Painted Men and Salt Monsters: The Alien Bod y in 50s and 60s American Science F iction Television Lincoln Gerag hty

(1) If, a s w e ha ve seen, it is often claimed tha t television is awa sh with g rap hic ima g es of the b od y, American television science fiction was virtually fascinated w ith the fig ure of the a lien during the la te 1950s a nd 1960s, where it routinely focused on the b od y – both a lien and human – as imag es of difference. F rom monstrous aliens a nd muta ted huma ns to evil cyb orgs a nd pa inted men, the b od y b ecame a spa ce in w hich to exa mine a nd neg otia te id ea s concerning ra ce, nationhood a nd g end er. Series such a s The Tw ilight Zone (1959- 1964), The Outer Limits (1963- 1965), a nd Sta r Trek ( 1966- 1969) exa mined sp ecific constructions of d ifference through their episodic forma t and consistent use of the ‘a lien’ a s a n instrument of na rra tive storytelling. (2) This chap ter focuses on the d evelop ment of the human a nd alien bodies a s d ep icted in the science fiction television series of the 1950s and 1960s. As such it ta kes a chronolog ica l app roa ch, exa mining the chang ing rep resenta tions of the b od y a s they w ere conceived and addressed throug hout the major and influentia l series of the time. As I will a rg ue in the first pa rt of this essa y, the fig ure of the alien w a s a pred ominantly cinematic cha ra cter in the 1950s. It wa s a ma insta y of the B movie sf/horror film tha t wa s often p resented in sta rk contra st to the human, and so challeng ed existing d efinitions of norma lity. Often this is read a s simply p resenting the a lien as irred eemably Other, w ith flying sa ucers, hid eous alien b lobs, and muta nt monsters op era ting to confirm American society a s the rig htful ma sters of the ga la xy. How ever, a s Ma rk Ja ncovich ha s p ointed out, ma ny of these aliens a lso challeng ed the status quo in other wa ys, a nd op era ted to question established d efinitions of normality. In many films of this p eriod, the threa tening alien a ctua lly focused fea rs and anxiety ab out develop ments within America n society, while others p resented the alien a s a p ersecuted figure opp ressed b y intolerance. It w as this la ter trend tha t wa s d evelop ed in Rod Serling’s The Tw ilight Zone, a television series tha t did not d epict humanity a s sup erior to the alien other, but instea d turned its gaz e on humanity to challeng e d efinitions of normality in C old Wa r America. As a result, the overtly alien b od y was la rg ely a bsent from w ha t wa s g enerally a ‘cereb ra l show’ tha t focused on the huma n mind ra ther tha n the a lien bod y ( Sta rk 1997: 86- 87). (3) It wa s only in the 1960s tha t television sta rted to disp la y a fa scina tion w ith the sp ecta cle of the alien b od y. The Outer Limits revelled in creating outrag eously g ha stly mutants, a liens a nd monsters, a lthoug h even here these alien others w ere often p resented sympathetica lly d esp ite their visua l d ifferences, and w ere often presented a s a friend or b enevolent help er in rela tion to the huma n protag onist who wa s often p resented a s ignorant or violent. These stories w ere frequently confined to the Ea rth and often used imag es of difference to highlig ht huma n p rejudice and intolerance. D ifferences betw een the huma n and the a lien bod y enabled an investiga tion of America’s C old Wa r politics. While television wa s becoming America ’s ‘“wind ow on the world”, va rious events quite literally b rought home to us that threa tening “thing s” from the outsid e could rea ch us w ith ea se throug h this very sa me porta l’ (W orla nd 1996: 112) . As the a lien beca me all the more g ruesome a nd macabre tow ards the end of the series, ep isod es relativiz ed America n d efinitions of norma lity, a nd presented humanity a s one, insignifica nt sp ecies a mong others in the Universe ra ther tha n the epitome of normality, the central standa rd against w hich all alien sp ecies and cultures could b e judg ed . (4) After The Outer Limits, science fiction television a nd its human cha ra cters d epa rted from Ea rth’s confines in Sta r Trek, which continued to use ma ke-up a nd sp ecial effects in its d ep iction of the alien bod y, b ut also chang ed the mea ning of the encounter b etw een the human a nd a lien. Althoug h many stories continued to p resent first contact w ith the alien a s one tha t rela tiviz ed definitions of normality, it a lso started to p la ce huma ns ba ck at the centre of the Universe, a s the a rb iters of right and wrong, and the standa rd against which a ll aliens would b e jud g ed. Sta r Trek used the alien b od y as a mirror ima g e; a hid eous and often evil d opp elg ang er that p la yed up huma n fra ilties b ut a lso confirmed ma stery. In Sta r Trek’s Utop ia n future, humanity ha s overcome its p rob lems a nd could move out into the Universe w ith p ositive a ffirma tion. As a result, while this p resented humanity a s ha ving freed itself of ea rlier social p roblems it a lso meant tha t these p rob lems w ere then p rojected onto the alien a s tha t w hich was in need of correction b y the intervention of b enign huma n ag ency. In many w ays, while the show clea rly disp la yed a fairly ra dica l political agenda in a ra ng e of a rea s, pa rticula rly ra ce, it a lso ra n the risk of reinforcing America n foreig n policy a t the time.

