The Day After
|The Day After|
|Written by||Edward Hume|
|Directed by||Nicholas Meyer|
|Theme music composer||David Raksin|
Virgil Thomson (Theme for "The River")
|Country of origin||United States|
|Producers||Robert Papazian (producer)|
Stephanie Austin (associate producer)
|Editors||William Paul Dornisch|
|Running time||126 minutes|
|Production company||ABC Circle Films|
|Distributor||ABC Motion Pictures|
Disney–ABC Domestic Television
|Picture format||Color (CFI)|
The Day After is an American television film that first aired on November 20, 1983, on the ABC television network. More than 100 million people, in nearly 39 million households, watched the program during its initial broadcast. With a 46 rating and a 62% share of the viewing audience during its initial broadcast, it was the seventh-highest-rated non-sports show up to that time and set a record as the highest-rated television film in history—a record it still held as recently as 2009.
The film postulates a fictional war between NATO forces and the Warsaw Pact countries that rapidly escalates into a full-scale nuclear exchange between the United States and the Soviet Union. The action itself focuses on the residents of Lawrence, Kansas, Kansas City, Missouri, and of several family farms near nuclear missile silos.
The cast includes JoBeth Williams, Steve Guttenberg, John Cullum, Jason Robards, and John Lithgow. The film was written by Edward Hume, produced by Robert Papazian, and directed by Nicholas Meyer. It was released on DVD on May 18, 2004, by MGM.
Military tensions rise between the two Cold War powers led by the Soviet Union and the United States. Soviet Union and Warsaw Pact forces build on the border between East Germany and West Germany, and West Berlin is blockaded. A NATO attempt to break the blockade results in heavy casualties. Airman First Class Billy McCoy (William Allen Young) lives at Whiteman Air Force Base near Sedalia, Missouri. He is called to alert status at the Minuteman launch site he is stationed at in Sweetsage, Missouri, 20 miles from Kansas City. The Hendry family lives on a farm adjoining McCoy's launch site.
The Dahlberg family lives on their farm twenty miles away from the Sweetsage launch site, in Harrisonville, Missouri, 40 miles from Kansas City. The Dahlbergs' eldest daughter Denise (Lori Lethin) is set to be married in days to a student at the University of Kansas, and they perform their wedding dress rehearsal.
The next day, the military conflict in Europe rapidly escalates. Tactical nuclear weapons are detonated by NATO to stop a Soviet Union advance into West Germany, and each side attacks naval targets in the Persian Gulf. Dr. Russell Oakes (Jason Robards), a doctor in Kansas City, Missouri, travels to Lawrence, Kansas by car to teach a class at the University of Kansas hospital there. Pre-med University of Kansas student Stephen Klein (Steven Guttenberg), receives a physical at the hospital, hears the news from Europe, and decides to hitchhike toward home in Joplin, Missouri.
As the threat of large scale nuclear attack grows, hoarding begins, and so does evacuation of major cities in both the Soviet Union and United States. Frequent Emergency Broadcast System warnings are sent over television and radio, and Kansas City begins to empty, outbound freeways clogged. Dr. Oakes is among the many stuck in the traffic jam as he drives toward Lawrence, but, after hearing an EBS alert and realizing the danger to Kansas City and his family living there, decides to turn around and head home.
Minutes apart, the United States launches its Minuteman missiles, and United States military personnel aboard the EC-135 Looking Glass aircraft track inbound Soviet nuclear missiles. The film deliberately leaves unclear who fired theirs first. Billy McCoy flees the site he was stationed at now that its Minuteman missile has been launched, intending to locate his wife and child. As air raid sirens go off, widespread panic grips Kansas City as most people frantically seek fallout shelters and other protection from the imminent Soviet nuclear attack.
High yield nuclear weapons detonate over numerous locations, including downtown Kansas City, Sedalia, and Sweetsage. The explosions cause electromagnetic pulses, disabling vehicles and destroying the electrical grid, moments before heat and blast waves destroy and vaporize everything nearby. The Hendry family, having initially ignored the crisis, is killed when they try to flee. McCoy takes refuge in a truck trailer, and Klein, who had hitchhiked as far as Harrisonville, finds the Dahlberg home and begs for protection in the family's basement. Dr. Oakes, who witnessed the nuclear explosion over Kansas City, walks to the hospital in Lawrence and begins treating patients.
