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
Propaganda is information, not objective and is used to influence an audience and further an agenda by presenting facts selectively to encourage a particular synthesis or perception, or using loaded language to produce an emotional rather than a rational response to the information, presented. Propaganda is associated with material prepared by governments, but activist groups, religious organizations and the media can produce propaganda. In the twentieth century, the term propaganda has been associated with a manipulative approach, but propaganda was a neutral descriptive term. A wide range of materials and media are used for conveying propaganda messages, which changed as new technologies were invented, including paintings, posters, films, radio shows, TV shows, websites. More the digital age has given rise to new ways of disseminating propaganda, for example, through the use of bots and algorithms to create computational propaganda and spread fake or biased news using social media. In a 1929 literary debate with Edward Bernays, Everett Dean Martin argues that, "Propaganda is making puppets of us.
We are moved by hidden strings which the propagandist manipulates." Propaganda is a modern Latin word, the gerundive form of propagare, meaning to spread or to propagate, thus propaganda means that, to be propagated. This word derived from a new administrative body of the Catholic church created in 1622 as part of the Counter-Reformation, called the Congregatio de Propaganda Fide, or informally Propaganda, its activity was aimed at "propagating" the Catholic faith in non-Catholic countries. From the 1790s, the term began being used to refer to propaganda in secular activities; the term began taking a pejorative or negative connotation in the mid-19th century, when it was used in the political sphere. Primitive forms of propaganda have been a human activity as far back as reliable recorded evidence exists; the Behistun Inscription detailing the rise of Darius I to the Persian throne is viewed by most historians as an early example of propaganda. Another striking example of propaganda during Ancient History is the last Roman civil wars during which Octavian and Mark Antony blame each other for obscure and degrading origins, cowardice and literary incompetence, luxury and other slanders.
This defamation took the form of uituperatio, decisive for shaping the Roman public opinion at this time. Propaganda during the Reformation, helped by the spread of the printing press throughout Europe, in particular within Germany, caused new ideas and doctrine to be made available to the public in ways that had never been seen before the 16th century. During the era of the American Revolution, the American colonies had a flourishing network of newspapers and printers who specialized in the topic on behalf of the Patriots; the first large-scale and organised propagation of government propaganda was occasioned by the outbreak of war in 1914. After the defeat of Germany in the First World War, military officials such as Erich Ludendorff suggested that British propaganda had been instrumental in their defeat. Adolf Hitler came to echo this view, believing that it had been a primary cause of the collapse of morale and the revolts in the German home front and Navy in 1918. In Mein Kampf Hitler expounded his theory of propaganda, which provided a powerful base for his rise to power in 1933.
Historian Robert Ensor explains. Most propaganda in Nazi Germany was produced by the Ministry of Public Enlightenment and Propaganda under Joseph Goebbels. World War II saw continued use of propaganda as a weapon of war, building on the experience of WWI, by Goebbels and the British Political Warfare Executive, as well as the United States Office of War Information. In the early 20th century, the invention of motion pictures gave propaganda-creators a powerful tool for advancing political and military interests when it came to reaching a broad segment of the population and creating consent or encouraging rejection of the real or imagined enemy. In the years following the October Revolution of 1917, the Soviet government sponsored the Russian film industry with the purpose of making propaganda films In WWII, Nazi filmmakers produced emotional films to create popular support for occupying the Sudetenland and attacking Poland; the 1930s and 1940s, which saw the rise of totalitarian states and the Second World War, are arguably the "Golden Age of Propaganda".
Leni Riefenstahl, a filmmaker working in Nazi Germany, created one of the best-known propaganda movies, Triumph of the Will. In the US, animation became popular for winning over youthful audiences and aiding the U. S. war effort, e.g. Der Fuehrer's Face, which ridicules Hitler and advocates the value of freedom. US war films in the early 1940s were designed to create a patriotic mindset and convince viewers that sacrifices needed to be made to defeat the Axis Powers. Polish filmmakers in Great Britain created anti-nazi color film Calling mr. Smith about current nazi crimes in occupied Europe and about lies of nazi propaganda; the West and the Soviet Union both used propaganda extensively during the Cold War. Both sides used film, and
Workmanship is a human attribute relating to knowledge and skill at performing a task. Workmanship is a quality imparted to a product; the type of work may include the creation of handcrafts, writing and other products. Workmanship and Craftsmanship are sometimes considered synonyms, but many draw a distinction between the two terms, or at least consider craftsmanship to mean "workmanship of the better sort". Among those who do consider workmanship and craftsmanship to be different, the word "workmanlike" is sometimes used as a pejorative, to suggest for example that while an author might understand the basics of their craft, they lack flair. David Pye has written that no one can definitively state where workmanship ends and craftsmanship begins. - an extract from a Homeric hymn celebrating craftsmanship. During the Middle Ages and armor smiths developed unique symbols of workmanship to distinguish the quality of their work; these became some of the most unusual signs of workmanship, comparable to the mon family crests of Japan.
