Retro Recaps: The Twilight Zone (Season 5, Episode 7) – The Old Man in the Cave

With recent developments revolving around COVID-19, this country has found itself in a deadly game of tug-of-war. With people demanding their “freedom” to do whatever they wish in the face of a pandemic that (as of this posting) is still infecting and causing deaths with no signs of a readily-available vaccine, I couldn’t help but feel that even here…I was thinking of a Twilight Zone episode I hadn’t seen in years.
It turns out that on Social Media, some others were thinking the same as I was…leading me to craft this little Retro Recap of the Season 5 episode, The Old Man in the Cave.
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In an unnamed town with nary a working automobile or electricity, we see a number of disheveled people huddled around some boxes of canned food. One person claims the food is “pre-bomb,” and safe to consume. However, another says they should wait to hear what The Old Man has to say about the food.
Eventually, a man named Goldsmith (John Anderson) returns to the townspeople to deliver a message from The Old Man in the Cave. Along with advising them all to prepare for inclement weather (which could spread radioactive contamination), Goldsmith says the Old Man has proclaimed that the canned goods are toxic, and are not to be consumed.
It is then that the camera whip-pans, and we find Rod Serling standing in the street, delivering his opening monologue:
What you’re looking at is a legacy that man left to himself. A decade previous, he pushed his buttons, and a nightmarish moment later, woke up to find that he had set the clock back a thousand years. His engines, his medicines, his science, were buried in a mass tomb, covered over by the biggest gravedigger of them all: a bomb. And this is the earth 10 years later, a fragment of what was once a whole, a remnant of what was once a race. The year is 1974, and this…is The Twilight Zone.
As the townspeople begin to dispose of the cans, a Jeep pulls into town, with four armed men. One of them gets out, and introduces himself as Major French (James Coburn). He claims that the town is now to be placed under a Constabulary, and expects full cooperation from the people.
When Goldsmith speaks up against this declaration, French threatens to hang him for insubordination if he doesn’t cooperate. Claiming that there are only around 500 people left alive after the bombing, French says that his command is the new way to retain order in a lawless country. Upon seeing the canned goods, French inquires why the townspeople haven’t partaken of them yet.
Hearing about how The Old Man in the Cave cautioned the town against this, French laughs, telling how he’s heard tales of other “cults” the meager populations across the country have gathered into, and assumes that this is more of the same.
When Goldsmith offers scant details as to the identity of The Old Man in the Cave, French demands they find out more about the town’s reclusive benefactor.
French, his men, and the townspeople are led to the cave, which is sealed shut by a metal door. When French asks how the Old Man can survive inside the cave, Goldsmith claims he does not know…only that notes and messages are given to him, and this information he relays to the townspeople.
French’s men then use a hand grenade to blast open the door, but the metal holds strong. Yelling through the door to The Old Man that ‘this is just the beginning,’ French and his men return to the town with the citizens…where they then start passing out the canned goods to the townspeople!
Goldsmith claims that the canned goods could be poisoned by Strontium-90 (a radioactive isotope), but French calmly eats from one of the cans, and feeling no ill effects, once again claims the stoic man is overreacting.
Goldsmith however, does not relent. He claims that they don’t know where the cans came from or who processed them. If the food has been poisoned by radiation, they’ll be dead in 10 days.
But French’s words and actions, are more than enough to cause the starving townspeople to ignore Goldsmith. He again pleads with them as they begin scooping up the canned foods, before one of French’s soldiers breaks into a store with the words “contaminated” on the door, and starts passing out liquor bottles from inside!
By nightfall, the townspeople (sans Goldsmith), have opened the food and drank from the liquor supplies. During this time, French has a conversation with a man named Jason (John Marley), before Goldsmith comes over to him.
French taunts Goldsmith for not partaking in the food and spirits, claiming he (French) has helped these people, and inquires why the stubborn Goldsmith does not “unbend.”
“You came as intruders,” says Goldsmith, “But now you’re murderers. Only God knows how many people will die because of tonight. The Old Man in the Cave warned us about this food dozens of times. He warned us.”
The talk irritates French who then loudly calls for attention, claiming Goldsmith has lied to the townspeople, and has made up The Old Man to hold sway over them all. Soon, he has riled up the townspeople, and they take Goldsmith back to the cave, demanding he open the metal door.
