The Outer Limits (1963 TV series)
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|The Outer Limits|
|Created by||Leslie Stevens|
|Directed by||László Benedek
Charles F. Haas
|Narrated by||Vic Perrin (Control Voice)|
|Opening theme||Dominic Frontiere (1963–64)
Harry Lubin (1964–65)
|Country of origin||United States|
|No. of seasons||2|
|No. of episodes||49 (list of episodes)|
|Executive producer(s)||Leslie Stevens|
|Producer(s)||Joseph Stefano (1963–64)
Ben Brady (1964–65)
|Cinematography||Conrad Hall, John M. Nickolaus, Kenneth Peach|
|Running time||51 minutes|
|Production company(s)||Daystar Productions
United Artists Television
|Picture format||Black-and-white 4:3|
|Original release||September 16, 1963 – January 16, 1965|
The Outer Limits is an American television series that aired on ABC from 1963 to 1965 at 7:30PM EST on Monday evenings. The series is often compared to The Twilight Zone, but with a greater emphasis on science fiction stories (rather than stories just dealing with fantasy or supernatural matters). The Outer Limits is an anthology of self-contained episodes, sometimes with a plot twist at the end.
The series was revived in 1995, airing on Showtime from 1995 to 2000, then on Sci-Fi Channel from 2001 until its cancellation in 2002. In 1997, the episode "The Zanti Misfits" was ranked #98 on TV Guide's 100 Greatest Episodes of All Time.
- 1 Series overview
- 2 Episodes
- 3 Home video
- 4 Possible film
- 5 See also
- 6 References
- 7 External links
Each show would begin with either a cold open or a preview clip, followed by a "Control Voice" narration that was mainly run over visuals of an oscilloscope. Using an Orwellian theme of taking over your television, the earliest version of the narration ran as follows:
|“||There is nothing wrong with your television set. Do not attempt to adjust the picture. We are controlling transmission. If we wish to make it louder, we will bring up the volume. If we wish to make it softer, we will tune it to a whisper. We will control the horizontal. We will control the vertical. We can roll the image, make it flutter. We can change the focus to a soft blur or sharpen it to crystal clarity. For the next hour, sit quietly and we will control all that you see and hear. We repeat: there is nothing wrong with your television set. You are about to participate in a great adventure. You are about to experience the awe and mystery which reaches from the inner mind to – The Outer Limits.||”|
A similar but shorter monolog caps each episode: We now return control of your television set to you. Until next week at the same time, when the control voice will take you to – The Outer Limits. Later episodes used one of two shortened versions of the introduction. The first few episodes began simply with the title screen followed by the narration and no cold open or preview clip. The Control Voice was performed by actor Vic Perrin.
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The Outer Limits was originally broadcast on the American television network ABC (1963–65). In total, 49 episodes were produced. It was one of many series influenced by The Twilight Zone and Science Fiction Theatre, though it ultimately proved influential in its own right. In the un-aired pilot, the series was called Please Stand By, but ABC rejected that title. Series creator Leslie Stevens retitled it The Outer Limits. With a few changes, the pilot aired as the premiere episode, "The Galaxy Being".
Writers for The Outer Limits included creator Stevens, and Joseph Stefano (screenwriter of Hitchcock's Psycho) who was the Season 1 producer and creative guiding force. Stefano wrote more episodes of the show than any other writer. Future Oscar-winning screenwriter Robert Towne (Chinatown) wrote "The Chameleon", which was the final episode filmed for Season 1. Two especially notable Season 2 episodes "Demon with a Glass Hand" and "Soldier" were written by Harlan Ellison, with the latter episode winning a Writers' Guild Award. The former was for several years the only episode of The Outer Limits available on laser-disc.
Season 1 combined science-fiction and horror, while Season 2 was more focused on 'hard science fiction' stories, dropping the recurring "scary monster" motif of Season 1. Each show in Season 1 was to have a monster or creature as a critical part of the story line. Season 1 writer and producer Joseph Stefano believed that this element was necessary to provide fear, suspense, or at least a center for plot development. This kind of story element became known as "the bear". This device was, however, mostly dropped in Season 2 when Stefano left. (Two Season 1 episodes without a "bear" are "The Forms of Things Unknown" and "Controlled Experiment", the first of which was shot in a dual format as science-fiction for The Outer Limits and as a thriller for a pilot for an unmade series The Unknown. Actor Barry Morse, who starred in "Controlled Experiment", states that this episode also was made as a pilot for an unrealized science-fiction comedy series. It was the only comic episode of The Outer Limits.