Nuclear fallout and its deadly effects are felt everywhere in the region. McCoy and Oakes, both outside immediately after the explosions, have been exposed without their knowledge to lethal doses of radiation. Denise Dahlberg, frantic after days in the family's basement shelter, runs outside, and Klein, who vows to her father that he'll bring her back, does so, but not before both have been exposed to very high doses of radiation. McCoy learns in his travels that Sedalia and many other cities have been obliterated. Food and water are in very short supply, and looting and other criminal activity leads to the imposition of martial law. Klein takes Denise and her brother Danny, who was blinded by one of the nuclear explosions, to the hospital in Lawrence for treatment. McCoy also travels there, where he dies of radiation poisoning. Denise and Danny Dahlberg, and Klein, finally leave for Harrisonville and the Dahlberg farm, when it becomes clear to them they can't be treated medically for their injuries.
Dr. Oakes, at last aware he has sustained lethal exposure to radiation, returns to Kansas City on foot to see the site of his home before he dies. He finds squatters there, attempts to drive them off, and is instead offered food. Oakes collapses, weeps, and one of the squatters comforts him.
The Day After was the idea of ABC Motion Picture Division president Brandon Stoddard, who, after watching The China Syndrome, was so impressed that he envisioned creating a film exploring the effects of nuclear war on the United States. Stoddard asked his executive vice president of television movies and miniseries Stu Samuels to develop a script. Samuels created the title The Day After to emphasize that the story was not about a nuclear war itself, but the aftermath. Samuels suggested several writers and eventually Stoddard commissioned veteran television writer Edward Hume to write the script in 1981. ABC, which financed the production, was concerned about the graphic nature of the film and how to appropriately portray the subject on a family-oriented television channel. Hume undertook a massive amount of research on nuclear war and went through several drafts until finally ABC deemed the plot and characters acceptable.
Originally, the film was based more around and in Kansas City, Missouri. Kansas City was not bombed in the original script, although Whiteman Air Force Base was, making Kansas City suffer shock waves and the horde of survivors staggering into town. There was no Lawrence, Kansas, in the story, although there was a small Kansas town called "Hampton". While Hume was writing the script, he and producer Robert Papazian, who had great experience in on-location shooting, took several trips to Kansas City to scout locations and met with officials from the Kansas film commission and from the Kansas tourist offices to search for a suitable location for "Hampton." It came down to a choice of either Warrensburg, Missouri, and Lawrence, Kansas, both college towns—Warrensburg was home of Central Missouri State University and was near Whiteman Air Force Base and Lawrence was home of the University of Kansas and was near Kansas City. Hume and Papazian ended up selecting Lawrence, due to the access to a number of good locations: a university, a hospital, football and basketball venues, farms, and a flat countryside. Lawrence was also agreed upon as being the "geographic center" of the United States. The Lawrence people were urging ABC to change the name "Hampton" to "Lawrence" in the script.
Back in Los Angeles, the idea of making a TV movie showing the true effects of nuclear war on average American citizens was still stirring up controversy. ABC, Hume, and Papazian realized that for the scene depicting the nuclear blast, they would have to use state-of-the-art special effects and they took the first step by hiring some of the best special effects people in the business to draw up some storyboards for the complicated blast scene. Then, ABC hired Robert Butler to direct the project. For several months, this group worked on drawing up storyboards and revising the script again and again; then, in early 1982, Butler was forced to leave The Day After because of other contractual commitments. ABC then offered the project to two other directors, who both turned it down. Finally, in May, ABC hired feature film director Nicholas Meyer, who had just completed the blockbuster Star Trek II: The Wrath of Khan. Meyer was apprehensive at first and doubted ABC would get away with making a television film on nuclear war without the censors diminishing its effect. However, after reading the script, Meyer agreed to direct The Day After.
