The Outer Limits (1963)

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Re: The Outer Limits (1963)

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Demon with a Glass Hand, directed by Byron Haskin.

Trent has no memory, just a mission. Implacable aliens from the future are after him. He kills without mercy, but they keep coming. The fate of the human race depends on him and he must stay alive, no matter what.

One of his hands is some sort of crystal computer which advises him. It is missing necessary "lobes" (=fingers) so that is another thing on his list.

Who would have thought: well into the disappointing second season we have one of the best episodes of the series, a prize-winning screenplay that shows up on lists of the best television ever.

This despite the ultra-minimal makeup effects for the aliens: raccoon circle eyes and shower caps or stockings on the head. The story is so good it doesn't matter. We know they are minions and are there to provide a high body count. No bodies, though.

This is Harlan Ellison's second and final episode. He originally wanted a cross-country chase but when given a tour of the film-famous Bradbury Building -- Double Indemnity (1944), D.O.A. (1950), Blade Runner (1982) -- he saw the benefit of keeping the action confined to the interior of that lovely building, rich with iron work and shadows.

Ellison said he wrote the part for Robert Culp, who he found unusually intelligent for an actor. Culp returns from The Architects of Fear and Corpus Earthling. Like Martin Landau and David McCallum, all of his episodes were among the best.

Arlene Martel would later play the incandescently beautiful T'Pring, Mr Spock's femme fatale fiancée in Star Trek Amok Time:

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...where she lit a torch in the hearts of many adolescents, simultaneously warning them against such fascinations.

Notes:
  • The screenplay skillfully front-loads what we need to know and sets up what we need to find out.
  • Much is made of the film noir look of the series, but we also break genre conventions. Trent has no angst, no alienation or sense of "I just can't win". He is direct and unsqueamish, even when instructed to "Let them kill you".
  • And yet his discovery of his true nature gives him pause. His fate will be long and lonely, and he is unable to receive love. It's too much for Consuelo -- she walks away without a word.
  • A moment of supreme weirdness: when Trent first enters the building the disembodied voice of Arch, the alien leader, speaks to him.
  • More strangeness: Trent has no memory but he knows the names of his enemies. They have a sort of community together and the rules of the time-mirror and medallions make it a sort of game.
  • SF touching the boundaries of the spiritual: as in The Day the Earth Stood Still (1951) our hero is brought back to life by advanced technology.
  • For all the deep plot we have plenty of action. Unlike generations of TV heroes, Trent picks up the guns his enemies drop.
Like all of the second season, this is photographed by Kenneth Peach. Nicely done, looking much like season one with that star filter.

On the Blu-ray Craig Beam provides a light commentary track. He both complains about unexplained plot points and admits that an expanded or rebooted version would not be a better program.

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Re: The Outer Limits (1963)

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Cry of Silence, directed by Charles Haas.

Driving into a desolate area to look at a property, a couple find themselves on foot and menaced by hostile tumbleweeds. The same unseen intelligence commands frogs (!) and large rolling boulders.

I love a good creature feature and when you make it a First Contact story there is much to admire. The alien mind is particularly frustrated this time: it senses consciousness on Earth but can't hear it. At most it can move things around, including reanimating a dead body.

Yes, this is also a zombie episode.

The micro-budget doesn't hurt so much this time. We have only three characters and how much did they have to spend for tumbleweeds on strings, paper boulders and a bucket of frogs?

This brings to mind many other stories, including:
  • HP Lovecraft's The Colour Out of Space. At one point I thought they would quote the old text: "...it come from beyond, whar things ain’t like they be here.. now it’s goin’ home..."
  • Some damned thing on the porch, slowing turning the doorknob, is used in Dean Koontz's Winter Moon, his most Lovecraftian story.
  • Didn't Tom Baker's Doctor Who fight "Wolfweeds" in The Creature from the Pit? The one where the Creature is giant green male genitalia.
  • Eddie Albert and his blonde wife looking to buy a farm: the Green Acres jokes write themselves.
The cast:Richard Farnsworth -- Comes a Horseman (1978), The Grey Fox (1982), The Straight Story (1999) -- is said to be an uncredited stunt double. He is too far away to see clearly.

