in a TV Series. Nathaniel Hawthorne's granddaughter received a plaque in recognition of her grandfather's writing achievements during the April 3, 1950 telecast of The Scarlet Letter. "The Night America Trembled" was Studio One's September 9, 1957 top-rated television recreation of Orson Welles' October 30, 1938 radio broadcast of The War of the Worlds. The cast included Alexander Scourby, Ed Asner, Vincent Gardenia. John Astin appeared uncredited as a reporter. Another notable presentation was an adaptation in 1952 of a medieval mystery play about the birth of Christ, "The Nativity", based on the Chester and York Mystery Plays of the 14th and 15th centuries, reworked into Elizabethan English. With musical accompaniment by the Robert Shaw Chorale, presented during the Christmas season of 1952, this was one of the few medieval mystery plays telecast on commercial network television; the cast included Thomas Hardie Chalmers, Miriam Wolfe, Hurd Hatfield, Paul Tripp.
During the 1953 presentation "Dry Run", whole sections of a submarine were built inside the studio, the entire cast was nearly electrocuted when water, being used for special effects got close to power cables. Worthington Miner, Martin Manulis, others produced; as spokeswoman for Westinghouse, Betty Furness became identified with Westinghouse products, she was seen in eight Studio One dramas. The show's musical directors were Milton C. Anderson, who created music for Playhouse 90, Eugene Cines; the show's musical orchestra was directed in several episodes during the 1950s by Alfredo Antonini. The show's run ended when Westinghouse switched its sponsorship to the Westinghouse Desilu Playhouse, which premiered in 1958; the series finished at number 24 in the Nielsen ratings for the 1950–1951 season. For years, the second half of the original TV production of Twelve Angry Men was considered lost. However, in 2003, Joseph Consentino, a researcher-producer for The History Channel, discovered a complete kinescope of the Studio One production in the home of the late New York defense attorney Samuel Leibowitz.
Consentino was researching a History Channel documentary about Leibowitz, the discovery was announced by the Museum of Television & Radio. A third-season episode of the ABC legal drama Boston Legal, "Son of the Defender", used clips from the two-part Studio One episode "The Defender", featuring William Shatner as an attorney joining his lawyer father, played by Ralph Bellamy, in the defense of a 19-year-old, played by Steve McQueen, accused of murder. Utilizing clips of the older show for flashbacks, the Boston Legal episode portrayed Shatner's Studio One character as a young Denny Crane trying his first case alongside his father. Many Studio One episodes are available for viewing at the Paley Center for Media in New York City and Los Angeles, some are available through Netflix. In 2008, Koch Vision released the Studio One Anthology. Episodes include "1984", "The Arena", "Confessions of a Nervous Man", "Dark Possession", "The Death and Life of Larry Benson", "Dino", "Julius Caesar", "June Moon", "The Medium", "Pontius Pilate", "The Remarkable Incident at Carson Corners", "The Storm", "The Strike", "Summer Pavilion", "Twelve Angry Men", "Wuthe
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
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