Once again, Goldsmith pleads for reason, claiming that they should think logically. Though they have suffered hardships over the past 10 years, The Old Man has succeeded in helping to keep them alive. He claims they shouldn’t need to intrude, but his words fall on deaf ears, and he consents to their demands.
Activating a hidden switch in the nearby rocks, the metal door opens, and the townspeople and soldiers rush inside. What they find causes them to come to a halt.
There is no Old Man…only a large computer, it’s lights blinking, and the sound of information processing through it’s system.
French demands that the people need to kill their ‘tyrant’ if they are to be free of it, and Goldsmith quietly watches as the townspeople destroy the machine.
Some time later, we see the town, with it’s citizenry strewn about it’s streets, unmoving…including Major French and his soldiers.
We then hear movement, and see Goldsmith, walking about, quietly looking at those who have been poisoned by the canned food and liquor. As his eyes fall upon French’s corpse, he speaks aloud.
“When we talked about the ways that men could die,” says Goldsmith, “we forgot about the chief method of execution. We forgot faithlessness, Mr French. Maybe you’re not to blame. Maybe if it weren’t you, it would have been someone else. Maybe this has to be the destiny of man. I wonder if that’s true. I wonder. I guess I’ll never know…I guess I’ll never know.”
As Goldsmith walks further among the dead, Serling delivers his closing monologue:
Mr Goldsmith: survivor. An eyewitness to man’s imperfection, an observer of the very human trait of greed, and a chronicler of the last chapter. The one reading, ‘suicide.’ Not a prediction of what is to be, just a projection of what could be. This has been…The Twilight Zone.
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And that was The Old Man in the Cave.
The episode does leave several questions unanswered, such as the relationship Goldsmith has with “The Old Man.” The image of the perfect-and-clean machine sitting in a cave feels quite “artificial,” let alone we do not know how the computer stays powered on. Did Goldsmith craft it? Did he know of it’s capabilities prior to the bombing, and hid it in the cave? There are a number of questions here that Serling chooses not to answer, instead focusing on the battle of wills between Goldsmith, and Major French.
Throughout the episode, Anderson’s portrayal of Goldsmith is one that never wavers in his “faith” (or the chiseled, placid look upon actor John Anderson’s face). Though he does give-in and open the metal door in the end, he presides over the townspeople mainly like a priest trying to keep his “flock” alive in these troubled times. He will offer words of encouragement, but he will not strike back at those in the town who come against him.
It is notable how Serling has given these people a man-made savior in the form of the machine, but unlike man himself, it is not prone to emotions like selfishness or greed…just giving calculations and information that is able to keep the people alive, even through the worst of conditions. It’s information looks to be a help to everyone in the town, and survival is not based on a caste or class system.
It is also notable that some in the beginning of the episode, defend The Old Man. It’s prediction at the start of 80% inclement weather shows it doesn’t always get everything perfect, but has gotten enough right to keep the people willing to listen to Goldsmith for over 10 years. There is talk about how the people attempted to grow crops in areas that were deemed unsuitable by The Old Man, resulting in dead or mutated vegetation that most likely made them put more faith in the machine’s messages.
The portrayal of Major French could easily have been turned into a belligerent tyrant, but Coburn imbues his character as a man who is looking for logical answers to Goldsmith’s hold over the people, even as he and his men are brandishing weapons.
We even find out that French went to college and that he seems well-studied, with a personality that is more realist. French has to see The Old Man in order to believe Goldsmith. He has to taste the food before he’ll believe it to be poisoned. Without the proof, French believes he is justified in his actions, and that he is “helping” instead of “hurting.”
The Old Man in the Cave is an episode that uniquely blends together faith and logic, leaving the viewer to ponder the events of what has happened. In the end, with The Old Man destroyed, Goldsmith is on his own, with the viewer to assume that he will most likely try to get by as best he can, but now runs the risk that without guidance, he may die soon.
Much of the episode feels pretty simplified in where it’s going, with the townspeople’s mob mentality putting me in mind of other instances in The Twilight Zone, from the episodes The Monsters are Due on Maple Street, or The Shelter. Unlike those episodes, the violence here does not reach the nightmarish levels we’ve seen before, as the people here are merely looking for hope, guidance, and a possible break from the miserable life they’ve lived after the bombs fell.
Much like Serling’s underrated episode from season 4 titled He’s Alive, The Old Man in the Cave is a story that shows there are themes made almost 50 years ago, that can still resonate in today’s time, but just under different circumstances.