Meyer wanted to make sure he would film the script he was offered. He did not want the censors to censor the film, nor the film to be a regular Hollywood disaster movie from the start. Meyer figured the more The Day After resembled such a film, the less effective it would be, and preferred to present the facts of nuclear war to viewers. He made it clear to ABC that no big TV or film stars should be in The Day After. ABC agreed, although they wanted to have one star to help attract European audiences to the film when it would be shown theatrically there. Later, while flying to visit his parents in New York City, Meyer happened to be on the same plane with Jason Robards and asked him to join the cast.
Meyer plunged into several months of nuclear research, which made him quite pessimistic about the future, to point of becoming ill each evening when he came home from work. Meyer and Papazian also made trips to the ABC censors, and to the United States Department of Defense during their research phase, and experienced conflicts with both. Meyer had many heated arguments over elements in the script, that the network censors wanted cut out of the film. The Department of Defense said they would cooperate with ABC if the script made clear that the Soviet Union launched their missiles first—something Meyer and Papazian took pains not to do.
In any case, Meyer, Papazian, Hume, and several casting directors spent most of July 1982 taking numerous trips to Kansas City. In between casting in Los Angeles, where they relied mostly on unknowns, they would fly to the Kansas City area to interview local actors and scenery. They were hoping to find some real Midwesterners for smaller roles. Hollywood casting directors strolled through shopping malls in Kansas City, looking for local people to fill small and supporting roles, while the daily newspaper in Lawrence ran an advertisement calling for local residents of all ages to sign up for jobs as a large number of extras in the film and a professor of theater and film at the University of Kansas was hired to head up the local casting of the movie. Out of the eighty or so speaking parts, only fifteen were cast in Los Angeles. The remaining roles were filled in Kansas City and Lawrence.
While in Kansas City, Meyer and Papazian toured the Federal Emergency Management Agency offices in Kansas City. When asked what their plans for surviving nuclear war were, a FEMA official replied that they were experimenting with putting evacuation instructions in telephone books in New England. "In about six years, everyone should have them." This meeting led Meyer to later refer to FEMA as "a complete joke." It was during this time that the decision was made to change "Hampton" in the script to "Lawrence." Meyer and Hume figured since Lawrence was a real town, that it would be more believable and besides, Lawrence was a perfect choice to play a representative of Middle America. The town boasted a "socio-cultural mix," sat near the exact geographic center of the continental U.S., and Hume and Meyer's research told them that Lawrence was a prime missile target, because 150 Minuteman missile silos stood nearby. Lawrence had some great locations, and the people there were more supportive of the project. Suddenly, less emphasis was put on Kansas City, the decision was made to have the city completely annihilated in the script, and Lawrence was made the primary location in the film.
ABC originally planned to air The Day After as a four-hour "television event", spread over two nights with total running time of 180 minutes without commercials. Director Nicholas Meyer felt the original script was padded, and suggested cutting out an hour of material to present the whole film in one night. The network stuck with their two night broadcast plan, and Meyer filmed the entire three-hour script, as evidenced by a 172-minute work-print that has surfaced. Subsequently, the network found that it was difficult to find advertisers, considering the subject matter. ABC relented, and told Meyer he could edit the film for a one-night broadcast version. Meyer's original single-night cut ran two hours and twenty minutes, which he presented to the network. After this screening, many executives were deeply moved and some even cried, leading Meyer to believe they approved of his cut.
Nevertheless, a further six-month struggle ensued over the final shape of the film. Network censors had opinions about the inclusion of specific scenes, and ABC itself, eventually intent on "trimming the film to the bone", made demands to cut out many scenes Meyer strongly lobbied to keep. Finally Meyer and his editor Bill Dornisch balked. Dornisch was fired, and Meyer walked away from the project. ABC brought in other editors, but the network ultimately was not happy with the results they produced. They finally brought Meyer back and reached a compromise, with Meyer paring down The Day After to a final running time of 120 minutes.