Film and its Outer Limits (5) M ark Ja ncovich ( 1996: 15) points out that most critics of the 1950s inva sion na rra tives see them a s b eing inextricab ly linked to Cold Wa r id eolog y, so that the a lien wa s cod e for the imminent C ommunist threa t. American films of the d ecad e, this critica l orthodoxy cla ims, demonised b oth the Soviet Union a nd any resistance to the sta tus q uo, ensuring tha t the institutions and a uthorities of the country w ere protected from the so- called red mena ce tha t wa s sp reading the nation. By p ulling tog ether America ns w ere given tw o choices, either support America or b e seen a s a Communist sympa thiser. The result of this distinction mea nt that there wa s a clea r line b etw een right a nd wrong , America a nd the a lien other ( see Lucanio 1987; Tud or 1989 and Biskind 2000). How ever, a s Ja ncovich contend s, American culture wa s itself g oing throug h an ‘id entity’ crisis, so tha t the threa t p osed b y the Communist a s ‘a lien’ wa s often little more tha n a cod e for develop ments within America n society. If the alien often presented a hord e of mindless conformity that threa tened to overwhelm America , the so- ca lled sub urban d rea m wa s itself often a ccused of b eing threat to ind ivid ua l id entity. The imag e of the mid dle class ma le wa s one of uniformity: they commuted to work en ma sse dressed in their g rey flannel suits, and returned home to their id ealised, yet a ll too simila r, mod ern sub urban homes. The technolog ica l ad vancement of consumer culture tha t had p romised so much wa s instead stifling Americans’ own self- worth: It ha s often b een p ointed out tha t the q ualities tha t id entify the aliens with the Soviet Union is their la ck of feelings a nd the absence of individual chara cteristics… how ever… it wa s common in the 1950s for America ns to claim tha t the effects of scientific- technica l rationa lity up on their ow n society w a s p roducing the sa me features within America itself (J ancovich 1996: 26). (6) D espite the contrad ictory rea sons for America’s feeling of vulnerability in the 1950s, the fa ct rema ined tha t the alien, its d esire to conquer Ea rth, a nd its technologica l p re- eminence, w ere common themes in the films of tha t d ecad e. The Da y the Ea rth Stood Still (1951), W ar of the World s (1953) , Invad ers F rom Ma rs (1953) , Inva sion of the Bod y Snatchers ( 1956) a nd ma ny more p resented America and the world in the g rip of emerg ency – emerg encies ‘that jeopa rd iz ed the future of the ra ce; they were not na tiona l, nor even interna tional, but pla neta ry’ (Biskind 2000: 102) . Invasion of the Bod y Sna tchers even took tha t externa l threat a nd mad e it a d iscernibly interna l one by focusing on the inva sion of the human b od y by a n alien force (Hend ershot 1998: 26). Unlike television, film wa s ab le to ta ke on a mbitious p rojects show ing huma nity a t the b rink of d estruction using ‘Technicolor, Cinema scop e, a nd 3D technolog ies’. As a result, the threa t of the alien wa s intensified on the b ig screen during the 1950s and television contribution to the g enre was la rg ely p ostp oned until the b eg inning of the 1960s ( Telotte 2001: 95). W ha t the sma ll screen did offer w ere cinema- like serials from the 1940s such a s C apta in Vid eo and his Vid eo Rangers ( 1949- 1955), Rocky Jones, Spa ce Ra nger (1954), Spa ce Pa trol (1950- 1955) a nd Tom C orb ett, Spa ce Cad et (1950-1955) . These series, a lthoug h g enerally d eficient in technica l brilliance, crea ted a spa ce for the science fiction television series. How ever lacking they w ere in ad ult story-telling or comp lex cha ra cter develop ment, these series show ed tha t television wa s a suitab le medium through w hich the alien, usually men w ith face p aint, and the human b od y, a lb eit id ealised visualisa tions of the huma n ma le, could be show n in a futuristic setting . As Rick Worland p oints out, these series w ere consid ered to b e ‘aimed a t child ren’ yet the fact tha t they appea red on television show ed just how much the med ium wa s effected by ‘a rep ressive p olitica l clima te tha t ob structed p resenta tion of any id ea s outsid e the commonp la ce’ ( 1996: 104). The introduction of series such a s The Twilight Zone a nd The Outer Limits, with their more critical p olitics and outland ish d ep ictions of the alien and human, signa lled an a ttemp t on b eha lf of w riters such a s R od Serling a nd Leslie Stevens to comment on the very conservativism tha t encourag ed the netw orks to p roduce uncritical p rog ramming. (7) In ma ny w ays The Tw ilight Zone and The Outer Limits sha red in Sta r Trek’s famous televisua l polemicism. Unab le to discuss p olitics directly, these series used science fiction, futuristic setting s and the alien bod y a s metap hors throug h which to p a rticipa te in current deba tes. As R od Serling recounted ab out his work p rior to The Twilight Zone, ‘I wa s not p ermitted to ha ve Sena tors discuss a ny current or pressing p rob lem… In retrosp ect, I p rob ably would ha ve had a much more ad ult play had I mad e it science fiction, p ut it in the yea r 2057, and p eop led the Sena te with robots’ (q uoted in Eng elha rd t 1998: 153) . Just a s Gene Rodd enb erry ma nag ed to a ddress issues such a s C ivil Rights, Vietna m, a nd sexua l ineq uality on Sta r Trek b y setting it in the future, so too could Serling b y using the g eneric trop es and signifiers of fa nta sy, horror a nd science fiction. This a ttemp t to crea te morally informed storylines wa s empha sised b y The Tw ilight Zone’s antholog y series forma t – half hour ep isod es introduced and conclud ed b y Serling ’s short verbal commenta ry tha t summa rised the lessons lea rnt in the d ra ma (W orla nd 1996: 104) – and the use of ‘science fiction to question the conformist va lues of post-w ar sub urb ia a s w ell a s the rising pa ranoia of Cold Wa r confronta tion’ (Sconce 1997: 1454). (8) As I have a lread y intima ted, The Tw ilight Zone’s pow er to sub vert notions of rea lity and huma n id entity wa s mainly revealed through the use of mind ga mes, the p lot tw ist a t the end which jilted the audience’s p erception ab out wha t is right and rea l. Forma t, setting s, and even the title portra y the series a s a ‘p la ce of shadow s, of vision tha t is cloud ed, a p la ce that ma y b e p enetrated b y lig ht a nd und erstand ing or ca st into da rkness a nd confusion’ (Zieg ler, 1987: 33) . The human b ody wa s central to the series’ sense of thing s not being w ha t they seem, yet ra rely wa s the bod y show n a s looking anything other tha n norma l. In ep isod es such as ‘I Shot a n Arrow into the Air’ ( 1960) human a stronauts a re the central cha ra cters – a fter cra sh la nding on a d esert p lanet the crew of the Arrow a re forced to fight and kill ea ch other for w ha t supp lies a re left in the hot and a rid environment. Humans a re p erceived a s being na sty, sa vag e crea tures tha t resort to murd er so that the ind ivid ual ca n survive. The ironic twist at the end, w here the surviving a stronaut realises that they had actua lly cra sh la nd ed in N evada a nd w ere only a few miles from w ater and civilisation, serves to und erscore the sa vag e potentials tha t lie beneath the fa çad e of humanity – the real monsters that ca me from spa ce a re human. Likew ise, in the ep isode ‘The Invad ers’ (1961), w e are introd uced to a shabb y