Workmanship is considered to have been a valued human attribute in prehistoric times. In the opinion of the economist and sociologist Thorstein Veblen, the sense of workmanship is the single most important attribute governing the material well being of a people, with only the parental instinct coming a close second. There have however been periods in history; this was not always the case - back in the archaic period, Greeks had valued workmanship, celebrating it in Homeric hymns. In the western world, a return to a more positive attitude towards work emerged with the rise of Christianity. In Europe, Veblen considers that the social value of workmanship reached its peak with the "Era of handicraft"; the era began as workmanship flourished with the relative peace and security of property rights that Europe had achieved by the Late middle ages. The era ended as machine driven processes began to displace the need for workmanship after the Industrial revolution. Workmanship was such a central concept during the handicraft era, that according to Veblen key theological questions about God's intentions for humanity were re-framed from "What has God ordained?" to "What has God wrought?".
The high value placed on workmanship could sometimes be an oppressive force for certain individuals - for example, one explanation for the origin of the English phrase sent to Coventry is that it was born from the practice where London guild members expelled due to poor workmanship were forced to move to Coventry, which used to be a guild free town. But workmanship was still appreciated by the common people themselves. For example, when workers accustomed to practicing high standards of workmanship were first recruited to work on production lines in factories, it would be common for them to walk out, as the new roles were monotonous, giving them little scope to use their skills. After Henry Ford introduced the first Assembly line in 1913, he could need to recruit about ten men to find one willing to stay in the job. Over time, with Ford offering high rates of pay, the aversion of labor to the new ways of working was reduced. Workmanship began to receive considerable attention from scholars once its place in society came under threat by the rise of industrialization.
The Arts and Crafts movement arose in the late 19th and early 20th century, as workmanship began to be displaced by developments like greater emphases on process, machine work, the separation of design and planning skills from the actual execution of work. Scholars involved in founding the movement, like William Morris, John Ruskin and Charles Eliot Norton, argued that the opportunity to engage in workmanship used to be a great source of fulfillment for the working class. From a historical perspective however, the arts and crafts movement has been seen as a palliative, which unintentionally reduced resistance to the displacement of workmanship. In a book written on the nature of workmanship, David Pye writes that the displacement of workmanship has continued into the late 20th century, he writes that since World War II there has been "an enormous intensification of interest in design", at the expense of workmanship. The trend started in the 19th century has continued, with Industrial processes designed to minimize the skill needed for workers to produce quality products.
21st century scholars such as Matthew Crawford have argued that office and other white collar work is now being displaced by similar technological developments to the ones that caused large numbers of manual workers to be made redundant from the late 19th to early 20th century. When the jobs remain, the cognitive aspects of the jobs taken away from the workers, due to knowledge being centralized, he calls for a revaluing of workmanship, saying that certain manual roles like mechanics and carpenters have been resistant to further automation, are among the most to continue offering the worker the chance for independent thought. Writers like Alain de Botton and Jane McGonigal have argued that the world of work needs to be reformed to make it more fulfilling and less stressful. In particular, workers need to be able to make a felt imaginative connection between their own efforts and the end product. McGonigal argues; the reliability of electronic devices is affected by the quality of the workmanship.
Therefore, the electronics manufacturing industry has developed several volunt
One for the Angels
"One for the Angels" is the second episode of the American anthology television series The Twilight Zone. It aired on October 9, 1959 on CBS. Lou Bookman is a kindly sidewalk pitchman who sells and repairs toys and trinkets, is adored by the neighborhood children. One day, Bookman is visited by Mr. Death, who tells him that he is to die at midnight of natural causes. Unable to dissuade Death, Bookman instead convinces him to wait until Bookman has made his greatest sales pitch: "one for the angels". Death agrees, Bookman announces he is retiring, smug that he has cheated Death. Death concedes Bookman has found a loophole in their agreement, but warns Bookman that someone else now has to die in his place. Death chooses Maggie, a little girl who lives in Bookman's apartment building and is a friend of his. Maggie falls into a coma. Bookman begs Death to take him instead. Bookman gets out his wares and begins to eloquently boast one item after or another, making the greatest sales pitch of his life—one so great that he entices Death himself.