The Day After was initially scheduled to premiere on ABC in May 1983, but the post-production work to reduce the film's length pushed back its initial airdate to November. Censors forced ABC to cut an entire scene of a child having a nightmare about nuclear holocaust and then sitting up, screaming. A psychiatrist told ABC that this would disturb children. "This strikes me as ludicrous," Meyer wrote in TV Guide at the time, "not only in relation to the rest of the film, but also when contrasted with the huge doses of violence to be found on any average evening of TV viewing." In any case, they made a few more cuts, including to a scene where Denise possesses a diaphragm. Another scene, where a hospital patient abruptly sits up screaming, was excised from the original television broadcast but restored for home video releases. Meyer persuaded ABC to dedicate the film to the citizens of Lawrence, and also to put a disclaimer at the end of the film, following the credits, letting the viewer know that The Day After downplayed the true effects of nuclear war so they would be able to have a story. The disclaimer also included a list of books that provide more information on the subject.
The Day After received a large promotional campaign prior to its broadcast. Commercials aired several months in advance, ABC distributed half a million "viewer's guides" that discussed the dangers of nuclear war and prepared the viewer for the graphic scenes of mushroom clouds and radiation burn victims. Discussion groups were also formed nationwide.
Composer David Raksin wrote original music and adapted music from The River (a documentary film score by concert composer Virgil Thomson), featuring an adaptation of the hymn "How Firm a Foundation". Although he recorded just under 30 minutes of music, much of it was edited out of the final cut. Music from the First Strike footage, conversely, was not edited out.
Deleted and alternative scenes
This section needs additional citations for verification. (October 2011) (Learn how and when to remove this template message)
Due to the film's being shortened from the original three hours (running time) to two, several planned special-effects scenes were scrapped, although storyboards were made in anticipation of a possible "expanded" version. They included a "bird's eye" view of Kansas City at the moment of two nuclear detonations as seen from a Boeing 737 airliner on approach to the city's airport, as well as simulated newsreel footage of U.S. troops in West Germany taking up positions in preparation of advancing Soviet armored units, and the tactical nuclear exchange in Germany between NATO and the Warsaw Pact, which follows after the attacking Warsaw Pact force breaks through and overwhelms the NATO lines.
ABC censors severely toned down scenes to reduce the body count or severe burn victims. Meyer refused to remove key scenes but reportedly some eight and a half minutes of excised footage still exist, significantly more graphic. Some footage was reinstated for the film's release on home video. Additionally, the nuclear attack scene was longer and supposed to feature very graphic and very accurate shots of what happens to a human body during a nuclear blast. Examples included people being set on fire, their flesh carbonizing, being burned to the bone, eyes melting, faceless heads, skin hanging, deaths from flying glass and debris, limbs torn off, being crushed, blown from buildings by the shockwave, and people in fallout shelters suffocating during the firestorm. Also cut were images of radiation sickness, as well as graphic post-attack violence from survivors such as food riots, looting, and general lawlessness as authorities attempted to restore order.
One cut scene shows surviving students battling over food. The two sides were to be athletes versus the science students under the guidance of Professor Huxley. Another brief scene later cut related to a firing squad, where two U.S. soldiers are blindfolded and executed. In this scene, an officer reads the charges, verdict and sentence, as a bandaged chaplain reads the Last Rites. A similar sequence occurs in a 1965 UK-produced faux documentary, The War Game. In the original broadcast of The Day After, when the U.S. president addresses the nation, the voice was an imitation of Ronald Reagan. In subsequent broadcasts, that voice was overdubbed by a stock actor.
Home video releases in the U.S. and internationally come in at various running times, many listed at 126 or 127 minutes; full screen (4:3 aspect ratio) seems to be more common than widescreen. RCA videodiscs of the early 1980s were limited to 2 hours per disc, so that full screen release appears to be closest to what originally aired on ABC in the US. A 2001 U.S. VHS version (Anchor Bay Entertainment, Troy, Michigan) lists a running time of 122 minutes. A 1995 double laser disc "director's cut" version (Image Entertainment) runs 127 minutes, includes commentary by director Nicholas Meyer and is "presented in its 1.75:1 European theatrical aspect ratio" (according to the LD jacket).
Two different German DVD releases run 122 and 115 minutes; edits reportedly downplay the Soviet Union's role.