looking house w ere a women is b eing terrorised b y small and technologica l ad va nced huma noid invad ers – the two ima g es of civilisa tion contra st sha rply so a s to ma ke us think tha t the woma n living alone is the ‘alien’. How ever, a s w e find out after a series of encounters b etw een the g iant and the huma ns, the little invad ers a re a ctua lly from Ea rth a nd ha ve travelled to the g ia nt’s planet in the na me of conquest and exp loration. W hen they mista ke the woman’s a ttemp ts at d efending herself from a tta ck a s agg ressive posturing, the humans return to Ea rth und er the imp ression tha t the planet is too dang erous to b e explored. Wha t is clea r from this ironic twist, using bod y siz e to empha sise humanity’s ga la ctic insig nificance, is that humans a re the agg ressors not the alien g iant – the b od ily ha rm a nd p sychologica l tra uma suffered by the woma n is p roof of human cruelty. For most of this ep isod e, there is no dialogue, which ‘defla tes our self- importance visua lly’ a nd cod es the minia ture humans as the invad ers (W olfe 1996: 135) . ‘Such reversa ls’, a ccord ing to M. Keith Booker, ‘w ere highly effective at a moment in America n history when ma ny trad itiona l ‘Us vs. Them’ b ounda ries w ere b eing challeng ed’ (2004: 14). As America entered a new a ge a s a world lead er and nuclea r pow er, America ns w ere coming into conta ct with new cultures and p eop les that forced them to reconsider their ow n self-id entity. (9) In instances w hen the a lien threatened humans on Earth, its physica l presence wa s more often imp lied in the a ctions and rea ctions of huma ns. The visually distinctive and monstrous a lien bod y wa s ra rely seen, a nd huma nity wa s p resented a s monstrous, pa rticula rly in its tend ency to turn on ea ch other w hen threa tened b y the outsid er. For Matt Hills, The Tw ilight Zone favoured ‘the subtle app roa ch, arriving at horrifying imag es through unsettling its aud ience ra ther tha n aiming for a “g ross-out” moment’ ( 2004: 220). In ‘The Monsters Are Due on Map le Street’ (1960) , huma nity is p resented a s p roblema tic when a fea r of a lien inva sion ca uses a loca l community to turn upon itself in a hunt for a lien intrud ers. In the p rocess, this story emphasises the huma n potential for cruelty a nd intolera nce, a s the friend ly neig hb ours turn into a n ang ry mob whose fea r of the other lead s them to p ersecute those w ho d isplay ‘a lien’ q ua lities such a s read ing comic books a nd love of a stronomy – sig nifiers of p eop le who exist outsid e p erceived normal socia l b eha viour. M ost interestingly, visions of the extra- terrestrial a re notoriously ab sent from this ep isod e until the concluding tw ist, when it is revea led tha t the a liens a re actua lly w atching Ea rth from ab ove. They do not need to invad e the Ea rth a s huma n ig norance, p rejud ice and fea r d estroy society from within. Similarly, in ‘Will the R eal Ma rtia n Plea se Sta nd Up ?’ ( 1961), a group of strand ed commuters in a diner discuss the rumour that a UF O mig ht ha ve la nd ed nea rb y and , in so doing, sta rt to susp ect that the inevitab le a lien could b e one of them. Questioning notions of wha t is human – w ho is the rea l America n? – Serling p resents a b road ra ng e of cha ra cters from different ra cia l a nd ethnic b ackg round s a mong the strand ed tra vellers. Again fea r of the alien revea ls a wide ra ng e of prejud ices and intolerances; a nd aga in the tw ist a t the end show s tha t humans a re fa llib le: they not only fail to id entify the alien b ut it is even revea led that there w ere a ctua lly two aliens in their mid st, one of whom is a Ma rtian w ith a third a rm und er his trench coa t and one of whom is a Venusia n w ith a third eye und er his ha t. (10) Like the inva sion na rra tives of the previous d ecad e – Inva sion of the Bod y Sna tchers for example – both these ep isod es conform to Vivian Sob cha ck’s ob serva tion tha t science fiction films’ ‘flat a ngles, uninsp ired camera movements, a nd dow nrig ht unimagina tive cinematog rap hy seem finally purp oseful in crea ting mise en scene in which a d rumming insistence on the ord ina ry crea tes extraordina ry tension’ (Sob chack 1998: 125). The emp ha sis on the mund ane mise en scene – a diner, a quiet street – heightens the p otentia l threat p osed by a g roup of stra nd ed pa sseng ers a nd acq uainted neighb ours. Dressing humans a nd a liens in norma l attire not only recrea tes the contemp ora ry look of Cold Wa r America – thus locating the pa ranoia within a rea listic setting – but also serves to und erscore The Twilight Zone’s ab ility to ma ke much from the limited budg et a nd costuming. (11) Rick W orla nd sees the revelation a t the end of ‘The Monsters Are Due on Map le Street’ a s a signa l to the Cold Wa r conserva tism inherent in 1960s television p rog ra mming – d espite Serling’s a ttemp ts a t questioning the orthodoxy of American p olitics. The twist showing tha t aliens really do exist revea ls ‘M aple Street’s fea rs to b e a nything but delusional’; in some senses the fa ct that the neighbours w ere red uced to pa ra noia a nd socia l pa nic is justified consid ering the threat tha t does ling er on the outsid e. The Soviet Union cod ed a s a lien, a p otentia l threa t to an id yllic American suburb , confirms that if America ns d o not act – how ever much in a frenz y – then the country w ill b e forced to fight the Cold Wa r closer to home rather tha n ab road ( Worland 1996: 107). How ever, it is possible to see these two ep isod es somewhat differently. In b oth episod es, the aliens ha ve ‘outp erformed their human counterpa rts’ (W olfe, 1996: 136) , either b y subtly cha nging their physica l app ea rance or, more p ointed ly, not even coming d ow n to Ea rth at a ll. The physical d ifferentia tion betw een huma n and a lien body merely comes dow n to ha ving a n extra limb or eye, but the gulf betw een sp ecies is shown a s insurmountable. (12) ‘Eye of the Behold er’ (1960) uses the b od y somewhat d ifferently, and overturns trad itional notions of b ea uty in the episod e’s clima x. During the majority of the ep isod e a young woma n anxiously wa its to see if reconstructive fa cial surg ery ha s successfully enab led her to conform to her society’s established sta nda rd s of b eauty, or w hether she w ill continue to b e seen a s a monstrous freak. How ever, it is only at the end of the ep isod e tha t it is revea led that the d octors a nd nurses that a re treating her a re a ctua lly p ig- snouted aliens, a revelation that is given further force when they rea ct in horror when they surg ery turns out to ha ve b een unsuccessful and that their patient is, b y the standa rd s of 1950s American television, a b eautiful young blond e. In this wa y, the episod e not only rela tiviz es the d efinitions of normality current in America d uring the late 1950s and 1960s, but it also cond emns the fa scist conformity in which those w ho fail to conform a re shunned and hated ( Wolfe 1996: 154). As w e ha ve seen alread y, in the ep isod es featuring a lien impostors, it is easy to read these stories a s an a tta ck on ra cial intolera nce, and yet wha t is interesting is how The Twilight Zone a chieves its effects b y sub tle altering of the aud ience’s p ercep tions of rea lity at the end of each ep isod e, a nd the a lien op era tes to rela tivise established d efinitions of normality.