Two commentary tracks on the Blu-ray: Gary Gerani and Reba Wissner.

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Re: The Outer Limits (1963)

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The Invisible Enemy, directed by Byron Haskin.

The first mission to Mars does not go well. Successful landing, some walking around, then horrid screams and radio silence.

Three years later, the second mission has a larger crew, supposedly better disciplined and definitely over-managed. They don't know what they're facing but have brought nuclear bazookas just in case.

Despite all that their survival skills seem about nil. After more deaths they discover the awful truth: Martian Sand Sharks.

I loved these rocketship adventures as a kid, but this episode has little Outer Limits in it. They would need to play up the mystery, the boundaries of the knowable and how that reflects in the human soul. But they don't.

They do introduce a thriller countdown timer, now a cliche, but when did that start?

Familiar faces:Byron Haskin was a natural director for a Martian adventure, having done The War of the Worlds (1953) and Robinson Crusoe on Mars (1964). He said the script was a disaster and he rewrote it in the days just before filming.

Bad science is traditional in SF movies and I try not to gripe. Just noting:
  • Their Mars has a breathable atmosphere.
  • The first mission had speed of light radio, but the second has the new instantaneous laser communication with Earth.
  • The planet is lifeless apart from one flower (snip!) so what do the sand sharks live on?
  • From whence comes their hunger for blood? How often do wandering astronauts come by?
The Blu-ray commentary track is by Craig Beam.

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Re: The Outer Limits (1963)

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Wolf 359, directed by Laslo Benedek.

Scientists recreate an entire planet in miniature to study its accelerated evolution. Something evil emerges.

This could have been a first season episode: mysterious and thought-provoking. Harry Lubin, who did all of the second season music, provides an unusually eerie and menacing score.

The alien is obviously a simple two-handed puppet but that is ok. Its simplicity raises the right questions. The way it folds and unfolds makes us wonder as to its origins: nature or something supernatural?

Questions that are not answered:
  • What is that ghostly being? The spirit of the planet? Did it evolve or did it come from "outside"?
  • Where does Evil come from? Can a whole planet be evil?
  • Our scientist says it is "a world without a God". Isn't he the god of this world? In which case he is a destructive god. ("I will wipe Jerusalem as one wipes a dish, wiping it and turning it upside down").
  • Given that, the Control Voice gives a most ominous epilogue:

    "There is a theory that Earth and sun and galaxy and all the known universes are only a dust mote on some policeman's uniform in some gigantic superworld. Couldn't we be under some supermicroscope, right now?"
  • Why does the scientist think he will see Earth's future in the planet? In any case: apparently that is not allowed.
The intimations of evil are so well done here: everyone knows something is wrong: "The kind of death that has no peace". The ending is a let down: I wish they could have come up with something better than "smash/destroy".

Patrick O'Neal always had fascinating aristocratic coolness, and those piercing eyes.

We have several "lasts" in the cast and crew:
  • Sara Shane: her last year in acting.
  • Dabney Coleman: last of 3 episodes.
  • Ben Wright: last of 4 episodes (2 were voice work).
  • Director Laslo Benedek: last of his 3 episodes.
Sara Shane had a small filmography, but I remember her as the bush pilot in Tarzan's Greatest Adventure (1959), where young Sean Connery had a good villain role:

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It certainly looks like our couple are sleeping in the same bed. She has a sexy nightgown, they are slightly drunk and fondle hands in the fade out, which is about as hot as it got on TV that year...

...before she bolts upright in the night, sensing the Evil. The coyotes outside know about it, too. Well done.

The science lab has an ant farm. I'm so jealous. Bring on the sea-monkeys.

The Blu-ray commentary track is by Craig Beam, alternately informative and annoying.