Death buys item after item and does not remember his appointment with Maggie until it is past midnight, when he has missed it. When Maggie awakens, her doctor leaves the apartment and sees Bookman, assuring him that Maggie will live. Death observes that by making that great sales pitch, Bookman has met the original terms of their deal. Now content and willing to accept his fate, Bookman packs his things and leaves with Death toward Heaven, remarking that "you never know who might need something up there", he looks to Death, adding "Up there?" and Death replies, "Up there, Mr. Bookman. You made it." Ed Wynn as Lewis J. "Lou" Bookman Murray Hamilton as Mr. Death Dana Dillaway as Maggie Polanski Zicree, 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 Sander, Gordon F. Serling: the rise and twilight of television's last angry man.
New York: Penguin Books, 1992. ISBN 0-525-93550-9 "One for the Angels" on IMDb "One for the Angels" at TV.com
John Elmer "Jack" Carson was a Canadian-born, American film actor. Though he was used in supporting roles for comic relief, his work in films such as Mildred Pierce and Cat on a Hot Tin Roof displayed his mastery of "straight" dramatic actor roles as well, he worked for RKO and MGM. His trademark character was the wisecracking know-it-all and undone by his own smug cockiness, he was born in Carman, Canada to Elmer and Elsa Carson. He was the younger brother of actor Robert Carson, his father was an executive with an insurance company. In 1914, the family moved to Milwaukee, which he always thought of as his home town, he attended high school at Hartford School, St. John's Military Academy, but it was at Carleton College that he acquired a taste for acting. Carson became a U. S. citizen in California in 1949. Because of his size – 6 ft 2 in and 220 lb – his first stage appearance was as Hercules. In the midst of a performance, he took half the set with him. A college friend, Dave Willock, thought it was so funny he persuaded Carson to team with him in a vaudeville act – Willock and Carson – and a new career was born with "a successful comedy team that played large and small vaudeville theatres everywhere in North America".
This piece of unplanned business would be typical of the sorts of things that tended to happen to Carson in many of his film roles. After the act with Willock broke up, Carson teamed with dancer Betty Alice Lindy for appearances in theaters on the Orpheum Circuit. Radio was another source of employment for the team, starting with a 1938 appearance on the Kraft Music Hall when Bing Crosby hosted the show. In 1942–1943, he was host of The Camel Comedy Caravan, in the next season he starred in The New Jack Carson Show, which debuted on CBS June 2, 1943. Charles Foster wrote about the show in Once Upon a Time in Paradise: Canadians in the Golden Age of Hollywood: "It broke audience records during the four years it was on the air. Hollywood's biggest stars... lined up to do guest spots on the show."In 1947–1948, he starred in The Sealtest Village Store".:299 Suspense episodes starring Jack Carson: June 28, 1959 "Analytical Hour" with John Hoyt and Sam Pierce. From 1950 to 1951, Carson was one of four alternating weekly hosts of the Wednesday evening NBC Television comedy-variety show Four Star Revue.
The second season was his last with the show. Carson had his own variety program, The Jack Carson Show on NBC and was the announcer on the television version of Strike It Rich.:1028 His success in radio led to the start of a lucrative film career. During the 1930s, as vaudeville declined from increased competition from radio and the movies and Carson sought work in Hollywood. Carson landed bit roles at RKO Radio Pictures in films such as Bringing Up Baby, starring Cary Grant and Katharine Hepburn. An early standout role for Carson was as a mock-drunk undercover G-Man opposite Richard Cromwell in Universal Pictures's anti-Nazi action drama entitled Enemy Agent; this led to contract-player status with Warner Brothers shortly thereafter. While there, he was teamed with Dennis Morgan in a number of films to compete with Paramount's popular Bing Crosby - Bob Hope Road to … pictures. Most of his work at Warner Brothers was limited to light comedy work with Morgan, Doris Day. Critics agree that Carson's best work was in Mildred Pierce, where he played the perpetually scheming Wally Fay opposite Joan Crawford in the title role.
In 1945, he played the role of Harold Pierson, the second husband of Louise Randall, played by Rosalind Russell, in Roughly Speaking. Another role which won accolades for him was as publicist Matt Libby in A Star is Born. One of his last film roles was as the older brother "Gooper" in Cat on a Hot Tin Roof, his TV appearances, extending into the early 1960s, included The Martha Raye Show, The Guy Mitchell Show, The Polly Bergen Show in 1957. His TV pilot, Kentucky Kid, was under consideration as a potential series for NBC, but was not picked up by the network; the proposed series would have had Carson playing a veterinarian widower who raises horses and has an adopted Chinese child. His brother Robert was a character actor. On February 8, 1960, Carson received two stars on the Hollywood Walk of Fame for his contributions to the television and radio industry; the television star is located at 1560 Vine Street, the radio star is at 6361 Hollywood Boulevard. In 1983, after his death, Jack Carson was inducted into the Wisconsin Performing Artists Hall of Fame along with his film pal, Dennis Morgan, from Wisconsin.