From Earth to the Stars (13) If The Tw ilight Zone ra rely used make up to p resent tha t alien, the d eformed, muta ted, monstrous, a nd totally inhuman b od y wa s centra l to the storytelling of Josep h Stefano a nd Leslie Stevens’ science fiction series, The Outer Limits. How ever, like The Tw ilight Zone, these alien crea tures w ere not simply monstrous others, b ut frequently a cted to relativiz e estab lished d efinitions of norma lity. If they w ere visually different, to the human, these differences w ere defined a s a lternative rather than inferior. As the show’s creators put it, they wa nted to p resent the a ud ience with ‘new world s b eyond rea lity; sig hts a nd sound s never b efore exp erienced; ad ventures of the innermost mind, the fa rthest g ala xies, a nd all tha t lies b etw een’ (quoted in Schow , 1998: 2). (14) As a result, the aliens w ere not just painted men in jump suits, but ra ther the p roduction team show ed grea t imag ination from the ma ke-up a nd costuming d epa rtments as the p roducers tried to imag ine crea tures completely d ifferent to their huma n counterpa rts, crea tures such a s Emp yria ns, Ebonites, Zanti, Helosia ns, and Kyb en. The consta nt ma rch of imag ina tive a lien b odies surpa ssed those seen in series such a s Sta r Trek or Lost in Spa ce ( 1965-1968) . Such diversity was only ma tched in va riety a nd originality b y Britain’s Doctor W ho (1963-1989, see for exa mp le Britton and Ba rker, 2003) w hile, in The Outer Limits, this va riety a nd originality w orked to d isplace huma nity from the centre of Universe. The a liens were not simply humanoid s or monstrous others, a nd their sheer diversity a s creatures p resented humanity a s simp ly one sp ecies among many. (15) Furthermore, ma ny of the episod es concerned the threa t of science going w rong or with huma ns d estroying themselves with nuclea r wa rfa re, rad ia tion poisoning a nd g enetic muta tion – all of which w ere fea rs d irectly releva nt to its period , which wa s one of the Cold Wa r and the nuclea r a rms ra ce ( Boyer 1994: 354). In this context, the a lien wa s not simp ly a fig ure of susp icion a nd fea r, but was often a p otentia l sa viour – so long as humans could lea rn to live with a b eing tha t looked so d ifferent to themselves. (16) The pilot episod e ‘The Galaxy Being ’ ( 1963), orig inally titled ‘Plea se Sta nd By’, empha siz ed the eerie nature of the Control Voice’s now fa mous op ening monologue, and show ed how the series would come to view the human a nd a lien bod y throug hout the first season – visua lly d istinctive yet p erhap s id eologically linked. Lowly rad io station owner a nd inventor, Alla n Ma xw ell (C liff Rob ertson), strugg les to p rove to his w ife tha t the time he ha s sp ent on resea rch ha s not b een wasted, a lthoug h others see his sea rch for a lien life in the galaxy a s an infantile p roject. Instead of using his rad io eq uip ment solely to provid e ad vertising a nd enterta inment, Maxw ell would ra ther use it in an attempt to contact extra- terrestria l life. W hen his w ife asks him, ‘Wha t ma kes you think you ca n discover a nything ? Who a re you?’, Maxw ell replies, ‘N obody. Nob od y at a ll. But the secrets of the universe d on’t mind.’ His response to the w ife’s antag onistic question serves to a ccentuate the a liena tion felt by Ma xw ell a s he struggles to continue his work. Becoming more a nd more of a loner, the inventor would rather sp end time w ith his ma chinery than g o out w ith his wife, and his d esire is rewa rd ed when an a lien rep lies to M axw ell’s communica tions. The eponymous Gala xy Being, a resid ent from the And romed a system, app ea rs to Ma xw ell as a stra ng e yet friend ly figure. The d a rk b rown costuming of the creature wa s enha nced b y reversing the nega tive so that the orig inal w etsuit b eca me b rig ht w hite in the a ctua l finished version on screen. As w ell as using tra ditional ma ke-up effects to create this alien crea ture, sta ff working on the suit added slipp ery rubb er and stuck on la rg e-p upiled eyes to a ccentua te the exotic nature of the b eing (Schow 1998: 37) . Combined w ith the technica l wiz a rd ry of simple negative- reversal, the Ga la xy Being had two la yers of aliena ting fea tures, not only d id the costume ma ke the alien imp osing to huma ns but so did his rad ioa ctive g low. (17) Significa ntly, Ma xw ell’s first word s to the a lien a re ‘W ho a re you?’ – effectively rep ea ting his w ife’s origina l question to him b ut with a different mea ning. F urthermore, like Ma xw ell, the Ga la xy Being is a loner. Both a re solita ry b eing s that a re willing to risk isolation from their resp ective cultures in pursuit of a passion for the unknow n, a passion that is only ma tched by their ingenuity in using radio wa ves to cross the ga la ctic exp anse. The Ga la xy Being tells M axw ell tha t he wa s not allow ed to use his eq uipment to exp lore spa ce, just a s Ma xw ell w as often criticised for d ra ining the radio sta tion’s p ow er to pursue his quest. The tw o b eing s, a lthough p hysica lly a lien to one a nother, a re kinsmen in spirit: both a re strugg ling to d iscover something b eyond their ow n exp erience a nd escap e the limita tions of their resp ective societies. The contra st b etw een b odies is ob viated b y the simila rities betw een their social surround ing s. Only when the Gala xy Being is mista ken for a n agg ressor towa rd the end of the ep isod e is there a potentia l for d eath and d estruction, but here it is the huma ns who a re the rea l threat a nd they a re p resented a s sma ll-mind ed b eing s that use violence when confronted w ith the unfa milia r. Perhap s more significa ntly, unlike the differences b etw een a ltered huma n a nd alien bodies in The