Earlier Season 1 episodes with no "bear" were "The Hundred Days of the Dragon" and "The Borderland" made before the "bear" convention was established. Season 2 episodes with a "bear" are "Keeper of the Purple Twilight", "The Duplicate Man", and "The Probe". Bears appear near the conclusion of Season 2 episodes "Counterweight", "The Invisible Enemy", and "Cold Hands, Warm Heart".) The "bear" in "The Architects of Fear", the monstrously altered Allen Leighton, was judged by some of ABC's local affiliate stations to be so frightening that they broadcast a black screen during the "Thetan's" appearances, effectively censoring most of the show's last act. In other parts of the United States, the "Thetan" footage was tape-delayed until after the 11 o'clock evening news. In still others, it was not shown at all. (Unlike today where all film series are transferred to videotape for transmission, from the 1950s to about the mid-1980s all film series were broadcast directly off a film print via telecine.) Season 1 had music by Dominic Frontiere, who doubled as Production Executive; Season 2 featured music by Harry Lubin, with a variation of his Fear theme for One Step Beyond being heard over the end titles.
Comparison to The Twilight Zone
Like The Twilight Zone, The Outer Limits had an opening and closing narration in almost every episode. Both shows were unusually philosophical for science-fiction anthology series, but differed in style. The Twilight Zone stories were often like parables, employing whimsy (such as the Buster Keaton time-travel episode "Once Upon a Time") or irony, or extraordinary problem-solving situations (such as the episode "The Arrival"). The Outer Limits was usually a straight action-and-suspense show which often had the human spirit in confrontation with dark existential forces from within or without, such as in the alien abduction episode "A Feasibility Study" or the alien possession story "The Invisibles". As well, The Outer Limits was known for its moody, textured look in many episodes (especially those directed by Byron Haskin or Gerd Oswald, or photographed by Conrad Hall) whereas The Twilight Zone tended to be shot more conventionally – although there are, of course, notable exceptions to these rules of thumb on both series.
However, there is some common ground between certain episodes of the two shows. As Schow & Frentzen, the authors of The Outer Limits: The Official Companion, have noted, several Outer Limits episodes are often misremembered by casual fans as having been Twilight Zone episodes, notably such "problem solving" episodes as "Fun and Games" or "The Premonition".
The program sometimes made use of techniques (lighting, camerawork, even make-up) associated with film noir or German Expressionism (see for example, "Corpus Earthling"), and a number of episodes were noteworthy for their sheer eeriness. Credit for this is often given to the cinematographer Conrad Hall, who went on to win three Academy Awards (and many more nominations) for his work in motion pictures. However, Hall worked only on alternate episodes of this TV series during the first two-thirds of the first season. The program's other cinematographers included John M. Nickolaus and Kenneth Peach.
The various monsters and creatures from the first season and most props were developed by a loose-knit group organized under the name Project Unlimited. Members of the group included Wah Chang, Gene Warren and Jim Danforth. Makeup was executed by Fred B. Phillips along with John Chambers.
Characters and models
Many of the creatures that appeared in Outer Limits episodes have been sold as models or action figures in the 1990s and 2000s. A variety in limited editions have been as model kits to be assembled and painted by the purchaser issued by Dimensional Designs, and a smaller set of out-of-the-box action figures sold in larger quantity by Sideshow Toys. The former produced a model kit of The Megasoid from "The Duplicate Man", and both created a figure of Gwyllm as an evolved man from "The Sixth Finger".
Influence on Star Trek
A few of the monsters reappeared in Gene Roddenberry's Star Trek series later in the 1960s. The moving microbe beast in "The Probe" later was used as the 'Horta' in "The Devil in the Dark", and operated by the same actor, Janos Prohaska. The "ion storm" seen in "The Mutant" (a projector beam shining through a container containing glitter in liquid suspension) became the transporter effect in Star Trek. The black mask from "The Duplicate Man", is used by the character Dr. Leighton in "The Conscience of the King". The Megasoid, from "The Duplicate Man" and the Empyrean from "Second Chance" (1964) were seen briefly near Captain Christopher Pike in other cages in the Star Trek pilot "The Cage".
The process used to make pointed ears for David McCallum in "The Sixth Finger" was reused in Star Trek as well. Lead actors who would later appear in the regular cast of Star Trek included Leonard Nimoy, who appeared in two episodes ("Production and Decay of Strange Particles" and "I, Robot") and William Shatner who appeared (in the episode "Cold Hands, Warm Heart") as an astronaut working on a Project Vulcan. Actors who would subsequently appear in the regular supporting cast of Star Trek were Grace Lee Whitney (episode "Controlled Experiment") and James Doohan (episode "Expanding Human"). Roddenberry was often present in The Outer Limits' studios, and hired several of its staff, among them Robert Justman and Wah Chang for the production of Star Trek.
Lawsuit on behalf of Harlan Ellison
Harlan Ellison contended that inspiration for James Cameron's Terminator had come in part from Ellison's work on The Outer Limits. Cameron conceded the influence. Ellison was awarded money and an end-credits mention in The Terminator (1984), stating the creators' wish "to acknowledge the works of Harlan Ellison". Cameron was against Orion's decision and was told that if he did not agree with the settlement, they would have Cameron pay for any damages if Orion lost Ellison's suit. Cameron replied that he "had no choice but to agree with the settlement. There was a gag order as well."
