A good modern example is Buffy The Vampire Slayer , which filmed its first two seasons on 16MM film to save cash, then bumped up to 35MM for season three when it had the money to do so.
Though I guess that example goes in reverse. For six episodes in the second season, the show filmed on videotape, instead of film. Those episodes were then copied to kinescope for preservation. I complained about this on Twitter, and someone responded that videotape flattens out everything that makes the show as good as it can be and turns it into something more like Dark Shadows.
At every turn, however, this episode wants to be menacing. The robots are supposed to be these innocuous presences that gradually become more and more disturbing.
Throughout, however, the videotape and the constant use of long shots keeps any of this material from being as powerful as it might be. Similarly, the scene where the robots are dismissed is just blocked oddly, to make sure that the camera can see the faces of every single robot.
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These are moments that feel built for the stage, not for the camera, and they rob many of these scenes of whatever power they could have had. And that leaves lots of time to think about the implausibility of the whole scenario.
Why on Earth would they build an adult daughter, rather than, say, a teenage daughter or even a younger one? Or once they die? Are they just going to leave her to wander the house and dream of the day when she might go off and find love? All of these are good questions, and all of them might have made fruitful lines of storytelling in other episodes of this show.
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But this one is undone by something as simple as how its filmed, and they never get room to breathe. She tries to escape, but Gregory uses his power to summon an elephant. He demonstrates this, first with Mary and then with the elephant in the hallway. Gregory discovered this talent when a male character he had put a great deal of effort and attention into approached him as a real flesh-and-blood person with his own independent will, shook his hand and thanked him. Believing none of this despite seeing and hearing the elephant , Victoria tells Gregory that he is insane and she is going to have him committed.
In response, Gregory pulls a section of tape from his safe and explains that it contains her description. Victoria snatches the tape away from him and throws it on the fire to prove he is insane, and promptly begins to feel faint. You were right! Frantic, Gregory rushes to his dictation machine and begins to re-describe Victoria. He quickly reconsiders and instead describes Mrs.
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Mary West as his wife. Mary reappears and fixes her husband a drink. Rod Serling begins his closing narration, only to find himself part of Gregory's storytelling see below. Rod Serling then appears on the set and says, "We hope you enjoyed tonight's romantic story on The Twilight Zone.
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At the same time, we want you to realize that it was, of course, purely fictional. In real life, such ridiculous nonsense could never—". Nevertheless, as Gregory joins Mary in a drink, Serling's voice comes in at the epilogue as usual. Although Serling appeared on-screen at the end of most first season Twilight Zone episodes to plug the following week's show, this is the only episode in the first season in which Rod Serling appears on-screen within the episode itself i. This is also one of only three episodes of the entire series where Serling appears on camera at the conclusion of the episode—the others were " The Obsolete Man " and " The Fugitive.
At the end of the first season, Kimberly-Clark discontinued their alternate sponsorship of the series. A new sponsor began alternating with General Foods that summer, Colgate-Palmolive , primarily on behalf of Colgate Dental Cream, as well as some of their other products including "Veto" deodorant.
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