On its original broadcast (Sunday, November 20, 1983), John Cullum warned viewers before the film was premiered that the film contains graphic and disturbing scenes, and encouraged parents who have young children watching, to watch together and discuss the issues of nuclear warfare. ABC and local TV affiliates opened 1-800 hotlines with counselors standing by. There were no commercial breaks after the nuclear attack. ABC then aired a live debate on Viewpoint, ABC's occasional discussion program hosted by Nightline's Ted Koppel, featuring scientist Carl Sagan, former Secretary of State Henry Kissinger, Elie Wiesel, former Secretary of Defense Robert McNamara, General Brent Scowcroft and conservative commentator William F. Buckley Jr.. Sagan argued against nuclear proliferation, while Buckley promoted the concept of nuclear deterrence. Sagan described the arms race in the following terms: "Imagine a room awash in gasoline, and there are two implacable enemies in that room. One of them has nine thousand matches, the other seven thousand matches. Each of them is concerned about who's ahead, who's stronger."
The film and its subject matter were prominently featured in the news media both before and after the broadcast, including on such covers as TIME, Newsweek, U.S. News & World Report, and TV Guide.
Critics tended to claim the film was either sensationalizing nuclear war or that it was too tame. The special effects and realistic portrayal of nuclear war received praise. The film received 12 Emmy nominations and won two Emmy awards. It was rated "way above average" in Leonard Maltin's Movie Guide, until all reviews for movies exclusive to TV were removed from the publication.
In the United States, 38.5 million households, or an estimated 100 million people, watched The Day After on its first broadcast, a record audience for a made-for-TV movie. Producers Sales Organization released the film theatrically around the world, in the Eastern Bloc, China, North Korea and Cuba (this international version contained six minutes of footage not in the telecast edition). Since commercials are not sold in these markets, Producers Sales Organization failed to gain revenue to the tune of an undisclosed sum. Years later this international version was released to tape by Embassy Home Entertainment.
Commentator Ben Stein, critical of the movie's message (i.e. that the strategy of Mutual Assured Destruction would lead to a war), wrote in the Los Angeles Herald-Examiner what life might be like in an America under Soviet occupation. Stein's idea was eventually dramatized in the miniseries Amerika, also broadcast by ABC.
The New York Post accused Meyer of being a traitor, writing, "Why is Nicholas Meyer doing Yuri Andropov's work for him?" Much press comment focused on the unanswered question in the film of who started the war. Richard Grenier in the National Review accused The Day After of promoting "unpatriotic" and pro-Soviet attitudes.
Television critic Matt Zoller Seitz in his 2016 book co-written with Alan Sepinwall titled TV (The Book) named The Day After as the 4th greatest American TV-movie of all time, writing: "Very possibly the bleakest TV-movie ever broadcast, The Day After is an explicitly antiwar statement dedicated entirely to showing audiences what would happen if nuclear weapons were used on civilian populations in the United States."
Effects on policymakers
President Ronald Reagan watched the film more than a month before its screening, on Columbus Day, October 10, 1983. He wrote in his diary that the film was "very effective and left me greatly depressed," and that it changed his mind on the prevailing policy on a "nuclear war". The film was also screened for the Joint Chiefs of Staff. A government advisor who attended the screening, a friend of Meyer's, told him "If you wanted to draw blood, you did it. Those guys sat there like they were turned to stone." Four years later, the Intermediate-Range Nuclear Forces Treaty was signed and in Reagan's memoirs he drew a direct line from the film to the signing. Reagan supposedly later sent Meyer a telegram after the summit, saying, "Don't think your movie didn't have any part of this, because it did." However, in a 2010 interview, Meyer said that this telegram was a myth, and that the sentiment stemmed from a friend's letter to Meyer; he suggested the story had origins in editing notes received from the White House during the production, which "...may have been a joke, but it wouldn't surprise me, him being an old Hollywood guy."
The film also had impact outside the U.S. In 1987, during the era of Mikhail Gorbachev's glasnost and perestroika reforms, the film was shown on Soviet television. Four years earlier, Georgia Rep. Elliott Levitas and 91 co-sponsors introduced a resolution in the U.S. House of Representatives "[expressing] the sense of the Congress that the American Broadcasting Company, the Department of State, and the U.S. Information Agency should work to have the television movie The Day After aired to the Soviet public."