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Re: The Outer Limits (1963)

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I, Robot, directed by Leon Benson.

The world's first mechanical man is on trial for his life, accused of killing his creator.

Another straight SF story, this time drowned in a standard TV courtroom drama setting, obviously second season producer Ben Brady's comfort zone from his Perry Mason years. The rights of synthetic life forms has been a popular topic in SF and it could have been a decent entry, but the episode has been run through the excitement reduction machine.

The townsfolk call Adam the "tin man", which is nice. His encounter with the little girl in the opening scene is a quote of Frankenstein (1931). We later find that Adam has read the book.

Some cast members of note:
  • Marianna Hill is the scientist's loyal niece. Last seen in Medium Cool (1969) and High Plains Drifter (1973), she would also appear in Star Trek Dagger of the Mind.
  • Howard Da Silva is the crusty retired lawyer, called back to mount a defense.
  • Leonard Nimoy, in his second episode, is the muckraking journalist and "Defender of the Constitution!"
  • Famous faces: John Hoyt in his third and final episode; Ford Rainey as the D.A., and Peter Brocco as the scientist inventor: 299 acting credits in the IMDB.
I must confess: when young I read cubic yards of SF from the middle of the 20th century, but I never encountered or have forgotten the Adam Link stories. These predate Asimov's robot stories by a few years and the two creations have often been confused.

The title "I, Robot" originated with Adam Link's authors; Asimov's publisher stole it.

The Blu-ray commentary track is by David J. Schow.

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Re: The Outer Limits (1963)

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The Inheritors, directed by James Goldstone.

Four soldiers miraculously survive head wounds. The bullets had been cast from a meteor and microscopic examination shows alien cell structure in the metal. Each man exhibits extra brain waves and it is clear the same brain is now controlling all of them.

Without ever meeting each other the soldiers take off and start working on a project they do not understand. Fearing the worst, the Fed "men in black" are watching and talking to them, but what can you do about super-intelligent opponents with mind-control powers?

Part of the project becomes clear: they are building a starship. Going back to where the meteor came from? Maybe that's not so bad.

Then they start collecting the children...

The only two-part episode in the series, this one seems more like a labor of love than was usual for the second season. It's not like anything else in the series, but is still one of the best episodes.

On the down side:
  • The police procedural development is pretty routine, even if the plot is a nice concept this time.
  • Sets and locations are mostly nothing special. The starship is rudimentary.
  • As the commentary track points out, it looks more like one of the Quinn Martin productions of the 1960s, like The Fugitive or The F.B.I.. Not forgetting The Invaders (1967)!
This is all redeemed by an involving story of deep ethical conflict. I kept flipping between:
  • Alien brain infection: must be monsters...
  • ...but they don't act like monsters. They are the same people as before, smarter and with powers, plagued by the overwhelming compulsion to complete an unknown mission...
  • ...and they themselves have qualms. Are they doing evil? How would they know?
  • We've just started to take their side when they begin collecting children to take with them. That can't be right...
  • ..except the children are the unloved and disabled. Maybe they go to a better place?
  • And what are the Feds supposed to do about this? They can't let them take the children, no matter what. Here the police are good at pointing guns but terrible at stopping the conspiracy or understanding anything about the alien visitation.
The ultimate dilemma: what do you do when you don't know if you are doing right or wrong? It is an SF mystery where the transformed men, the Feds and the audience all have to figure it out together. There is even a hint at the end that the alien force is learning, too.

The backbone of this part of the story is our matched opponents: government science cop (Mulder!) Robert Duvall and leader of the alien plot Steve Ihnat.

Duvall is so intense we wonder as to his backstory, if he has encountered something like this before. Even granting that the alien-controlled humans may be well intentioned he can't let them get away with the children.

Ihnat was a familiar supporting actor of the period, usually as a villain, last seen in The Chase (1966), In Like Flint (1967) and Fuzz (1972). He would also be the psycho villain in Star Trek Whom Gods Destroy. He died at age 37.