In 1962, while rehearsing the Broadway play Critic's Choice, he collapsed and was subsequently diagnosed with stomach cancer. He died in Encino on January 2, 1963, aged 52. Carson was entombed in Glendale's Forest Lawn Memorial Park Cemetery. Carson married four times: Elizabeth Lindy, Kay St. Germain, Lola Albright, Sandra Jolley, former wife of actor Forrest Tucker and daughter of character actor, I. Stanford Jolley. Carson had a roman
Anti-Americanism is a sentiment that espouses a dislike of or opposition to the American government or its policies in regards to its foreign policy, or to Americans in general. Political scientist Brendon O'Connor of the United States Studies Centre in Australia suggests that "anti-Americanism" cannot be isolated as a consistent phenomenon, since the term originated as a rough composite of stereotypes and criticisms evolving to more politically-based criticism. French scholar Marie-France Toinet says use of the term "anti-Americanism" is "only justified if it implies systematic opposition – a sort of allergic reaction – to America as a whole."Discussions on anti-Americanism have in most cases lacked a precise explanation of what the sentiment entails, which has led to the term being used broadly and in an impressionistic manner, resulting in the inexact impressions of the many expressions described as anti-American. Author and expatriate William Russell Melton described that criticism for the United States originates from the perception that the U.
S. wants to act as a "world policeman."Negative or critical views of the United States' influence are widespread in Russia, the Middle East, Cuba and North Korea, but remain low in Vietnam, the Philippines, South Korea, certain countries in central and eastern Europe. As of 2018, countries in the European Union with the most positive opinions of the U. S. are Poland, followed according to Eurobarometer. In the online Oxford Dictionary the term "anti-American" is defined as "hostile to the interests of the United States". In the first edition of Webster's American Dictionary of the English Language the term "anti-American" was defined as "opposed to America, or to the true interests or government of the United States. In France the use of the noun form'antiaméricanisme' has been catalogued from 1948, entering ordinary political language in the 1950s. A poll conducted in 2017 by the BBC World Service of 19 countries, 4 countries rated U. S. influence positively, while 14 leaned negatively, 1 was divided.
Anti-Americanism has risen in recent years in the European Union in western and southern Europe. Interpretations of anti-Americanism have been polarized. Anti-Americanism has been described by Hungarian-born American sociologist Paul Hollander as "a relentless critical impulse toward American social and political institutions and values". German newspaper publisher and political scientist Josef Joffe suggests five classic aspects of the phenomenon: reducing Americans to stereotypes, believing the United States to have an irremediably evil nature, ascribing to the U. S. establishment a vast conspiratorial power aimed at utterly dominating the globe, holding the U. S. responsible for all the evils in the world, seeking to limit the influence of the U. S. by destroying it or by cutting oneself and one's society off from its polluting products and practices. Other advocates of the significance of the term argue that anti-Americanism represents a coherent and dangerous ideological current, comparable to anti-Semitism.
Anti-Americanism has been described as an attempt to frame the consequences of U. S. foreign policy choices as evidence of a American moral failure, as opposed to what may be unavoidable failures of a complicated foreign policy that comes with superpower status. Its status as an "-ism" is a contended suspect, however. Brendon O'Connor notes that studies of the topic have been "patchy and impressionistic," and one-sided attacks on anti-Americanism as an irrational position. American academic Noam Chomsky, a prolific critic of the U. S. and its policies, asserts that the use of the term within the U. S. has parallels with methods employed by military dictatorships. The concept "anti-American" is an interesting one; the counterpart is used only in totalitarian states or military dictatorships... Thus, in the old Soviet Union, dissidents were condemned as "anti-Soviet". That's a natural usage among people with rooted totalitarian instincts, which identify state policy with the society, the people, the culture.
In contrast, people with the slightest concept of democracy treat such notions with ridicule and contempt. Some have attempted to recognize both positions. French academic Pierre Guerlain has argued that the term represents two different tendencies: "One systematic or essentialist, a form of prejudice targeting all Americans; the other refers to the way criticisms of the United States are labeled "anti-American" by supporters of U. S. policies in an ideological bid to discredit their opponents". Guerlain argues that these two "ideal types" of anti-Americanism can sometimes merge, thus making discussion of the phenomenon difficult. Other scholars have suggested that a plural of anti-Americanisms, specific to country and time period, more describe the phenomenon than any broad generalization; the used "anti-American sentiment", less explicitly implies an ideology or belief system. Globally, increases in perceived anti-American attitudes appear to correlate with particular policies or actions, such as the Vietnam and Iraq wars.