Tw ilight Zone, the simila rities b etw een M axw ell and the Gala xy Being’s p hilosophy serve to illustra te the polemica l tone of the Control Voice a t the end of the ep isod e: The p la net Ea rth is a sp eck of d ust, remote a nd alone in the void. There a re p ow ers in the universe inscrutable a nd p rofound. Fea r ca nnot sa ve us. R ag e ca nnot help us. W e must see the strang er in a new light – the lig ht of understand ing. And to achieve this, w e must b eg in to und ersta nd ourselves and ea ch other ( quoted in Schow 1998: 7). The ‘light’ tha t is mentioned in the fina l monolog ue remind s view ers of the b right light shone b y the alien in the p receding na rrative; the physica lity of the alien b od y is lessened by the sense of the ephemera l tha t emana tes from M a xw ell’s rad io station – the b odily mena ce is exceed ed b y the hea venly glow of huma nity’s potential a lien compa nion. (18) As the series b ega n its second a nd fina l season, it wa s felt by some tha t too much time wa s b eing sp ent on the ‘usua l monster bullshit… funny rubb er ma sks, and b asically silly id ea s’ ( Ha rlan Ellison quoted in Schow 1998: 249). W ith such sentiments b eing exp ressed b y key w riters working on new scripts it is possib le to see a shift in na rrative emp ha sis in the later ep isod es. F rom the sense of g enera l human insig nificance seen in ‘The Ga la xy Being’, stories from the second sea son sta rted to exp ound up on humanity’s more p ositive traits: the ma in one b eing Man’s end less thirst for knowledg e. Instead of b eing p ortra yed a s a n immature, sa va ge, a nd technolog ically backwa rd ra ce, huma ns w ere forgiven for these indiscretions b eca use their overall ra ison d ’être wa s a nob le one – if innocent p eople a nd aliens w ere ha rmed in the p rocess of ga thering know ledg e then it w a s a small p rice to pa y. The ep isod e ‘D emon With a Gla ss Hand ’ (1964) typifies The Outer Limits’ more utilita ria n ma ntra . In this story Rob ert Culp p la yed Trent, w ho is d ressed in a casual sp orts jacket, w hite sla cks, p limsolls and b la ck gloves a nd is on the run from a humanoid sp ecies ca lled the Kyb en. In sta rk contrast to the ‘bug- eyed ’ monsters typica l of the first sea son, a nd first seen in ‘The Ga la xy Being’, the only p hysica l feature that d istinguishes the Kyb en from the human is their thick black eye makeup. D ressed in d a rk sw eat pa nts a nd top, with a gold medallion a round the neck, they look more like b ung lers or bank robb ers rather tha n an intergalactic a rmy. Ind eed, the ep isod e’s writer, Ha rlan Ellison, whilst critica l of the series’ over- the- top a lien costumes criticised the ma ke up and wa rdrob e asking, ‘And w hy the bla ck circles a round the Kyb en’s eyes? Some of them look like huma n being s; some of them look like w eird os with cheesecloth over their fa ces’ (q uoted in Schow 1998: 287). One rea son for this costuming ma y w ell ha ve b een economy, after a ll while Ellison’s orig ina l scrip t had called for a hug e cha se a cross the city, w ith the Kyb en a nd Trent trading b low s in several d ifferent loca tions, a d ecision wa s mad e to cut costs by limiting the loca tion shooting to the now iconic five- story Bradb ury Building in Los Ang eles, so tha t the cha se could b e sta g ed ‘vertica lly’ rather than ‘horiz ontally’ ( Schow 1998: 284). (19) Trent’s isola tion is p erhap s b est ep itomised b y the appa rent normalcy of the surrounding s. The a rchitectural landma rk b ecomes his prison as the Kyb en continue to p ursue him for rea sons that a re not mad e clea r to either him or the a ud ience until the end. Shot in noir style, w ith shad ow s a nd emp ty offices offering no hiding p la ce from the Kyb en or his inner d emons, Trent b ea rs a close resemb lance to the male p rotagonist of the film noir cycle. The ep isod e’s voice over fra mes Trent’s p light like ma ny of the private d etective films while the build ing ’s exp osed metallic internal structure, w ith hig h gla ss ceiling and op en lift shafts, externa lise his inner confusion a s he continues to pursue the rea son for his p light ( see Note 1). For And rew Sp icer noir’s ‘existentia lism places g rea t empha sis on the city as a trap. Interiors are often cra mp ed, a wkwa rd and cla ustrophobic’ ( Sp icer 2002: 67) , and Trent’s mission seems a lmost over b efore its ra tiona le b ecomes clea r to him. The only overt clue to Trent’s pa st is that he possesses a gla ss ha nd, w hich houses a p rosthetic comp uter tha t supp osedly hold s the key to a ll huma n knowled g e. Unfortunately, he d oes not know how he ca me to ha ve it, nor ha s he a ny memory of w ho he is. Throug hout the story the only thing tha t Trent know s for sure is tha t the Kyb en ha ve come from the future, where they are a t wa r w ith the Ea rth, a nd tha t they want the ha nd, w hich is they key to their victory. W hen the Kyb en a tta cked the Ea rth, the entire human ra ce w ent into hid ing and the hand hold s the key to the location of humanity’s hid ing pla ce. As he tries to a void cap ture, Trent b efriend s a low ly g arment w orker named Consuelo Biros ( cod ed a s an American ethnic b y the a ctress’ use of a Latin accent even though she w ea rs a b lond e wig) a nd they both try in ea rnest to retrieve the missing fing ers of his comp uter hand so tha t Trent can fina lly solve the mystery of both huma nity’s location and his ow n id entity. (20) The shocking tw ist a t the end of this story is that Trent is a ctua lly a robot that ha s b een created b y the humans of the future to p rotect humanity from the Kyb en. His b od y houses a copp er w ire that contains the essence of every huma n in electrica l form; the entire know ledg e of the human sp ecies is conta ined in his metal b