It's not a happy place and Charles' hopes of moving in with his son David are dashed when he's told they can 't take him in. His close friend Ben Conroy begins to worry him when Charles suggests all you have to do is wish it, and you can be young again.
“The Twilight Zone TV series was groundbreaking for its time, not only for its spooky and supernatural content but for its social commentary. A 1964 episode mentions Birmingham in a morality tale about hatred and the 1983 movie based on the series also references Alabama in a segment that features the Ku Klux Klan.
Although it is dark and there is uncertainty about the man's guilt, townspeople call for his execution and watch with glee as he is hanged. The town's minister tells the crowd the sky has gone black because of the kind of hatred they showed that day.
Later, a radio broadcast relates that the phenomenon is happening all over the world, in North Vietnam, where war raged, to the Berlin Wall as well as Budapest, and Birmingham, a reference to the ongoing racial conflicts in Alabama at the time. Creator and narrator Rod Serving closes the episode by intoning: “A sickness known as hate.
Not a virus, not a microbe, not a germ, but a sickness nonetheless, highly contagious, deadly in its effects. A second brief reference to Alabama and the Civil Rights movement occurs in a segment of the 1983 “Twilight Zone movie.
Robed members of the Ku Klux Klan are chasing him, ready to lynch. Although no one answers, viewers can see a license plate on a car: It's from Alabama.
Thomasville native Jamie Forster, who had an credited role in the film “To Kill a Mockingbird” and often played a judge on the TV series “Perry Mason,” starred in the 1963 TZ episode “In His Image,” about a man and his lookalike robot. She played a stewardess in one of Twilight Zone's most famous episodes, 1963's “Nightmare at 20,000 Feet,” in which William Shatter plays an airplane passenger who sees a creature on the wing during flight.
Oliver McGowan, born in Kipling, Ala., had roles in shows such as “My Three Sons,” “The Brady Bunch” and “Family Affair.” He played the credited role of an officer in the 1959 TZ episode “And When the Sky Was Opened,” starring Jim Hutton and Rod Taylor.
Louise Fletcher, best known for her Oscar-winning role as Nurse Matched in “One Flew Over the Cuckoo's Nest,” played an archaeologist in the 1980s three-season reboot of the Twilight Zone series. Join al.com reporter Kelly Keizer on her weekly journey through Alabama to record the region's quirky history, strange roadside attractions and tales of colorful characters.
-------------This pop can have been kicking around for about forty years. That's a long time for “The Pause That Refreshes” to linger. Talk about a Half-Life. ------------ Memo: This is part of a series of found objects, which seem to endure past their purpose.
As Nikon finest and others have said, looking at the world with an eye to seeing it through a lens, and in frame, helps to see more of it. That would seem counter-intuitive; but, it’s true. -Like my Mum and Granddad, I always try to carry a camera around with me; and, that's gotten easier.
Not Been: How long has that can be there? That type of opening hasn't been used for sometime, as far as I know. Myths like the Philosopher’s Stone, the Fountain of Youth, the elixir vitae, and many others have lived with humanity for as long as there’s been an awareness of our own mortality.
Producers Stephen Spielberg and John Lands shared a love of the original program from their youth, and each contributed a segment to the four-part anthology. Titled Kick The Can, ” it’s based on a 1962 episode of the original series in which a resident of a home for the elderly believes that he can will himself into youth again by acting and thinking young.
Here it’s an outsider, played by Scatman Brothers, who puts the idea into the heads of the residents and seems to be the one who bestows upon them a night of youthful Kick the Can. In the 1980s version, eternal youth is granted by the beneficence of an outsider, a stranger, one who markedly remains elderly as the residents turn young again.
Spielberg is obviously no stranger to the narrative trope of an outside supernatural force that can bestow eternal youth or restore the sick and dying. Symbolize the welfare state, created by the Greatest Generation, that allowed Boomer children a sense of ease about their own retirement years and old age.
One of the few returned abductees that we meet in the final sequence in Close Encounters is a member of the World War II-era Navy flyers taken by the aliens in the famous Flight 19 disappearance. Directed by Ron Howard, another of 1980s Hollywood’s biggest Baby Boomer fantasists, Cocoon tells the story of a group of Florida retirees who find a literal Fountain of Youth in a rundown old bathhouse.