Times may change, but there are certain elements of humanity it seems, that are everlasting…and in some cases, some of those elements can still prove dangerous to many.
Retro Recaps: The Twilight Zone (Season 3, Episode 29) – Four O’Clock

While there would often be good people within the Twilight Zone who found themselves in circumstances beyond their control, there were also plenty of jerks to be found as well.
The episode that we’re covering today on Retro Recaps, isn’t one of their more memorable ones, but it still manages to rattle around inside my head from time-to-time, with it’s subject matter, and examinations on humanity.
I speak, of Four O’Clock.
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In a cramped apartment, lives Oliver Crangle (Theodore Bikel), and his parrot, Pete.
Oliver spends the better part of his day, calling up employers and writing them letters, claiming they have unsavory individuals who should be fired immediately. He also promises to follow-up, and be sure that his “requests” have been carried out.
Hearing Pete squawk for a “nut,” Oliver complies, and then goes over to the nearby window. Looking down at the people below, he mutters aloud about all the ‘evil people’ around him, and how they must be dealt with. However, he feels that his phone calls and threats, are not going far enough.
Looking at a nearby clock, Oliver declares that at four o’clock, he will ‘destroy evil.’
It is then that the camera whip-pans to the right, and Rod Serling addresses us:
That’s Oliver Crangle, a dealer in petulance and poison. He’s rather arbitrarily chosen four o’clock as his personal Götterdämmerung, and we are about to watch the metamorphosis of a twisted fanatic, poisoned by the gangrene of prejudice, to the status of an avenging angel, upright and omniscient, dedicated and fearsome. Whatever your clocks say, it’s four o’clock, and wherever you are, it happens to be…The Twilight Zone.
As Oliver goes over some papers, his landlady Mrs Williams (Moyna MacGill) drops off a package. When she inquires about what he does, he reveals how he collects information on people, to determine whether or not they are ‘evil.’ If he figures they are not, he feels it is his duty to guide those who are ‘misled,’ or ‘naive.’
He also reveals to Mrs Williams, a card of information he has collected on her, which causes her to quickly leave the room.
Soon after, a woman named Mrs Lucas (Phyllis Love) comes and confronts Oliver. She has come to talk to him about his incessant calling and writing letters to the hospital her husband works for, demanding he be fired.
Oliver claims he has information that her husband allowed a patient to die, but Mrs Lucas counters that the ward he was in was understaffed the night it happened. However, her pleas for understanding fall on deaf ears.
“Your husband, is an evil man!” bellows Oliver. “I will not put up with evil in any form! Communists, subversives, thieves, harlots…evil! All of them. And I will not countenance evil.”
Going over to the window, he looks down again at the people outside. As he starts comparing them to bugs and bacteria…he suddenly begins to laugh in an unpleasant manner.
“That’s what I’ll do,” he says. “I’ll turn all the evil people…into little ones!”
As he prattles on about making the evil people of the world two feet tall, Mrs Lucas finally has enough, and leaves.
We next see Oliver dressed in a suit, awaiting a visitor. As he does so, he looks at a framed copy of Abraham Lincoln’s Gettysburg Address.
Reading aloud a few lines, Crangle underlines the phrase, ‘it is rather for us to be dedicated to the great task remaining before us.’ He also crosses out the words, ‘all men are created equal,’ with a disgusted growl in his voice.
Eventually, a Mr Hall (Linden Chiles) arrives from the FBI. As he sits down, Crangle tells how he has also notified Police and Fire departments, but doesn’t fully trust calling anyone in Washington DC…claiming that ‘The Reds’ have taken over the government, as part of a ‘worldwide conspiracy.’
Crangle then tells Mr Hall about his plans regarding four o’clock, and Hall calmly asks how this strange little man will make it happen.
Oliver claims that he merely has to ‘will it’ to happen. He then tells how he even considered ‘willing airplane propellers to go limp,’ before prattling on about how making all evil people little, will render them unable to function in a normal world.
It is about this time that Mr Hall asks Oliver, if he has ever sought out any psychiatric help for himself.
“Help?” asks Oliver, incredulously. “Why should I need help? I’m not evil!”
It is then that Mr Hall decides to take his leave, but claims that the FBI is not planning to do anything regarding what he has just heard.
This response causes Oliver’s eyes to narrow, and he now assumes this man is also working for ‘The Reds!’ As Hall leaves, Oliver yells after him, claiming that he’ll soon be two feet tall!