od y. His gla ss hand hold s the key to unlocking this pow er b ut he must rema in the lone gua rd ia n of huma nity for eons, until sufficient time has p assed a nd it is sa fe for humanity to return to the Ea rth. Trent’s bod y b ecomes the embod iment of technica l a chievement, through w hich humanity is able to outwit the Kyb en a nd use a n a rtificia l bod y to contain their real huma n form. The closing monolog ue intimates tha t although Trent looks huma n, and even litera lly conta ins the essence of humanity w ithin himself, he ca nnot feel love or pa in a nd therefore he must wait out his yea rs in isolation. As Trent b eca me closer to C onsuelo, it wa s clea r tha t he could not truly love her. Even thoug h he looks human, he is unab le to exp erience human emotion, while it is the technolog ical app endag es to his body – the copp er w ire and the g la ss hand – that embody humanity. (21) This ep isod e wa s not the first time in the series tha t Culp’s b od y was used a s the metaphorica l sa viour of humanity. In ‘The Architects of F ea r’ (1963) C ulp’s cha ra cter, Allen Leighton, volunteers to have his bod y chang ed into an a lien form so that he will b e ab le to sca re the nations of the world into working tog ether instea d of wag ing w a r on ea ch other. Like so many science fiction stories of this period, this ep isod e sug g ests tha t huma n society is so fea rful of the other tha t it ca n only b e united b y a common threa t (Worland 1996: 112). Both Culp ep isod es use the huma n bod y a s a tool, chang ing it into an a lien or robot to sa ve huma nity. (22) The Outer Limits wa s b ecoming a n overtly p olemical series, one tha t portra yed humans a s ig norant yet open to future potentials. How ever, b y the time of Sta r Trek, America technology w a s b eginning to catch up w ith the sp ecta cula r na rra tives and settings seen in science fiction television, a nd N ASA w ere w ell on their wa y to fulfilling their p romise of send ing men to the moon. In this context, Gene Rodd enb erry’s Sta r Trek b ecame a symb ol of JF K’s p rog ressive and lib era l N ew F rontier p olitics, w ith its meta-na rrative now b eing a s fa mous as the iconic ship s, uniforms, and a ctors tha t p op ula ted the fictional w orld s of the F ed era tion’s future. F or all those w ho explored spa ce, from the origina l series (1966- 1969) to the retrosp ectively historical crew on Sta r Trek: Enterp rise (2001-2005) , their voyag es to pla ces unknown in w hich they meet w ith a liens both hostile a nd friend ly w ere a constant educa tion. F reed from the pa st turmoil of an Ea rth w ra cked b y wa r, poverty and ineq uality, Sta r Trek wa s ab le to dep ict a future where humans could fulfil their true potential. Humanity w a s on a constant voyag e of d iscovery w here it could lea rn from mistakes of the pa st and continue to imp rove and achieve the utopia first conceived b y Rod d enb erry in 1964. The multicultura l crew tha t sat ab oa rd the Enterprise wa s rep resenta tive of a ll that America should live up to: W omen w ould b e ab le to a ssume positions of responsib ility equa l to men, African-, Asian- , and Euro-Americans would b e ab le to live in ha rmony a fter overcoming the divisions of ra ce and ra cism, a nd na tions once a t wa r with each other could overcome their p etty sq uabb les for the b enefit of humankind. Consequently, the bod y, sp ecifically the rela tionship b etw een huma n and a lien b odies, beca me vitally imp orta nt in visua lising this p roject of multicultura lism and educa tion: ‘In this sense Sta r Trek acts as a mora l g uid e to humanity’s p rog ress in life, making ob vious what need s to b e d one b ut not p rovid ing its aud ience w ith a ll of the a nsw ers’ (Gerag hty 2007: 77) . (23) Intriguingly, the first episod e to b e a ired, ‘The Man Trap ’ ( 1966), was hea vily inspired b y The Tw ilight Zone a nd The Outer Limits in tha t the p lot involves a mind ga me in which thing s a re not w hat they appea r to b e. In this story Kirk and his crew a re called to p lanet M- 113 on a routine supply mission when p eop le sta rt to die from extreme salt dep rivation, d ue to a monster that is not only ab le to crea te the illusion of b eing human b ut req uires sa lt for its surviva l. As the story prog resses the Salt Monster ha s to cha nge app earance several times in ord er to g et more salt from its help less victims, a nd fina lly a ttempts to kill M cCoy in the guise of a pa st lover. In other word s, the monster mimics femininity to sed uce M cC oy b efore she strikes and , when Kirk interrup ts this encounter, M cCoy is forced to kill the imag e of the women tha t he once loved . This ep isod e also reveals the tension within the show. On the one hand , the alien is portra yed a s a relatively sympathetic b eing in this ep isod e, the la st survivor of a lost civiliza tion, and yet it is a lso seen a s a dang erous threat tha t kills without remorse. F urthermore, the imag e of b ea uty tha t it show s to Kirk a nd M cC oy hid es a hideous a lien body and trea cherous a lien motiva tions. Its freq uent a ssociation w ith femininity is a lso significa nt as it sap s the life from its male victims much like the monstrous feminine d escrib ed in Ba rba ra C reed ’s classic stud y of horror ( see Creed , 1993). As a result, the ep isod e could b e read a s sugg esting that femininity threatens to distra ct heroic masculinity from its five- yea r mission, to covert the male exp lorer into a d omesticated conformist (see N ote 2). (24) C erta inly, Sta r Trek used the alien bod y and the id ea of physical difference to exp lore contemp ora ry political a nd social issues. F or exa mple, Rodd enb erry used the alien to exp lore issues of civil rig hts, and its politics here w ere often fa irly ra dical