Volume 5, Issue 1 — Visualizing Popular Culture: From Theater to the Graphic Novel
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Item Open Access SOCIAL JUSTICE FROM THE TWILIGHT ZONE: ROD SERLING AS HUMAN RIGHTS ACTIVIST(Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, 2018) Spencer, Hugh A.D.Rod Serling achieved critical acclaim in the First Golden Age of Television writing realist teleplays that express a strong moral sense and social consciousness. With the decline of anthology drama at the close of the 1950s, Serling created The Twilight Zone, which would become a forum for telling relevant stories while circumventing commercial and bureaucratic interference. As a means of exploring Serling’s use of drama as a tool for social justice, this paper compares themes from The Twilight Zone and Night Gallery with charter and constitutional statements of human rights. The United Nations’ Universal Declaration of Human Rights is the moral template applied in this discussion. Serling saw drama as a political act and his commitment to social justice often extended to his activities off the page. The content and consequences of his 1968 speech at Moorpark College are cited as an important example of his real world political behavior. Keywords: Rod Serling, Twilight Zone, Night Gallery, Universal Declaration of Human Rights, Science Fiction Television, Golden Age of Television, Television CensorshipItem Open Access “THIS CABAL GUY COULD BE RIGHT”: NUMERIC CORRELATIONS IN MAURY YESTON’S IN THE BEGINNING(Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, 2018) Vandegrift, LeonardThe study of gematria and isopsephy, the numeric conversion of Hebrew and Greek words, yields an abundant harvest of biblical insight. Though applying this method to more secular literature is rare, we have a unique set of circumstances in Maury Yeston’s musical In the Beginning that renders its use appropriate. Derived from Hebrew and Greek, the names of the show’s principal characters can be converted to numeric values, all of which share at least one of three common factors. Moreover, the names are often connected thematically, and their factors reflect key elements in the first five books of the Bible. Along with contributions from fellow collaborators Larry Gelbart and David Hahn, Yeston appears to be the most likely candidate to have included these numeric features, the intention of which is expressed in the words of the antagonist Romer, who draws particular attention to Kabbalah’s use of numbers: “There is something about the number forty. This Cabal guy could be right” (2.4.65; emphasis added). The character only skims the surface of the number 40’s implications and misses entirely the deeper meanings that further reflection offers, but having drawn some attention to the matter, the script seems to have left the question open for any observant director, performer, or audience member familiar with such things and with sufficient interest to investigate further. In the case of this article’s author, his background in theatre, literary criticism, and gematria provided the key to unlock a rich subtext of the writing that until now had lain otherwise dormant and awaiting discovery. Keywords: Gematria, Isopsephy, Number, Numeric Value, Standard Value, Ordinal Value, In the Beginning, Hebrew, Greek, Musical Theatre