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Televising the American Nightmare: the Twilight Zone and Postwar Social Criticism

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Televising the American Nightmare: the Twilight Zone and Postwar Social Criticism Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2017 Televising the American Nightmare: The wT ilight Zone and Postwar Social Criticism David Brokaw Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Brokaw, David, "Televising the American Nightmare: The wT ilight Zone and Postwar Social Criticism" (2017). LSU Doctoral Dissertations. 4225. https://digitalcommons.lsu.edu/gradschool_dissertations/4225 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. Televising the American Nightmare: The Twilight Zone and Postwar Social Criticism A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Humanities And Social Sciences by David James Brokaw B.A., Centre College, 2007 M.A., State University of New York at Albany, 2010 May 2017 For Janet ii Table of Contents Abstract……...................................................................................................................................iv Introduction The Twilight Zone, A Socially Critical Fantasy..........................................................1 Chapter 1 Fighting a War, Combating a Myth: How the Horrors of World War II Shaped The Twilight Zone.....................................................................................................................24 “A Quality of Mercy”....................................................................................................................27 “Thirty-Fathom Grave” .................................................................................................................39 Chapter 2 Cold War Space and Technology: A Fertile Frontier or a New Human Wasteland?.........................................................................................................................61 “I Shot an Arrow in the Air” .........................................................................................................64 “Brain Center at Whipple’s” .........................................................................................................82 Chapter 3 Duck, Cover, and Accuse: Cold War Paranoia Remakes the American Landscape........................................................................................................................102 “The Shelter” ..............................................................................................................................103 “The Monsters Are Due on Maple Street” ..................................................................................119 Chapter 4 Cold War Childhood: Containment or Entanglement? ..............................................137 “It’s a Good Life” .......................................................................................................................139 “Living Doll” ..............................................................................................................................156 Chapter 5 White Collar Weariness: Postwar Work and Leisure Transformed............................172 “Stop at Willoughby” ..................................................................................................................174 “The After Hours” .......................................................................................................................192 Chapter 6 Consuming Conformity: The Planned Obsolescence of Selfhood in Postwar America’s Marketplace......................................................................................................................206 “Number Twelve Looks Just Like You”.....................................................................................208 “The Lateness of the Hour” ........................................................................................................227 Conclusion These Things Cannot Be Confined to The Twilight Zone........................................244 Bibliography…............................................................................................................................263 Vita...............................................................................................................................................286 iii Abstract Rod Serling’s Twilight Zone (1959-1964) emerged during a period of American history which has since become something of myth, legend, and lore. Popularly portrayed as a kind of golden age when middle class aspirations were within reach, suburban housing affordable, and the nuclear family perfectly contented, postwar America was more accurately characterized by profound cognitive dissonances. At a time when the Cold War was understood to be first and foremost a battle of ideas, psychological marketing promoted many different facets of the American Dream. While market researchers plumbed the depths of American minds and explored their subconscious desires and insecurities to better promote goods, homes, and jobs, American consumers were generally not as well-acquainted with understanding how psychological manipulations were impacting their rapidly changing world. Consequently, a fast- growing knowledge gap began to emerge between marketers and politicians on the one hand, and the consuming public on the other. The Twilight Zone, by focusing on the “dimension of mind,” worked to raise viewers’ awareness of how their minds represented fiercely contested ground for marketers and postwar policymakers alike. Knowing that explicitly depicting socially marginalized minorities was sure to alert increasingly paranoid sponsors and networks, Serling instead focused his creative energies on white American society and its collective preservation of bigotry, prejudice, and white supremacy. By turning a critical eye toward issues permeating suburbia, space exploration, white collar work, consumerism, war, and technology, Serling’s Twilight Zone appraised the priorities of white mainstream society - priorities which frequently necessitated greed, corruption, indifference, and violence. In this way, he followed the dominant television trend in making the aspirational, and seemingly wholesome, American Dream the centerpiece of his new iv series with one major qualification – the American Dream would be contained within a nightmare. By placing the American Dream inside a nightmare, Serling attempted to raise critical thought as it related to manufactured desires, public policies, advertised products, and white utopian visions that incessantly predominated postwar life in the United States. v Introduction The Twilight Zone, A Socially Critical Fantasy Rod Serling’s Twilight Zone (1959-1964) emerged during a period of American history which has since become something of myth, legend, and lore. Popularly portrayed as a kind of golden age when middle class aspirations were within reach, suburban housing affordable, and the nuclear family perfectly contented, postwar America was more accurately characterized by profound cognitive dissonances. At a time when the Cold War was understood to be first and foremost a battle of ideas, psychological marketing promoted many different facets of the American Dream. While market researchers plumbed the depths of American minds and explored their subconscious desires and insecurities to better promote goods, homes, and jobs, American consumers were generally not as well-acquainted with understanding how psychological manipulations were impacting their rapidly changing world. Consequently, a fast- growing knowledge gap began to emerge between marketers and politicians on the one hand, and the consuming public on the other. The Twilight Zone, by focusing on the “dimension of mind,” worked to raise viewers’ awareness of how their minds represented fiercely contested ground for marketers and postwar policymakers alike. The Twilight Zone stood out as a relatively unique program when compared to most television content at the time. By the late fifties, programming was increasingly dominated by westerns, cop shows, family sitcoms, and game shows making The Twilight Zone more of an exception than the rule in TV Guide lineups from the day. The increasingly strained relations between the Soviets and Americans and the heightening of the Cold War both militarily and culturally pressured sponsors, networks, and writers to promote the American way of life, rather 1 than critique it. During this time, the FCC even changed their definition of “public interest” from one that included creative experimentation, minimal advertising, and inclusion of minority tastes to one that sought to legitimate the status quo and praise the values of capitalism.1 However, at the same time this consumer juggernaut was taking hold of the nation and television content, a wave of lively social commentary and criticism emerged throughout popular print culture. Writers and intellectuals such as E. Franklin Frazier, Betty Friedan, Paul Goodman, Michael Harrington, C. Wright Mills, Vance Packard, David Riesman, William Whyte, and many others disseminated a wide array
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