It is too bad Ihnat did not get a chance to do leading parts because he goes deep and produces something special here: like the others he does not know the ultimate purpose but is more confident that it is a good thing. And yet he cries when taking the children. He can't know for sure. The scenes where he and Duvall face off are very fine.

Returning:I immediately recognized the little blind girl as one of the terrified children from The Birds (1963):

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This is Suzanne Cupito, later "Morgan Brittany".

Notes:
  • The country at war is not named but is obviously Vietnam. This was before full escalation of US forces.
  • To raise money Lt Minns masters commodity futures. In those days you had to go to a broker and sit in his office.
  • Soldiers who share a secret even they don't know is like The Manchurian Candidate (1962).
  • Children in the same situation is like Children of the Damned (1963).
  • Duvall bluntly draws the parallel between taking the children and abduction by child molesters.
  • Lots of theremin in the score.
  • One criticism: maybe too much is explained at the end. They could have left it open, letting us decide whether to rely on faith.
Gary Gerani and Steve Mitchell provide the Blu-ray commentary track.

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Re: The Outer Limits (1963)

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Keeper of the Purple Twilight, directed by Charles Haas.

In advance of the invasion of Earth, an alien wants to know what all this "emotions" stuff is about, particularly that "love" weirdness that no one can explain. He swaps some mentality with a human scientist in exchange for the secret of a disintegrator beam (an odd thing to trade prior to war) and spends time with the human wife to work out the "love" details.

As you might expect, this interferes with the invasion plans.

Another SF action/thriller, modest in both dimensions. So much of the time is wasted filler.

Great title. No one knows what it means. The plot reminds me some other cheezy SF film, but I can't bring it to mind.

The alien rubber head is pretty impressive. I believe it was the last costume done by the great Wah Chang for the series.

The cast:The Blu-ray commentary track is by David J. Schow. Claiming there is not much to say about this episode (although he does anyway) he spends a lot of time on season 2 as a whole, its many problems.

Admittedly this is not a strong episode, but he speaks of it as one of the worst: kiddie-SF derived from pulp magazines and matinee serials. I wish.

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Re: The Outer Limits (1963)

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The Duplicate Man, directed by Gerd Oswald.

By this time, late in the series history, everyone knew it would be canceled, but they produced an SF-thriller episode packed with intriguing ideas, a melancholy tone and eerie ambient score:
  • In the space traveling future -- sometime after 2011 -- it is a capital crime to bring any member of the intelligent, violent Megasoid species to Earth.
  • Our scientist has secretly done just that. When it escapes he and the rest of the human race are in big trouble.
  • To hunt it down and kill it he employs another forbidden technology: a clone of himself with a 5 hour lifespan.
  • The duplicate man is not supposed to know his true nature. Who reveals that, granting him brief humanity? The Megasoid itself.
  • We have sympathy for the alien, dangerous as it is. Wounded, caught up in a human drama it wanted no part of, just trying to survive the night so it can reproduce.
  • The scientist's wife has to face two husbands: the duplicate is like his younger self, more like the man she married.
  • We have two countdowns: the Megasoid must be killed before dawn and the duplicate dies after 5 hours. While he lives he grows more like the original.
  • We think we know which of the two men has survived, but the story ends before we can be sure.
A calm, bitter conversation between the scientist and his clone near the end:
James: You can't kill me.

Duplicate: No. I came because you have programmed me to return. And because my mind has started to become crowded with your life and memories. Those that I have seen have great promise.

James: Well, I'm sorry for that.

Duplicate: Why must I die?

James: Not die. You'll just go back to nothingness.

Duplicate: Must I? Now that I know what living is, why can't I have the same rights as other human beings? The same dreams.

James: You poor fool, you still don't see, do you? In time you'd catch up. You'd be just like I am now. You think you'd find that attractive?

Duplicate: Would I despise myself then?

