Time Enough at Last
"Time Enough at Last" is the eighth episode of the American television anthology series The Twilight Zone. The episode was adapted from a short story written by Lynn Venable; the short story appeared in the January 1953 edition of the science fiction magazine If: Worlds of Science Fiction about seven years before the television episode first aired. "Time Enough at Last" became one of the most famous episodes of the original Twilight Zone and has been parodied since. It is "the story of a man who seeks salvation in the rubble of a ruined world" and tells of Henry Bemis, played by Burgess Meredith, who loves books, yet is surrounded by those who would prevent him from reading them; the episode follows Bemis through the post-apocalyptic world, touching on such social issues as anti-intellectualism, the dangers of reliance upon technology, the difference between aloneness and loneliness. Witness Mr. Henry Bemis, a charter member in the fraternity of dreamers. A bookish little man whose passion is the printed page, but, conspired against by a bank president and a wife and a world full of tongue-cluckers and the unrelenting hands of a clock.
But in just a moment, Mr. Bemis will enter a world without bank presidents or wives or clocks or anything else. He'll have a world all to himself... without anyone. Henpecked, far sighted bank teller and avid bookworm Henry Bemis works at his window in a bank, while reading David Copperfield, which causes him to shortchange an annoyed customer. Bemis's angry boss, his nagging wife, both complain to him that he wastes far too much time reading "doggerel"; as a cruel joke, his wife asks him to read poetry from one of his books to her. Seconds she destroys the book by ripping the pages from it, much to Henry's dismay; the next day, as usual, Henry takes his lunch break in the bank's vault, where his reading will not be disturbed. Moments after he sees a newspaper headline, which reads "H-Bomb Capable of Total Destruction", an enormous explosion outside the bank violently shakes the vault, knocking Bemis unconscious. After regaining consciousness and recovering the thick glasses required for him to see, Bemis emerges from the vault to find the bank demolished and everyone in it dead.
Leaving the bank, he sees that the entire city has been destroyed, realizes that a nuclear war has devastated Earth, but that his being in the vault has saved him. Seconds, hours, they crawl by on hands and knees for Mr. Henry Bemis, who looks for a spark in the ashes of a dead world. A telephone connected to nothingness. A neighborhood bar, a movie, a baseball diamond, a hardware store, the mailbox of what was once his house and is now a rubble, they lie at his feet as battered monuments to what is no more. Mr. Henry Bemis on an eight-hour tour of a graveyard. Finding himself alone in a shattered world with canned food to last him a lifetime and no means of leaving to look for other survivors, Bemis succumbs to despair; as he prepares to commit suicide using a revolver he has found, Bemis sees the ruins of the public library in the distance. Investigating, he finds that the books are still legible, his despair gone, Bemis contentedly sorts the books he looks forward to reading for years to come, with no obligations to get in the way.
Just as he bends down to pick up the first book, he stumbles, his glasses fall off and shatter. In shock, he picks up the broken remains of the glasses he is blind without, says, "That's not fair. That's not fair at all. There was time now. There was—was all the time I needed…! It's not fair! It's not fair!" and bursts into tears, surrounded by books he now can never read. The best laid plans of mice and men... and Henry Bemis... the small man in the glasses who wanted nothing but time. Henry Bemis, now just a part of a smashed landscape, just a piece of the rubble, just a fragment of what man has deeded to himself. Mr. Henry Bemis... in the Twilight Zone. "Time Enough at Last" was one of the first episodes written for The Twilight Zone. It introduced Burgess Meredith to the series, he narrated for the 1983 film Twilight Zone: The Movie, which made reference to "Time Enough at Last" during its opening sequence, with the characters discussing the episode in detail. Footage of the exterior steps of the library was filmed several months after production had been completed.