for the p eriod ( See Note 3). Ep isod es like the ‘The Enemy W ithin’ ( 1966) used the dopp elga ng er motif to point out huma nity’s capab ility of committing a cts of violence. When Kirk is caug ht in a tra nsporter a ccid ent his p ersonality is sp lit betw een tw o id entical versions of himself; one that inherited his good traits such a s compa ssion and ca ution, the other inheriting his more evil traits such a s d ecep tion, lust and violent agg ression. Throug hout this ep isod e Kirk’s bod y is d epicted in a bject wa ys, the g ood sid e is wea k a nd feeble w ithout the more stronger, vicious Kirk a nd the evil sid e show s signs of mad ness a nd physical instab ility without the ca lming influences of the compa ssiona te Kirk. Mike Hertenstein sees this trea tment of huma nity’s multip licity a s typ ical Sta r Trek, in this ca se the w ea k and strong bod y of the ca ptain rep resents huma n duality often seen in myth and leg end a s the centa ur – half man, ha lf b ea st – part of na ture yet also an outsid er ( 1998: 8) . The moral of the story is tha t p eop le need b oth ha lves to live, allowing one to ta ke over the other mea ns that huma ns w ill d estroy each other. In ord er to survive humanity must learn to b e inclusive: the ind ivid ua l must lea rn to accep t the d ifferent pa rts of itself, and the society a s a w hole must lea rn to a ccep t the d ifferent elements from w hich it is composed: ‘To integrate is to combine elements to form an interrela ted, unified whole. Trek certainly ha s alwa ys p rid ed itself on inclusiveness’ (Hertenstein 1998: 10). (25) Simila rly, Star Trek’s ‘Let Tha t Be Your La st Ba ttlefield’ ( 1969) ‘add resses the meaning of ra ce with telling self- consciousness’ b y show ing two a liens unab le to forg et their bigotry ( Berna rdi 1998: 3) . How ever, Da niel Berna rd i sug gests tha t this ep isod e, although intend ing to hig hlig ht America ’s inherent racism and socia l seg reg ation based on colour, confirms Sta r Trek’s lib era l huma nist intent through dia log ue and a lien make-up ( the a liens differ in tha t w hile both ha ve bodies tha t a re bla ck on one sid e of their fa ce and w hite on the other, one a lien is w hite on his left side a nd the other on his rig ht sid e). Using the aliens’ bod y a s an a llegory for America’s p rob lem the series imp lies that humanity w ill ha ve integ ra ted a nd p rog ressed b eyond ra cial b igotry in the fa r future. N onetheless, a t the sa me time the series a lso imp lies that the future w ill b e one where w hites ‘a re mora lly, politica lly, and inna tely sup erior, a nd both colored huma ns and colored a liens a re either servants, threats, or ob jects of exotic desire’ (68). The p redomina ntly white crew of the Enterp rise see the warring pair of ‘painted’ a liens as p rimitive b eca use they ha ve not prog ressed like huma ns – how ever, w hat this sentiment und erscores is tha t the notion of the ra cia l ‘other’ is still a sensitive sub ject in the tw enty-third century, pa rticula rly when the F ed era tion is run b y young, white men. Hertenstein’s notion of inclusivity d iscussed in rela tion to the evil twin comes true only if the ra cia l minority sub mits to the id eolog y of the majority. (26) As a result, there a re clea r contrad ictions within Sta r Trek vision of the future, yet there is a lso evid ence of a strong desire to visualise difference, both p hysica l and cultural, in wa ys tha t cha lleng e the audience to ma ke up their mind s for themselves. Pa rt of the polemica l nature of the series is reflected in wha t Catherine Johnson calls the ‘reg ulated innova tion’ of Sta r Trek ( 2005: 75). The series clea rly conformed to g eneric trop es of science fiction but within a hea vily reg ula ted television industry and und er the constra ints of small budg ets a nd a rtistic p ra ctice it had to b e innovative yet fa milia r in ord er to a ttract a nd ma inta in a n audience: ‘F ar from b eing merely a “cloa k” within w hich to disg uise the trea tment of contemp ora ry issues, [Sta r Trek] a ctually works a t the service of the a ction-ad venture forma t within the d ema nd s of 1960s network television p roduction’ (Johnson 2005: 92) . This is b est exemp lified in the series’ use of colour (N BC wa s set on ma king colour one of its uniq ue selling points to ad vertisers and consumers) in tha t imag ining new world s w eek in and w eek out could b est b e a chieved by using and reusing sets and ma ke up techniq ues in the rep resenta tion of alien w orld s a nd creatures (84) . Bold colours a nd outrag eous a lien costumes w ere just a small part of the pa rticula r look the p roduction crew w a s trying to estab lish. Such an a esthetic is id entifiab le in the episod es d iscussed here: for exa mple, the boldly contrasted fa ce paint of the wa rring a liens in ‘Let That Be Your Last Battlefield’ not only stood in for the ra ce d ebate that wag ed during the C ivil Rights yea rs b ut also rep resented Sta r Trek’s desire for innova tion in the use of vivid colours and costuming of the alien cha ra cters. Production in this ca se is clea rly influenced b y Rodd enb erry’s p ersona l politics, N BC’s d esire to p lea se sponsors, a nd the p roduction staff’s ta lent for visual d esign. Moreover, Sta r Trek’s use of the b od y a s site for innova tion and reg ula tion throug h make up and p rod uction d esig n is symp toma tic of the ‘rep resenta tional strateg ies’ employed to fulfil ‘the network’s d esire to rep resent ra cial minorities w ithout a liena ting certa in a ud ience d emog rap hics’ (Johnson, 2005: 89). The a lien body w a s more tha n just a site for encountering the unfa milia r, it served to visua lise the d eveloping relationship betw een the science fiction g enre a nd America ’s television netw orks.