Emmy Awards won:
- Outstanding Film Sound Editing for a Limited Series or a Special
- Outstanding Achievement in Special Visual Effects
Emmy Award nominations:
- Outstanding Achievement in Hairstyling
- Outstanding Achievement in Makeup
- Outstanding Art Direction for a Limited Series or a Special (Peter Wooley)
- Outstanding Cinematography for a Limited Series or a Special (Gayne Rescher)
- Outstanding Directing in a Limited Series or a Special (Nicholas Meyer)
- Outstanding Drama/Comedy Special (Robert Papazian)
- Outstanding Film Editing for a Limited Series or a Special (William Dornisch and Robert Florio)
- Outstanding Film Sound Mixing for a Limited Series or a Special
- Outstanding Supporting Actor in a Limited Series or a Special (John Lithgow)
- Outstanding Writing in a Limited Series or a Special (Edward Hume)
- Testament, a television film moved to theatrical release two weeks before The Day After aired
- Threads, a British television film that centres on a nuclear war and the societal after-effects
- List of nuclear holocaust fiction
- Nuclear weapons in popular culture
- Poniewozik, James (September 6, 2007). "ALL-TIME 100 TV Shows: The Day After". Time. Retrieved January 17, 2017.
- "Tipoff". The Ledger. January 20, 1989. Retrieved October 11, 2011.
- "Top 100 Rated TV Shows Of All Time". Screener. Tribune Media Services. March 21, 2009. Archived from the original on October 13, 2016. Retrieved January 17, 2017.
- "The Day After - 25 November 1983". BBC. Retrieved September 18, 2016.
- Weber, Bruce (December 23, 2014). "Brandon Stoddard, 77, ABC Executive Who Brought 'Roots' to TV, Is Dead". The New York Times. ISSN 0362-4331. Retrieved March 18, 2016.
- Naha, Ed (April 1983). "L.A. Offbeat: A Lesson in Reality". Starlog: 24–25.
- nisus8 (August 10, 2018), The Day After (1983) - 3-Hour Workprint Version, retrieved May 23, 2019
- Niccum, John (November 19, 2003). "Fallout from The Day After". lawrence.com. Retrieved October 11, 2011.
- Meyer, Nicholas, "The View From the Bridge: Memories of Star Trek and a Life in Hollywood", page 150. Viking Adult, 2009
- McFadden, Robert D. (November 22, 1983). "Atomic War Film Spurs Nationwide Discussion". The New York Times.
- 11/20/1983 The Day After Intro and Disclaimer ABC - via YouTube
- Allyn, Bruce (September 19, 2012). The Edge of Armageddon: Lessons from the Brink. RosettaBooks. p. 10. ISBN 978-0-7953-3073-5.
- Emmanuel, Susan. "The Day After". The Museum of Broadcast Communications. Archived from the original on January 16, 2013.
- Maltin, Leonard. Leonard Maltin's TV Movies And Video Guide 1987 edition. Signet. p. 218.
- Stuever, Hank (May 12, 2016). "Yes, 'The Day After' really was the profound TV moment 'The Americans' makes it out to be". Washington Post – Blogs. Retrieved May 21, 2019.
- The New York Times: "TV VIEW; 'AMERKIA' (sic) – SLOGGING THROUGH A MUDDLE" By John J. O'Connor. Published February 15, 1987
- Empire, "How Ronald Reagan Learned To Start Worrying And Stop Loving The Bomb", November 2010, pp 134–140
- Grenier, Richard. "The Brandon Stoddard Horror Show." National Review (1983): 1552–1554.
- Sepinwall, Alan; Seitz, Matt Zoller (September 2016). TV (The Book): Two Experts Pick the Greatest American Shows of All Time (1st ed.). New York, NY: Grand Central Publishing. p. 372. ISBN 9781455588190.
- Stover, Dawn. "Facing nuclear reality, 35 years after The Day After". Bulletin of the Atomic Scientists. Retrieved September 10, 2019.