These steps can be seen on the exterior of an Eloi public building in MGM's 1960 version of The Time Machine. John Brahm was nominated for a Directors Guild award for his work on the episode; the book that Bemis was reading in the vault and that flips open when the bomb explodes is A History of the Life and Voyages of Christopher Columbus by Washington Irving. Although the overriding message may seem to "be careful what you wish for, you just might get it", there are other themes throughout the episode as well. Paramount among these is the question of solitude versus loneliness, as embodied by Bemis' moment of near-suicide. Additionally, the portrayal of societal attitudes towards books speaks to the contemporary decline of traditional literature and how, given enough time, reading may become a relic of the past. At the same time, the ending "punishes Bemis for his antisocial behavior, his greatest desire is thwarted". Rod Serl
Eddie Barth was an American actor and voiceover artist. Barth earned the nickname "Mr. Gravel" for his raspy vocals in his voiceover work. Barth was born Edward Michael Bartholetti in Pennsylvania. Barth portrayed Myron Fowler, the owner of Peerless Detectives, a rival detective agency in 38 episodes of the CBS television series Simon & Simon between 1981 and 1989. Additionally, Barth portrayed a police lieutenant on Shaft, he appeared in regular roles on Night Court. Barth's most well-known voiceover commercial work was for the "Tastes Great... Less Filling" Miller Lite advertising campaign during the 1980s. Barth closed the Miller Lite television commercials by reading the slogan, "Lite Beer from Miller. Everything you always wanted in a beer, and less.". His other voiceover credits included Superman: The Animated Series, Osmosis Jones in 2001 and the 1998 film, Babe: Pig in the City. Eddie Barth died of heart failure at his home in Los Angeles on May 28, 2010, at the age of 78. Bananas - Paul Shaft - Tony Made for Each Other - Ronnie The Super Cops - Detroit Hitman / Driver It Couldn't Happen to a Nicer Guy - Sgt.
Riggs Thunder and Lightning - Rudi Volpone The Amityville Horror - Agucci Boardwalk - Eli Rosen The Man in the Santa Claus Suit - Babyskin Fame - Angelo Born in East L. A. - Lester Rover Dangerfield - Champ Twenty Dollar Star - Joe Hogan Mr. Write - Dad Killing Obsession - Limo Dispatcher Babe: Pig in the City - Nigel / Alan Osmosis Jones - Shaft - Lt. Al Rossi Rich Man, Poor Man - Papadakis Husbands, Wives & Lovers - Harry Bellini Alice - Rocky The Incredible Hulk - Sam Brandes Mickey Spillane's Mike Hammer - Ritchie Magnum P. I. - Harry Granger Perfect Strangers - Examiner Full House - Lou Simon & Simon - Myron Fowler / Max Doctor Doctor - Raymond Night Court - Morty Fleckman / Blacky Buzzlick Civil Wars - Charlie Howell, Sr. Murder, She Wrote - Richie Kanpinski / Bernie Gargoyles - Monster Tours Operator Eddie Barth on IMDb Eddie Barth at AllMovie
A supermarket is a self-service shop offering a wide variety of food and household products, organized into sections and shelves. It is larger and has a wider selection than earlier grocery stores, but is smaller and more limited in the range of merchandise than a hypermarket or big-box market; the supermarket has aisles for meat, fresh produce and baked goods. Shelf space is reserved for canned and packaged goods and for various non-food items such as kitchenware, household cleaners, pharmacy products and pet supplies; some supermarkets sell other household products that are consumed such as alcohol and clothes, some sell a much wider range of non-food products: DVDs, sporting equipment, board games, seasonal items. A larger full-service supermarket combined with a department store is sometimes known as a hypermarket. Other services may include those of banks, cafés, childcare centres/creches, Mobile Phone services, photo processing, video rentals, pharmacies or petrol stations. If the eatery in a supermarket is substantial enough, the facility may be called a "grocerant", a blend of "grocery" and "restaurant".