Conclusion (27) This chap ter ha s p rovid ed a n exa mination of some of the ma jor science fiction television series of the 1950s and 1960s, show ing tha t the g roundb rea king d evelopments in na rra tive a nd effects help ed position the p hysica l b od y in such cap tivating a nd controversial w ays tha t the series still remain p rime examp les of how the g enre can still affect its a udience in the present d ay. Beg inning life a s unadorned ca meos in the a ction seria ls of the ea rly fifties, a lien a nd huma n bodies simp ly reflected America’s own self- doubts a nd cultural fea rs a t a time of increa sed pa ra noia and Cold W ar p essimism. The Twilight Zone exp lored these fea rs and used the bod y, much like the famous porta l in its op ening credits seq uence, a s a doorwa y into another rea lm, which soug ht to relativiz e American d efinitions of normality. As well a s touching on id ea s about b odily difference and physica l disability, it show ed that the human mind wa s a p ow erful instrument in which imag ination could b e used to open up notions of the p ossib le ra ther tha n close them down. (28) F ollowing on from The Twilight Zone, b oth The Outer Limits a nd Sta r Trek used more and more ga rish images of the a lien other in their polemica l na rratives. Ag ain contempora ry social issues w ere central to their episodic na rratives; how ever, the two series differed from one another in their app roa ch to bod ily d ifference a nd a lien physiolog y. The Outer Limits still offered caution in its storylines. America ns should b ewa re of fa lling for visual trap s such a s fea ring wha t seems to be d ifferent to the norm. Visua l app ea ra nce ca nnot b e d ecep tive: tha t which seems to b e threatening ma y b e b enig n or even lib era ting, a nd tha t which a pp ea rs to b e norma l ma y b e da ng erous. As a result, the show sug g ested tha t America could not ca rry on b eing divid ed b y notions of ra cial a nd ethnic difference. Simila rities w ill come from within, not without. (29) Althoug h Sta r Trek continued to use the a lien bod y to criticise ra cism, sexism a nd fea r of the ‘other’, it d id so within the terms of Kenned y’s N ew Frontier and R odd enb erry’s lib era l- humanism. As a result, while it often sugg ested encounters with aliens could lib erate humans from their ow n limited exp eriences, it a lso sugg ested tha t the future w a s a Utop ia in which America ns had succeed ed in curing a ll their socia l ills. In this lib eral Utopia, huma nity b eca me the figure of tolerant authority, ag ainst w hich other species a nd cultures w ere judg ed . Caught b etw een b eing R odd enb erry’s political soundboa rd a nd fulfilling N BC’s commitment to visua l innova tion through new technolog ies such a s colour, Sta r Trek strugg led to mainta in its a pp eal to a w id e aud ience. N evertheless, the a nalysis p resented here of the three series illustrates tha t notions of the corporea l w ere imp orta nt instruments in the va rious p rocesses of mid- tw entieth century storytelling and essential elements in the formation of the science fiction television g enre a s w e still know it toda y. Note 1: David Schow outlines how the building became like a character in Ellison’s final draft of the script, with Trent having to traverse up and down in order to understand the reason’s behind the Kyben’s presence and find out who he was and what secrets were hidden in the glass appendage to his left arm. The building has also appeared in another science fiction noir, Blade Runner (1982), where the ‘ornamental ironwork, Mexican tile floors, Belgian marble staircases and a glass roof that floods the five-story atrium with daylight’ (Schow 1998: 284-285) contribute to both examples’ noiresque narrative and male protagonist’s personal struggle. Note 2: Karin Blair’s Meaning in Star Trek (1977) analyses the triangular homosocial relationship shared between Spock, Kirk and McCoy and shows how women throughout the series were shifted in and out as the patriarchal power dynamics changed. See also Geraghty (2003: 453-458) and Bick (1996). Note 3: Other science fiction series at that time such as The Invaders (1967-1968) did the reverse by recreating a sense of Cold War paranoia through stories centred on government conspiracies and aliens that looked human except for slight differences to the physical appearance of the hand.

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Filmog raphy Blad e Runner ( 1982). Produced b y M icha el D eeley. D irected b y R id ley Scott. W ritten b y Philip K. D ick (Novel), Hamp ton Fa ncher a nd David Peoples. 117mins. Ladd Co./Wa rner Bros. Capta in Vid eo a nd his Vid eo Ra ngers ( 1949- 1955). 30mins. DuM ont Television N etw ork. The Da y the Ea rth Stood Still ( 1951). Produced b y Julian Blaustein. Directed b y R ob ert W ise. W ritten b y Ed mund North. 92mins. Tw entieth-C entury Fox. Doctor Who ( 1963- 1989). BBC Television. The Invad ers ( 1967- 1968). 43 ep isod es. 45mins. ABC. Invad ers F rom Ma rs ( 1953). Produced b y Ed wa rd L. Alp erson. Directed by W illiam C ameron M enzies. W ritten b y John Tucker Ba ttle and Richa rd Bla ke. 78mins. Na tional/ Tw entieth-C entury Fox. Inva sion of the Bod y Snatchers ( 1956). Produced b y Rob ert H. Solo. Directed b y Philip Kaufman. W ritten b y W.D. R ichter and Philip Ka ufma n. 80mins. United Artists. Lost in Spa ce (1965- 1968). 83 ep isod es + p ilot. 45mins. C BS. The Outer Limits: The Architects of F ea r ( 1963). Produced b y Josep h Stefa no. Directed by Byron Ha skin. W ritten b y M eyer D olinsky. 45mins. ABC. The Outer Limits: D emon With A Gla ss Hand (1964) . Prod uced b y Ben Brad y. D irected b y Byron Ha skin. W ritten b y Ha rla n Ellison. 45mins. ABC. The Outer Limits: The Ga la xy Being ( 1963) . Prod uced b y Joseph Stefa no. Directed by Leslie Stevens. W ritten by Leslie Stevens. 45mins. ABC. Rocky Jones, Spa ce R anger ( 1954). 39 episod es. 26mins. Officia l Films Television. Spa ce Pa trol (1950- 1955). 30mins. ABC. Sta r Trek: The Enemy W ithin ( 1966). Produced b y Gene Rodd enb erry. Directed b y Leo Penn. W ritten b y R icha rd Ma theson. 45mins. NBC . Sta r Trek: Let That Be Your La st Battlefield (1969) . Prod uced by F red Freib erg er. D irected b y Jud Ta ylor. W ritten b y Oliver C raw ford from a story b y Lee C ronin. 45mins. N BC. Sta r Trek: The Ma n Tra p ( 1966). Prod uced b y Gene Rodd enb erry. Directed b y Ma rc Da niels. Written b y Georg e Cla yton Johnson. 45mins. N BC . Sta r Trek: Enterp rise ( 2001- 2005). 45mins. UPN. Tom C orb ett, Spa ce Cad et (1950- 1955). 15mins. CBS/ABC/ NBC/D uMont. The Tw ilight Zone: Eye of the Behold er ( 1960). Produced b y Buck Houghton. D irected b y Doug la s Heyes. Written by R od Serling. 30mins. C BS. The Tw ilight Zone: I Shot a n Arrow into the Air ( 1960). Produced b y Buck Houg hton. Directed b y Stua rt Rosenb erg. W ritten b y R od Serling from a story by M ad elon C ha mp ion. 30mins. C BS. The Tw ilight Zone: The Invad ers (1961). Produced b y Buck Houg hton. Directed b y D oug la s Heyes. W ritten by R icha rd M atheson. 30mins. C BS. The Tw ilight Zone: The Monsters Are Due on Map le Street ( 1960). Produced b y Buck Houg hton. Directed b y Rona ld W inston. W ritten by Rod Serling. 30mins. C BS. The Tw ilight Zone: W ill the R eal M a rtian Plea se Stand Up ? ( 1961). Produced b y Buck Houg hton. Directed b y M ontgomery Pittma n. Written by R od Serling. 30mins. CBS. Wa r of the World s (1953) . Prod uced b y Georg e Pa l. D irected b y Byron Ha skin. W ritten b y Ba rré Lynd on from the orig ina l story b y H.G. Wells. 85mins. Pa ra mount.