Sep 25, 2015
In this “sampler” 'cast we consider three classic-series TWILIGHT ZONE episodes, “Walking Distance,” “A Stop at Willoughby,” and “The Trouble with Templeton,” which cover a range of narrative possibilities for time-travel scenarios of longing for the personal or cultural past. But what does it have to do with Freud's death drive? Or Leslie Fiedler's interpretation of American masculinity in LOVE AND DEATH IN THE AMERICAN NOVEL? Does Rod Serling's critique of the mid-century, middle-class American male gender role the key to the sub-genre Elise wants to call “morbid time travel”?
Special addendum: a rewatch of "Trouble With Templeton" reveals that the much-discussed script pages wind up in Templeton's pocket by accident - he grabs the script away from Laura at the table in order to stop her from using it as a prop in her flibbertigibbit act. So, in fact, she does not seem to have intended for him to have it. (Or did she wave it around in order to make him want to take it?) Please discuss!
Time (Travel) Table
0:00 Walking Distance
48:00 A Stop at Willoughby
1:21:00 The Trouble With Templeton
We've got a time-Tumblr! Please do check it out and interact with us there!
We're on all of the podcast delivery services, including iTunes, TuneIn radio and Stitcher, so please rate/review us there, if you can!
Finally, as suggested by listener Jay, here's an Amazon link to Dave's time travel novel, Hypocritic Days (published by Insomniac Press), which is set in the pulp magazine and film worlds of the early 1930s. Please do let us know if you check it out.
The Dream Syndicate "That's What You Always Say"
Jennifer Jones and Joseph Cotten (along with Debussy's music) in William Dieterle's Portrait of Jennie (1948)
Bette Davis + lounge singer in Edmund Goulding's Dark Victory (1939)