The traditional supermarket occupies a large amount of floor space on a single level. It is situated near a residential area in order to be convenient to consumers; the basic appeal is the availability of a broad selection of goods under a single roof, at low prices. Other advantages include ease of parking and the convenience of shopping hours that extend into the evening or 24 hours of the day. Supermarkets allocate large budgets to advertising through newspapers, they present elaborate in-shop displays of products. Supermarkets are chain stores, supplied by the distribution centers of their parent companies thus increasing opportunities for economies of scale. Supermarkets offer products at low prices by using their buying power to buy goods from manufacturers at lower prices than smaller stores can, they minimise financing costs by paying for goods at least 30 days after receipt and some extract credit terms of 90 days or more from vendors. Certain products are occasionally sold as loss leaders so as to attract shoppers to their store.
Supermarkets make up for their low margins by a high volume of sales, with of higher-margin items bought by the attracted shoppers. Self-service with shopping carts or baskets reduces labor cost, many supermarket chains are attempting further reduction by shifting to self-service check-out. In the early days of retailing, products were fetched by an assistant from shelves behind the merchant's counter while customers waited in front of the counter and indicated the items they wanted. Most foods and merchandise did not come in individually wrapped consumer-sized packages, so an assistant had to measure out and wrap the precise amount desired by the consumer; this offered opportunities for social interaction: many regarded this style of shopping as "a social occasion" and would "pause for conversations with the staff or other customers." These practices were by nature slow and labor-intensive and therefore quite expensive. The number of customers who could be attended to at one time was limited by the number of staff employed in the store.
Shopping for groceries often involved trips to multiple specialty shops, such as a greengrocer, bakery and dry goods store. Milk and other items of short shelf life were delivered by a milkman; the concept of an inexpensive food market relying on large economies of scale was developed by Vincent Astor. He founded the Astor Market in 1915, investing $750,000 of his fortune into a 165' by 125' corner of 95th and Broadway, creating, in effect, an open-air mini-mall that sold meat, fruit and flowers; the expectation was that customers would come from great distances, but in the end attracting people from ten blocks away was difficult, the market folded in 1917. The concept of a self-service grocery store was developed by entrepreneur Clarence Saunders and his Piggly Wiggly stores, his first store opened in 1916. Saunders was awarded a number of patents for the ideas; the stores were a financial success and Saunders began to offer franchises. The Great Atlantic & Pacific Tea Company, established in 1859, was another successful early grocery store chain in Canada and the United States, became common in North American cities in the 1920s.
Early self-service grocery stores did not produce. Combination stores that sold perishable items were developed in the 1920s. There has been debate about the origin of the supermarket, with King Kullen and Ralphs of California having strong claims. Other contenders included Henke & Pillot. To end the debate, the Food Marketing Institute in conjunction with the Smithsonian Institution and with funding from H. J. Heinz, researched the issue, they defined the attributes of a supermarket as "self-service, separate product departments, discount pricing and volume selling."They determined that the first true supermarket in the United States was opened by a former Kroger employee, Michael J. Cullen, on 4 August 1930, inside a 6,000-square-foot former garage in Jamaica, Queens in New York City; the store, King Kullen, operated under the slogan "Pile it high. Sell it low." At the time of Cullen's death in 1936, there were seventee
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
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
A wax museum or waxworks consists of a collection of wax sculptures representing famous people from history and contemporary personalities exhibited in lifelike poses, wearing real clothes. Some wax museums have a special section dubbed the "Chamber of Horrors", in which the more grisly exhibits are displayed; some collections are more specialized, as, for example, collections of wax medical models once used for training medical professionals. Many museums or displays in historical houses that are not wax museums as such use wax figures as part of their displays; the origin of wax museums goes back to the early 18th century at least, wax funeral effigies of royalty and some other figures exhibited by their tombs had been tourist attractions well before that. The making of life-size wax figures wearing real clothes grew out of the funeral practices of European royalty. In the Middle Ages it was the habit to carry the corpse dressed, on top of the coffin at royal funerals, but this sometimes had unfortunate consequences in hot weather, the custom of making an effigy in wax for this role grew, again wearing actual clothes so that only the head and hands needed wax models.