For this reason, critics sometimes argue the label is a propaganda term, used to dismiss any censure of the United States as irrational. In the mid- to late-eighteenth
Rodman Edward Serling was an American screenwriter, television producer, narrator known for his live television dramas of the 1950s and his science-fiction anthology TV series, The Twilight Zone. Serling was active in politics, both on and off the screen, helped form television industry standards, he was known as the "angry young man" of Hollywood, clashing with television executives and sponsors over a wide range of issues including censorship and war. Serling was born on December 1924, in Syracuse, New York, to a Jewish family, he was the second of two sons born to Samuel Lawrence Serling. Serling's father had worked as a secretary and amateur inventor before having children, but took on his father-in-law's profession as a grocer to earn a steady income. Sam Serling became a butcher after the Great Depression forced the store to close. Rod had Robert J. Serling, their mother was a homemaker. Serling spent most of his youth 70 miles south of Syracuse in the city of Binghamton after his family moved there in 1926.
His parents encouraged his talents as a performer. Sam Serling built a small stage in the basement, where Rod put on plays, his older brother, writer Robert, recalled that, at the age of six or seven, Rod entertained himself for hours by acting out dialogue from pulp magazines or movies he had seen. Rod talked to people around him without waiting for their answers. On a two-hour trip from Binghamton to Syracuse, the rest of the family remained silent to see if Rod would notice their lack of participation, he did not. In elementary school, Serling was seen as the class clown and dismissed by many of his teachers as a lost cause. However, his seventh-grade English teacher, Helen Foley, encouraged him to enter the school's public speaking extracurriculars, he was a speaker at his high school graduation. He began writing for the school newspaper, in which, according to the journalist Gordon Sander, he "established a reputation as a social activist", he was interested in sports and excelled at tennis and table tennis.
When he attempted to join the varsity football team, he was told. Serling was interested in writing at an early age, he was an avid radio listener interested in thrillers and horror shows. Arch Oboler and Norman Corwin were two of his favorite writers, he "did some staff work at a Binghamton radio station... tried to write... but never had anything published." He was accepted into college during his senior year of high school. However, the United States was involved in World War II at the time, Serling decided to enlist rather than start college after he graduated from Binghamton Central High School in 1943; as editor of his high school newspaper, Serling encouraged his fellow students to support the war effort. He wanted to leave school before graduation to join the fight but his civics teacher talked him into graduating. "War is a temporary thing," Gus Youngstrom told him. "It ends. An education doesn't. Without your degree, where will you be after the war?" Serling enlisted in the U. S. Army the morning after high school graduation, following his brother Robert.
Serling began his military career in 1943 at Camp Toccoa, under General Joseph May "Joe" Swing and Col. Orin D. "Hard Rock" Haugen and served in the 511th Parachute Infantry Regiment of the 11th Airborne Division. He reached the rank of Technician Fourth Grade. Over the next year of paratrooper training and others began boxing to vent aggression, he competed as a flyweight and had 17 bouts, rising to the second round of the division finals before being knocked out. He was remembered for berserker style and for "getting his nose broken in his first bout and again in last bout." He tried his hand with little success. On April 25, 1944, Serling saw that he was being sent west to California, he knew. This disappointed him. On May 5, his division headed to the Pacific, landing in New Guinea, where it would be held in reserve for a few months. In November 1944, his division first saw combat; the 11th Airborne Division would not be used as paratroopers, but as light infantry during the Battle of Leyte. It helped mop up after the five divisions.
For a variety of reasons, Serling was transferred to the 511th's demolition platoon, nicknamed "The Death Squad" for its high casualty rate. According to Sergeant Frank Lewis, leader of the demolitions squad, "He screwed up somewhere along the line, he got on someone's nerves." Lewis judged that Serling was not suited to be a field soldier: "he didn't have the wits or aggressiveness required for combat." At one point, Lewis and others were in a firefight, trapped in a foxhole. As they waited for darkness, Lewis noticed. Serling sometimes went exploring on his own, against orders, got lost. Serling's time in Leyte political views for the rest of his life, he saw death every day while in the Philippines, at the hands of his enemies and his allies, through freak accidents such as that which killed another Jewish private, Melvin Levy. Levy was delivering a comic monologue for the platoon as they rested under a palm tree when a food crate was dropped from a plane above, decapitating him. Serling placed a Star of David over his grave.