Reception and reputation
In the first year, the series earned a very loyal audience. So devoted, some were reported to take a TV set with them if they had to be away from home, so they would not miss an episode (as home video recording did not exist). However, the second season fared rather poorly in the Nielsen ratings after moving from Monday to Saturday night, going against Jackie Gleason. This was the main reason that producer Joseph Stefano chose to leave the show after the first year, he realized that competing against the more popular Gleason Show would kill his show (proven by its cancellation midway through the second season). However, the series retained a following for many years after its original broadcast. Many decades later, horror writer Stephen King called it "the best program of its type ever to run on network TV."
In a 2002 Salon.com review of the original series, Mark Holcomb wrote that The Twilight Zone and Star Trek were more popular in part because they played things more safely than The Outer Limits, choosing to "never stray far from the rationalism that drives most American entertainment". Holcomb posited:
|“||Their [referring to The Twilight Zone and Star Trek] human characters are fallible, impulsive creatures uniquely adept at screwing up, but every emotion, relationship and deeply held conviction they display remains in place at the end of virtually every episode. However comforting this may have been, it tended to refute the everyday experience of the viewing audience.
The Outer Limits wouldn't, or couldn't, cater to such needs. Stevens and Stefano had something much less conciliatory in mind for their show, and thus set it squarely in a universe ruled by labyrinthine pressures and transient pleasures, where meaning and morality were in constant flux and human beings fought desperately – sometimes heroically – to keep pace. This starkly recognizable yet distinctly off-kilter milieu made The Outer Limits television's most unabashedly modernist work.
A "platinum" version of the MGM/UA Library brand product of the video series was released.
MGM Home Entertainment has released both seasons of The Outer Limits on DVD in Region 1. In 2007, they re-released the series in three separate sets. In October 2008, MGM released a 7-disc box set featuring all 49 episodes of the series. The re-releases of Season 2 correctly claim three discs in the set on the outer packaging, whereas the individual slim cases with the DVDs inside rather confusingly claim only two.
|DVD name||Episodes||R1 Release date||R2 Release date|
|Season 1||32||September 3, 2002||July 11, 2005|
|Season 2||17||September 2, 2003||July 25, 2005|
|The Complete Series||49||October 21, 2008||–|
- The DVDs include a revised version of the original intro, heard over the episode menus:
|“||There is nothing wrong with your DVD player. Do not attempt to adjust the picture. We are controlling your DVD player. We already control the horizontal and the vertical. We now control the digital. We can change the focus from a soft blur to crystal clarity. Sit quietly and we will control all that you see and hear. You are about to experience the awe and mystery which reaches from the inner mind to – The Outer Limits.||”|
- The episodes "The Invisible Enemy" and "Wolf 359" are erroneously listed on one DVD case ("The Outer Limits Volume Three The Original Series Disc 1 Episodes 33–40") in "The Outer Limits The Complete Original Series Volumes 1–3". Both episodes are actually only on Disc 2 included in the case for "The Outer Limits Volume Three The Original Series Discs 2–3 Episodes 39–49".
On June 20, 2014, The Hollywood Reporter revealed that Metro-Goldwyn-Mayer is developing a film version of The Outer Limits based on the "Demon with a Glass Hand" episode, with Scott Derrickson and C. Robert Cargill writing and Mark Victor producing.
- The Outer Limits (1995 TV series)
- List of The Outer Limits (1995 TV series) episodes
- Science fiction on television
- Alcoa Presents: One Step Beyond
- Amazing Stories
- Masters of Science Fiction
- Night Gallery
- Science Fiction Theatre
- Tales from the Darkside
- Tales of Tomorrow
- The Ray Bradbury Theater
- The Twilight Zone
- Way Out
- "Special Collectors' Issue: 100 Greatest Episodes of All Time". TV Guide (June 28 – July 4). 1997.
- Barry Morse's autobiography "Pulling Faces, Making Noises: A Life on Stage, Screen & Radio", p. 196
- David J. Schow and Jeffrey Frentzen, The Official Outer Limits Companion, Ace Books, New York, 1986, pp. 3, 350.
- Megazoid. Dimensional Designs.
- "Outer Limits Gwylm 12-inch Figure. Entertainment Earth.
- The Outer Limits Official Companion, Schow & Frentzen, p. 361.
- The Futurist: The Life and Times of James Cameron (Kindle location 885)
- Mark Holcomb. The Outer Limits, Salon.com, April 8, 2002.
- Kit, Borys (June 20, 2014). "'The Outer Limits' Movie in the Works From MGM, Scott Derrickson (Exclusive)". The Hollywood Reporter. Retrieved June 20, 2014.
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