Soon, it is almost four o’clock, and Oliver happily delights in the transformations he imagines are happening outside his window.
“Nut,” calls out Pete.
“Certainly Peter,” smiles Oliver. “This is kind of a celebration.”
As Crangle turns towards the peanut jar on the window sill…he suddenly finds that he is now two feet tall!
Pete utters the word “nut” one more time, as we see Crangle weeping at what has happened to him, and Serling delivers the closing monologue:
At four o’clock, an evil man made his bed and lay in it, a pot called a kettle black, a stone-thrower broke the windows of his glass house. You look for this one under ‘F’ for fanatic and ‘J’ for justice, in the Twilight Zone.
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Four O’Clock is one of those Twilight Zone episodes that seems to have an interesting idea going for it, but it’s execution feels a bit lackluster.
Theodore Bikel portrays Oliver as a fanatically-driven individual, but one is left to ponder what possessed Crangle to go down the path he has chosen. Was it too much time on his hands? Was there something in his past that affected him to seek out ‘the truth,’ and that personal investigating became an overpowering obsession with him? Given his penchant for filing and cataloging information, was he a government clerk that lost his mind?
I’m all for some episodes of the show leaving things unanswered, but when it comes to Crangle, one almost wants a little more information to feel grounded in his ‘reality.’
Oliver’s talk about having the power to ‘will things to happen,’ almost makes him sound like an adult version of Anthony Fremont, from one of The Twilight Zone’s more famous episodes, It’s A Good Life. Anthony had an otherworldly power that held sway over his parents and a small town, and he could wish/will things to happen all with his mind.
However, Crangle’s ‘powers’ do not go quite as far as Anthony’s did (there is no ‘wishing into the cornfield’ when it comes to Crangle getting rid of nosy subversives). For most of the episode, we’ve seen no sign of Oliver possessing any powers, and we can just as easily side with the man from the FBI, thinking he has mentally snapped (in more ways than one).
The episode is based off of a short story by Price Day, and I sought it out afterwards to see how it compared/contrasted with Serling’s adaptation.
Price’s story does have Oliver with some powers, but they are not permanent. He obtains them from time-to-time, and must use them quickly, or they will disappear until the next time he obtains them.
Price’s story is a bit more straight-forward than the episode it’s based on. His version of Crangle is not a man obsessed with poring over information. He just figures there is evil in the world, and he wants to get rid of it using the powers when they come to him again. There is also a parrot named Pet (instead of Pete like in the show), who also makes requests for a “nut” from time-to-time in the story.
The angle of using information and persons giving into unhealthy paranoia, has been reflected in quite a few of the show’s more memorable episodes, such as The Monsters are Due on Maple Street. Following the Red Scare of the 1950’s, Serling seems intent in a number of his scripts to remind people to use their brains, before jumping to unhealthy conclusions…a sentiment that many of us wish some would heed, in this day of information overload.
Given the recent revival of the Twilight Zone by CBS, one could almost see Four O’Clock reworked for today’s audiences. It would be easy to see an Oliver Crangle-like character acting as an internet troll, using social media as his weapon to weed out the people he feels are ‘evil.’ One could imagine him bombarding people with incessant messages or memes, maybe even recruiting others to act as his ‘avenging angels,’ never thinking for a moment what his actions could be doing to those on the other side of a computer monitor or smartphone.
Retro Recaps: The Twilight Zone (Season 5, Episode 25) – The Masks

Over the years, Rod Serling’s Twilight Zone series would often tell stories about the flaws of human nature. Whether it be pride, arrogance, or greed, many episodes would often show people reveling in their deplorable behaviors, unable to turn the mirror on themselves until it was too late.
As the series wound down in it’s fifth season, there were still plenty of lessons to be learned. And in The Masks, Serling attempted to show what lies beneath the surface, of some of the worst of humanity.
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Our episode starts in New Orleans, and wealthy Jason Foster is at death’s door. As a doctor leaves Jason’s bedside, Rod Serling appears, and begins his opening narration:
Mr. Jason Foster. A tired ancient who on this particular Mardi Gras evening will leave the Earth. But before departing he has some things to do, some services to perform, some debts to pay, and some justice to mete out. This is New Orleans, Mardi Gras time. It is also…The Twilight Zone.
We soon find out that Jason has sent for his daughter and her family to be with him in his final hours. However, as they greet the old man, Jason chastises each of them.