- "Diary Entry - 10/10/1983 | The Ronald Reagan Presidential Foundation & Institute". www.reaganfoundation.org. Retrieved September 10, 2019.
- Reagan, An American Life, 585
- "thomas.loc.gov, 98th Congress (1983–1984), H.CON.RES.229"
- "The Day After An ABC Theatre Presentation". Television Academy. Retrieved January 13, 2019.
- Cheers, Michael, "Search for TV Stars Not Yielding Right Types", Kansas City Times, July 19, 1982.
- Twardy, Chuck, "Moviemakers Cast About for Local Crowds", Lawrence Journal-World, August 16, 1982.
- Twardy, Chuck, "Fake Farmstead Goes Up in Flames for Film", Lawrence Journal-World, August 17, 1982.
- Laird, Linda, "The Days Before 'The Day After'", Midway, the Sunday Magazine Section of the Topeka Capital-Journal, August 22, 1982.
- Twardy, Chuck, "Shooting on Schedule 'Day After' Movie", Lawrence Journal-World, August 23, 1982.
- Lazzarino, Evie, "From Production Crew to Extras, a Day in the Life of 'Day After'", Lawrence Journal-World, August 29, 1982.
- Rosenberg, Howard, "'Humanizing' Nuclear Devastation in Kansas", Los Angeles Times, September 1, 1982.
- Schrenier, Bruce, "'The Day After' Filming Continues at KU", University Daily Kansan, September 2, 1982.
- Appelbaum, Sharon, "Lawrence Folks Are Dying for a Part in TV's Armageddon", The Kansas City Star, September 3, 1982.
- Hitchcock, Doug, "Movie Makeup Manufactures Medical Mess", Lawrence Journal-World, September 5, 1982.
- Twardy, Chuck, "Nicholas Meyer Tackles Biggest Fantasy", Lawrence Journal-World, September 5, 1982.
- Twardy, Chuck, "How to Spend $1 Million in Lawrence", Lawrence Journal-World, September 5, 1982.
- Twardy, Chuck, "Students Assume War-Torn Look as Film Shooting Winds Down", Lawrence Journal-World, September 8, 1982.
- Goodman, Howard, "KC 'Holocaust' a Mix of Horror and Hollywood", Kansas City Times, September 11, 1982.
- Jordan, Gerald B., "Local Filming of Nuclear Disaster Almost Fizzles", The Kansas City Star, September 13, 1982.
- Kindall, James, "Apocalypse Now", The Kansas City Star Weekly Magazine, October 17, 1982.
- Loverock, Patricia, "ABC Films Nuclear Holocaust in Kansas", On Location magazine, November 1983.
- Bauman, Melissa, "ABC Official Denies Network Can't Find Sponsors for Show", Lawrence Journal-World, November 13, 1983.
- Meyer, Nicholas, "'The Day After': Bringing the Unwatchable to TV", TV Guide, November 19, 1983.
- Torriero, E.A., "The Day Before 'The Day After'", Kansas City Times, November 20, 1983.
- Hoenk, Mary, "'Day After': Are Young Viewers Ready?", Lawrence Journal-World, November 20, 1983.
- Helliker, Kevin, "'Day After' Yields a Grim Evening", Kansas City Times, November 21, 1983.
- Trowbridge, Caroline and Hoenk, Mary, "Film's Fallout: A Solemn Plea for Peace", Lawrence Journal-World, November 21, 1983.
- Greenberger, Robert, "Nicholas Meyer: Witness at the End of the World", Starlog magazine, January 1984.
- Eisenberg, Adam, "Waging a Four-Minute War", Cinefex magazine, January 1984.
- Boyd-Bowman, Susan (1984). "The Day After: Representations of the Nuclear Holocaust". Screen. 6 (4): 18–27.
- Meyer, Nicholas (1983). The Day After (TV-Miniseries). United States: Embassy Home Entertainment.
- Perrine, Toni A., PhD (1991). "Beyond Apocalypse: Recent Representations of Nuclear War and its Aftermath in United States Narrative Film". Final Draft. Cite journal requires
|journal=(help)CS1 maint: multiple names: authors list (link)