After the funeral these were displayed by the tomb or elsewhere in the church, became a popular attraction for visitors, which it was necessary to pay to view. The museum of Westminster Abbey in London has a collection of British royal wax effigies going back to that of Edward III of England, as well as those of figures such as the naval hero Horatio Nelson, Frances Stewart, Duchess of Richmond, who had her parrot stuffed and displayed. From the funeral of Charles II in 1680 they were no longer placed on the coffin but were still made for display; the effigy of Charles II, open-eyed and standing, was displayed over his tomb until the early 19th century, when all the Westminster effigies were removed from the abbey itself. Nelson's effigy was a pure tourist attraction, commissioned the year after his death in 1805, his burial not in the Abbey but in St Paul's Cathedral after a government decision that major public figures should in future be buried there. Concerned for their revenue from visitors, the Abbey decided it needed a rival attraction for admirers of Nelson.
In European courts including that of France the making of posed wax figures became popular. Antoine Benoist was a French court painter and sculptor in wax to King Louis XIV, he exhibited forty-three wax figures of the French Royal Circle at his residence in Paris. Thereafter, the king authorized the figurines to be shown throughout France, his work became so regarded that James II of England invited him to visit England in 1684. There he executed members of his court. A seated figure of Peter the Great of Russia survives, made by an Italian artist, after the Tsar was impressed by the figures he saw at the Chateau of Versailles; the Danish court painter Johann Salomon Wahl executed figures of the Danish king and queen in about 1740. The'Moving Wax Works of the Royal Court of England', a museum or exhibition of 140 life-size figures, some with clockwork moving parts, opened by Mrs Mary in Fleet Street in London was doing excellent business in 1711. Philippe Curtius, waxwork modeller to the French court, opened his Cabinet de Cire as a tourist attraction in Paris in 1770, which remained open until 1802.
In 1783 this added a Caverne des Grandes Voleurs, an early "Chamber of Horrors". He bequeathed his collection to his protegé Marie Tussaud, who during the French Revolution made death masks of the executed royals. Madame Tussauds associated with London, is the most famous name associated with wax museums, although it was not the earliest wax museum, as is sometimes thought. In 1835 Madame Tussaud established her first permanent exhibition in London's Baker Street. By the late 19th century most large cities had some kind of commercial wax museum, like the Musée Grévin in Paris or the Panoptikum Hamburg, for a century these remained popular. In the late 20th century it became harder for them to compete with other attractions. Today there are Madame Tussauds in Dam Square, Amsterdam. C. Fisherman's Wharf in San Hollywood. Louis Tussaud's wax museum in San Antonio, Texas, is across the street from the historic Alamo. Others are located on the Canadian side of Niagara Falls, Grand Prairie, Texas. One of the most popular wax museums in the United States for decades was The Movieland Wax Museum in Buena Park, near Knott's Berry Farm.
The museum opened in 1962 and through the years added many wax figures of famous show business figures. Several stars attended the unveilings of the wax incarnations; the museum closed its doors after years of dwindling attendance. However, the most enduring museum in the United States is the Hollywood Wax Museum located in Hollywood, California which features exclusively figures of movie actors displayed in settings associated with their roles in popular movies; this group of museums includes Hollywood Wax Museum Branson in Branson, Missouri along with Hollywood Wax Museum Pigeon Forge in Pigeon Forge and Hollywood Wax Museum Myrtle Beach in Myrtle Beach, South Carolina. With the original location having been developed in the mid-1960s, the most recent reports suggest that this group of museums is experiencing brisk business with the Branson location having undergone a substantial expansion and remodeling in 2008 and 2009 including an animated ride and a mirror maze. Another popular wax museum is the Musée