His daughter Emily he mocks for being a hypochondriac, claiming she always seems to be ill with something. His son-in-law Wilfred Sr, he mocks for his heartless business sensibilities. His Granddaughter Paula (he notes) has just been fussing over her reflection in the mirror since she arrived, and for his Grandson Wilfred Jr, he calls out his (past) love of torturing small animals.
Jason then sends the family off to have dinner (prepared by his servants), and they then meet him in his study. Here he shows them a series of masks he’s had “created” by an old Cajun. He claims they are worn only during Mardi Gras, and the tradition is that a mask reflect the antithesis of it’s wearer.
Jason then analyzes each of his family members, to determine which mask they shall receive.
Wilfred Sr claims himself to be ‘an affable man,’ and Jason selects a mask for him: a face containing greed, cruelty, and avarice.
For Emily, he bestows the mask of a self-centered coward, which he claims to be her opposite.
Paula’s mask shows vanity and insolence, while Wilfred Jr’s is the face of “a dull, stupid clown.”
For himself, Jason’s mask is a skull, given that he is still alive.
Naturally, none of the family members want to wear the grotesque creations, but that is when Jason points out that none of them even care to be in his presence…except to see him die and claim his estate for themselves. He reveals that their wish will be granted, upon the following condition: the family are to wear their masks until midnight. If any of them removes their mask before then, they will forfeit the inheritance, and be sent away.
The family reluctantly give in to the demand, but as the clock closes in on midnight, they start to complain, demanding this game come to an end. It is then that Jason starts to cough.
When Emily asks her father if he feels weaker, Jason mocks the ‘note of hope’ in her voice.
“Why must you always say such miserable, cruel things to me!?” she demands.
“Why indeed, Emily,” Jason responds sharply, “Because you’re cruel, and miserable people. Because none of you respond to love. Emily responds only to what her petty hungers dictate. Wilfred responds only to things that have weight, and bulk, and value. He feels books, he doesn’t read them. He appraises paintings, he doesn’t seek out their truth, or their beauty. And Paula there lives in a mirror. The world is nothing to her but a reflection of herself. And her brother. Humanity to him is a small animal caught in a trap to be tormented. His pleasure is the giving of pain, and from this he feels the same sense of fulfillment most human beings get from a kiss or an embrace. You’re caricatures, all of you! Without your masks…you’re caricatures.”
It is then that the clock strikes midnight. As Jason’s voice quiets, his body stiffens, and then goes limp. Wilfred checks his pulse, and joyfully declares the old man is dead. He gleefully pulls off his mask…revealing that his face has melded to it’s inner-contours! The same holds for the others when they remove their masks as well.
The head servant then call for the doctor. When he examines Jason’s corpse, the skull mask is removed, but his face remains the same as before.
“This must be death,” remarks the doctor. “No horror, no fear. Nothing but peace.”
As the servant takes Jason’s mask away, we see the now-deformed family members in the foyer, as Serling’s closing narration is heard:
Mardi Gras incident. The dramatis personae being four people who came to celebrate, and in a sense, let themselves go. This they did with a vengeance. They now wear the faces of all that was inside them, and they’ll wear them for the rest of their lives. Said lives now to be spent in shadow. Tonight’s tale of men, the macabre, and masks…on The Twilight Zone.
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Growing up, The Masks was one of those Twilight Zone episodes I remembered very well, most notably due to Robert Keith who played the late Jason Foster.
Some episodes could be carried on the backs of some rather eccentric characters, and Keith’s voice has a certain ‘eeriness’ that one could almost mistake for Vincent Price in how he chastises his relations.
What is most notable about Jason Foster, is that his character breaks some of the standards of a Twilight Zone episode. Usually a wealthy, eccentric man such as himself would be the one learning a lesson. I guess since Jason is at death’s door, he is the exception since he can’t take his fortune with him.
The lessons to be learned are instead given to his family members.
Out of all of them, it is Emily (played by Virginia Gregg) who seems to show the most ‘concern,’ though Jason throws all of it back in her face no matter what treacly sentiments she musters.
Wilfred Sr (Milton Selzeer) is the one who tries to grin-and-bear-it through most of the events, most likely trying to keep his ‘eyes on the prize.’ However, the most opinionated notes from the family come from Paula (Brooke Hayward) and Wilfred Jr (Alan Sues). Paula loudly complains about being unable to take part in the Mardi Gras celebration right outside the house, and Wilfred is one of the most vocal when it comes to wearing the masks.