The life energy that allows them to go on a 1980s old people acting young montage is produced by the slumbering cocoons of a group of aliens, the Antares. Events like Reagan’s 1984 speech at Normandy for the 40th anniversary of D-Day, and more or less constant homages and tributes to the World War II generation during the decade, seem to bear out this theory.
But the film’s symbolism and narrative deserve a deeper interpretation, one that demonstrates how much Cocoon embodies the Boomers’ own fears of growing old. In the latter, we see the institutions in all its ambivalence; several residents try their hardest to make it a place of recreation and fun (including the aerobicizing dance instructor Bess, romanced by Hume Cronin’s character and played by Broadway and Hollywood hoofer Gwen Vernon), but the cruel specter of death can ’t be overlooked.
It sought to change the culture of nursing homes by requiring basic rights and dignity to residents throughout the final chapter of their lives. As the developers physically intimidate the residents into selling, a pair of tiny spaceships (again, a motif reminiscent of an old Twilight Zone episode, where it was used to much more sinister intent) come in and, like the brownies of faerie lore, repair the damage.
As the violence of the developers’ thugs escalates into full-blown arson, the alien machines manage to both reproduce and marshal their “children” to rebuild the building in a single night, essentially protecting the structure forever and providing the film with its happy ending. The generational guilt laid bare here is obvious: Boomers and their yuppie greed seek to destroy affordable housing and a legacy piece of architecture.
What the little alien spaceships of *batteries not included represent is the power of intergenerational and cross-racial solidarity to protect traditionally at-risk populations, such as the elderly and immigrants. Somebody’s helping them, somebody’s bringing them together!” The kind of supernatural aid in Kick The Can and Cocoon came with no political expectations, but here, the aliens aren’t gods or magical strangers: they are quite literally the expression of the human potential to organize under a banner of class solidarity.
Most of them were about individual journeys of identity; in the body-swap movie, the elderly are able to superficially “understand” the young and vice versa (no pun intended). In each of them, the elderly act out in ways that are encoded as either childlike (in Kick The Can ”) or adolescent (notably, in Cocoon, the swimming pool of youth supercharges the men’s libidos; there’s also a scene where Don Apache decides to get down with the young people and… breakdance).
It’s interesting how the real thanatophobia inherent in Boomers’ midlife crises only really seemed to emerge in these cloaked narratives where their anxiety over aging could be projected onto their parents’ generation. These parents confronted institutional poverty with the New Deal, fought a war against fascism, and raised the Baby Boomers in incredibly luxurious comfort.
Whether that’s due to Generation Users and Millennials not having enough respect for their Boomer forebears to enshrine them in a film like Cocoon, or the fact that a midlife crisis is a luxury the young can no longer afford, who can say? Icon-go-back Back to Sustainability Our groundbreaking paint recycling scheme Kick Out The Can was launched in 2013 as part of our partnership with Climate Week.
Inviting homeowners to bring unwanted paint into any of our Crown Decorating Stores, the scheme is working to keep sustainability at its heart. Part of kickball's appeal is its simplicity: It's very easy to learn and play.
For this high-energy version, you need four balls and a large bucket or tote to put them in. The kicking team lines up at its plate and the pitcher rolls the first ball.
As soon as it's kicked, the kicker starts running the bases and the pitcher must pitch to the next player in line. There are no outs because the fielding team is busy retrieving the balls and getting them back to the pitcher's bucket.
If it's time to pitch and there are no balls available, the kicking team gets an extra point. Once all the kickers in the line have kicked, then their turn is over, and they become the fielding team.
Play is similar to regular kickball, except runners can cluster on the big bases. You need a basketball hoop for this version (at a playground, in a gym, or at home in your driveway).
The kicker stands under the hoop and the pitcher rolls the ball to them (as in classic kickball). Once they kick, they start running the bases while the defense recovers the ball.
Instead of splitting into two equal teams, start this game with just one pitcher. Once the first person in line kicks the ball, everyone (except the pitcher) starts running the bases.
If the defensive team catches the ball in the air, it's an out. Play this game just like the classic, with one exception: At each base, give the runner a fitness task or activity to complete: Hop on one foot, say a tongue-twister, do a push-up.
Streamline the field with this variation: You just need one base, plus home plate. They can stay at the base if they need to (to avoid being tagged out), but they have to run when their next teammate kicks.