James: Don't try and find the answer.

Duplicate: Could it be worse than nothingness?
Exploited, disposable and time-limited synthetic humans obviously suggests Blade Runner (1982), an adaptation of Philip K. Dick's Do Androids Dream of Electric Sheep? However, this episode was based on an earlier story by Clifford D. Simak, one of those grand master SF writers unknown to Hollywood or the public at large. His work is part of that vast body of 20th century literature now fading into darkness.

Our cast:
  • Ron Randell was a once-familiar face, never a star. His coldness suits both the scientist and -- heartbreakingly -- the duplicate just discovering the joy of life before it is taken from him.
  • Constance Towers is his wife, last seen in The Horse Soldiers (1959) and The Naked Kiss (1964).
  • Sean McClory, born to be a bluff Irishman, is the spaceship captain who lost much of his face smuggling the Megasoid to Earth.
Notes:
  • The futuristic disc-house is the Chemosphere, last seen in Body Double (1984).
  • Videophones of the future still have rotary dials.
  • The alien costume is a bird head and furry suit. No budget.
In the Blu-ray commentary track Tim Lucas says this episode is the closest thing on American TV you will find to the French New Wave of that time, which he calls Nouvelle Vague. The plain setting and lack of effects is part of the method. He particularly cites Jean-Luc Godard's Alphaville (1965), supposedly taking place in another galaxy but filmed in Paris without any attempt at concealing that. Lucas provides the commentary track on the Kino Blu-ray of that film.

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Re: The Outer Limits (1963)

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Counterweight, directed by Paul Stanley.

Volunteer explorers sign up for a 261 day simulated space flight. Anyone who can't take the stress: just push the "panic button" and the whole test is scrubbed.

(Note: if the test is successful they are going on the actual mission for another 261 days. Same for the return, I suppose. That's dedication).

There is a strange presence on board: a traveling light accompanied by an eerie music cue. It visits sleepers and reads their minds. It plays tricks on them, driving the passengers mad.

That's not a bad concept but it is developed so slowly, with so much TV psycho-drama and talk-talk that this becomes one of the duller episodes.

What are these people even doing on the mission? Especially the crude construction tycoon: he expects to make billions on another planet.

These "moral little tale" stories are always disappointing.

The cast:
  • Jacqueline Scott returns from The Galaxy Being. I feel sorry for her: she has to do a ridiculous turn from sober scientist to attention-starved pearl-swinging sex bomb.
  • Crahan Denton, the doctor who finds a doll belonging to his dead daughter in his bed, returns from The Children of Spider County. I remember him most distinctly as the nasty gang boss in The Great St. Louis Bank Robbery (1959) with young Steve McQueen.
  • Several other familiar faces, including Michael Constantine and Sandy Kenyon.
Directory Stanley returns from Second Chance and The Guests.

Notes:
  • The alien light is similar to the concept used in Star Trek Day of the Dove where it hopes to have Federation and Klingon crews locked in eternal battle. That effect was some sort of composite; this is an actual Tinkerbell light.
  • I thought The Zanti Misfits had the only stop motion animation in the series, but we have a bit more with hostile plants here.
  • This may have caused a dream when I was nine: rolling over and finding a network of lights over my bed. "Got you!" I thought, as it faded away.
The Blu-ray commentary track is by Reba Wissner. As for previous episodes she identifies the Ondes Martenot as a keyboard instrument producing a sound much like the theremin.

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Re: The Outer Limits (1963)

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The Brain of Colonel Barham, directed by Charles Haas.

The first mission to Mars depends on the senior astronaut who has trained for it. When he has only a short time to live, the solution is to put his brain in a jar and send that.

What are the consequences of being disembodied? Nothing good, we suspect, something like the later Colossus: The Forbin Project (1970) where the scientists cannot put down what they have raised up.

This is another of the low-budget SF thriller episodes that dominate the second season. It does have hints of the old Outer Limits: a tale of human transformation and lurking evil. The insight that the whole person requires both mind and body.