One interesting fact about the episode, is that it is the only original Twilight Zone episode directed by a woman. Ida Lupino starred in one of the series’ first season episodes, but her simplicity in telling an “intimate story,” really keeps things in perspective here.
Rarely are all of the characters ever in a single frame, and most of the time, their faces take up quite a bit of a scene. Plus, there are some nice little character moments and camera choices to be had. A prime example comes when one of Jason’s servants hears his relatives are coming, and she quickly shoves a flower into a vase, showing just how she feels about them.
The Masks is one of a few Season 5 episodes (along with Nightmare at 20,000 Feet) that often ends up on a number of Top 10 lists for The Twilight Zone. It’s hard to believe that it’s been 55 years since it debuted, but like a number of episodes made back in the day, it seems there are still lessons to be learned from it…even if the person giving the lesson isn’t much better than those he’s teaching.
Retro Recaps: The Twilight Zone (Season 3, Episode 21) – Kick The Can

When it comes to Rod Serling’s television series The Twilight Zone, the episodes that most often come to people’s minds, are those that deal with some of the darker elements of humanity.
However, buried within it’s 156-episodes, there are some stories that tend to stick in our minds, that often don’t rely on aliens, or humans turning on each other.. One that I’ve seen show up in some people’s favorite episodes list (and that I recall watching with my Dad over the years), premiered on February 9th, 1962.
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The episode opens at Sunnyvale Rest, a home for the aged. As the camera shows us it’s tired residents, we see Charles Whitley (Ernest Truex), happily proclaim that his son is taking him home today.
When Charles’ son arrives, he explains to his father that he only meant to talk with him about the possibility of going home, and the two quietly part ways.
As his son drives away, Charles sees several kids playing a game of kick-the-can across the street from Sunnyvale. One of them kicks a dented tin can towards him, and Charles picks it up. As he holds it close, Rod Serling emerges from behind a bush, and delivers his opening monologue:
Sunnyvale Rest, a home for the aged. A dying place, and a common children’s game called kick-the-can, that will shortly become a refuge for a man who knows he will die in this world, if he doesn’t escape…into The Twilight Zone.
We next see Charles talking with a friend of his at Sunnyvale, named Ben Conroy (Russell Collins). While Charles holds the tin can from earlier (maybe he traded the kids for another in the home?), Ben complains how noisy the kids are outside their window.
Charles reminds him that the two of them were just as noisy as youngsters, but begins to wonder if those games they played, and some of what they believed in those younger days…may be the key to staying young.
Ben just dismisses these ideas, telling Charles that they’re old men now, but Charles dwells on his thoughts.
Concerned for his friend’s sanity, Ben tells the rest home superintendent Mr Cox (John Marley) about his fears. Things don’t get much better when the two observe Charles trying to act young, first shoving an empty wheelchair across the living room, and then running through the sprinkler outside! Mr Cox has Charles placed in bed, and warns Ben that his friend may need to be isolated for observation, unless he behaves himself.
Ben tries to explain the predicament to his friend, but Charles claims he doesn’t want to become “a vegetable” like a number of those in the home. When Ben snaps at his friend and tells him to “use his brain,” Charles quiets down…before looking at the tin can on his night table.
Later that evening, Charles wakes up a few of the residents, and they convene in a small room. When he stirs up memories of the games they played in their youth, their faces light up. Charles eagerly makes them buy into his request to play a game of kick-the-can in the summer evening, and soon the group is quietly waking up the other residents to join them.
Charles personally attempts to get Ben to join them, but Ben once again claims they’re too old to be doing such things. Even his request that his friend help him try to rekindle the lost magic of their youth does nothing to sway the old man, and Charles quietly leaves his friend’s bedside.
One of the seniors has a stash of hidden firecrackers, and sets some off outside to distract the night nurse. Once she leaves, Charles and the others rush outside.
Ben goes to Mr Cox’s office door, and tells what Charles has done. The two rush outside to bring in the seniors, but only find a number of children playing kick-the-can under the streetlight!
Mr Cox rushes off behind the house to search for his missing residents, when Ben sees a little boy who looks just like Charles did in his youth!
Ben realizes that his friend was right, and pleads with Charles to let him play too. But the boy merely looks upon Ben as a stranger, and he and the other kids rush off into the night, their voices echoing on the wind.