Wasn't there a living severed head in That Hideous Strength by CS Lewis? It was both a triumph of science and expression of ultimate evil.

We never get a good look at the brain. That would have been in bad taste in TV of the time.

Grant Williams is the skeptical Army psychiatrist, last seen in The Incredible Shrinking Man (1957) and The Monolith Monsters (1957).

Wesley Addy is the arrogant surgeon. He often played aristocratically cool characters, usually guilty of something. Last seen in Seconds (1966) and Tora! Tora! Tora! (1970).

No commentary track on the Blu-ray for this episode.

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Re: The Outer Limits (1963)

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wmcclain wrote: June 5th, 2023, 6:40 am Great title. No one knows what it means. The plot reminds me some other cheezy SF film, but I can't bring it to mind.
The title reminded me of Zane Grey's Western novel Riders of the Purple Sage.
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Re: The Outer Limits (1963)

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The Premonition, directed by Gerd Oswald.

A test pilot flies so fast he creates a time warp. On crashing his plane he and his wife find themselves in a frozen world a few seconds before the crash. The time lines are going to sync up again, but they have another problem: how to save their little girl from being hit by a truck when they cannot move anything in the frozen world?

Another SF thriller plot with a long setup: it is 11 minutes until we reach the weirdness. Much stock footage. Instructions to the crew: just get it done in six days, hand in whatever you have then. That must have been disheartening to Gerd Oswald who put so much into the series.

It still has some Outer Limits touches: the mysterious "Limbo Being" who is caught in the warp just has they are. The notion that when time resumes they have forgotten their adventure in the frozen world and are left with the vague premonition that something was about to happen. Maybe this is the source of our premonitions...

Their solution to saving the little girl is a good one.

I remember Dewey Martin from The Thing from Another World (1951) and The Desperate Hours (1955).

Mary Murphy is the often overwrought wife, perhaps understandably so. Last seen in The Wild One (1953), The Mad Magician (1954) and also The Desperate Hours (1955).

Written by Ib Melchior, who wrote The Angry Red Planet (1959) (also directed), Robinson Crusoe on Mars (1964) and the original story of Death Race 2000 (1975).

On the Blu-ray commentary track Tim Lucas again compares this to the minimalism of French New Wave filmmaking, as he did for The Duplicate Man.

He has the details of the X-15 crash shown in this episode. Only three of these were built; I did not know that.

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Re: The Outer Limits (1963)

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The Probe (1965), directed by Felix E. Feist.

Forced down in a hurricane, the crew of a cargo plane at first find themselves in a raft on stormy seas, but wake up the next day on a solid surface, inside a mysterious structure. They learn they are inside an automated alien surveyor probe and have to contend with its strange workings and a mutated giant germ picked up from some previous planet.

Is there anyway to communicate with the device, or the beings behind it?

And so we come to the end of the series. After a season and a half ABC pulled the plug on a show they never understood or appreciated.

This is not an auspicious ending: "Let's throw in a bunch of weird stuff to keep the kids happy. Look: a monster!" The plot reminds me of Heinlein's story Goldfish Bowl.

Peter Mark Richman returns from The Borderland.

Peggy Ann Garner was a child actress in Jane Eyre (1944):

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...and A Tree Grows in Brooklyn (1945). I remember her as an adult in the soapy murder mystery Black Widow (1954).

The creeping monster was later developed into the "Horla" for Star Trek The Devil in the Dark. Both were designed and performed by Janos Prohaska.

The Blu-ray has no commentary track for this final episode. Previous second season tracks detailed the reduced budgets, change in creative talent, shifted time slot and network indifference.

The second season Control Voice narrations became consistently dull in their high-toned abstract vagueness.

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Re: The Outer Limits (1963)

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That's all folks. End of the series midway through the second season. I never saw the reboot series.

My comments and attempt at rating the episodes are in the first post of this thread.

Thanks for reading!
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