Sadly, Ben finds the discarded tin can, and realizes that his mindset has doomed him to be what he claimed to be: an old man…one who has now lost one of the last friends he had.
As Ben walks back to the now-empty house, Rod Serling delivers the closing monologue:
“Sunnyvale Rest, a dying place for people who have forgotten the fragile magic of youth. A dying place for those who have forgotten that childhood, maturity and old age, are curiously intertwined and not separate. A dying place for those who have grown too stiff in their thinking, to visit…The Twilight Zone.”
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Over the course of it’s 5 seasons, The Twilight Zone would sometimes deal with the topics of youth, and age. Out of all of them, Kick the Can could probably be considered one of the most treacly of them all.
For much of the episode, the Camera never strays very far from Charles Whitley. Ernest Truex’s role definitely has some small memorable moments, but for much of the episode, one can’t help but wonder if Charles really has mentally started to lose his grip on reality. It could be easy to imagine that his talk about children’s games and magic keeping one young, is him trying to come to terms with the thought that he is never going to leave Sunnyvale Rest. Even so, Charles’ attempts to wish for something innocent is rewarded, and does not backfire on him like in some of the episodes, where wishing for vengeance or selfish desires, backfires on a number of “adult” figures.
Speaking of adult figures, Charles’ friend Ben is front-and-center as the “cantankerous old man” in the episode. However, he is not totally without heart. There is still the friendship he and Charles share, and he almost acts like a big brother figure at times. This comes to mind when he tries to get Charles to “act normally,” lest Mr Cox and the home’s nurse isolate Charles because of his actions.
The episode was written by George Clayton Johnson, a science fiction writer who seemed to write about age and time quite a bit. Along with writing an additional eight episodes of The Twilight Zone, he co-wrote the screenplay to Logan’s Run, in which a man tries to escape his societal fate, once he turns 30 years old.
In 1983, Kick the Can got a second chance at life, when Steven Spielberg directed a more up-to-date version of the story, for his portion of 1983’s Twilight Zone: The Movie.

A scene from the Kick the Can segment, from Twilight Zone: The Movie.
In this version of the story (also written by the original episode’s writer), the magic of playing kick-the-can is brought to the Sunnyvale Rest Home in Florida, by a man known as Mr Bloom (played by Scatman Crothers). Bloom gets a number of the old folks to play the game, but unlike the television show’s episode, the regressed elderly people still retain their memories. Though they soon wish to return to their actual ages, the chance to experience their youth again has energized them to make the most of their remaining years.
The film even attempts to do it’s own version of the Charles and Ben friendship. This comes in the form of a person named Agee, who decides not to return to his old age, and wishes to have a second chance at youthful adventure. A friend of his named Leo Conroy (Bill Crowley), who didn’t partake in the game of kick-the-can, has second thoughts and wants to to go off with Agee. However, the now-young-man tells Crowley that he cannot go with him, and he vanishes out an open window, as freely as if he were Peter Pan.
Much like it’s 1962 counterpart, the 1983 version feels much more innocent when put next to the film’s adaptations of more popular episodes like It’s a Good Life, and Nightmare at 20,000 Feet.
Seeing Kick the Can after all these years, makes me feel that it has slipped a few notches in my list of favorite Twilight Zone episodes, but some of what it preaches to the audience, can still be something to consider.
Even if many of us in the lasts few generations have never played a game of kick-the-can, the story’s request that we allow ourselves to not forget who we once were, can end up keeping us young, in ways that may not be seen by the naked eye.
Retro Recaps: Alvin and the Chipmunks – (Season 6, Episode 20, Segment 1) The Wall

Over the years, we’ve seen a number of cartoon characters make a comeback.
In the 1980’s, Ross Bagdasarian Jr, ushered in a revival of his father’s creation, The Chipmunks. Starting in 1983, RBJ would bring Alvin, Simon, and Theodore, into the 1980’s, placing them and their father Dave Seville, into the California lifestyle. Along with singing Chipmunk versions of famous hits, the boys would get into a number of adventures.
Watching Alvin and the Chipmunks was a staple of my Saturday Mornings growing up. After the show went off the air, several cable channels picked up the episodes, and I soon found myself watching them in re-runs. Out of many of the episodes I remembered, there was one from the sixth season, that I always kept an eye out for.
An episode called: The Wall.
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As the show starts, the boys are awoken by Dave, who informs them that they have been invited to play at the Wall of Iron Concert.
Alvin (naturally) is excited at the prospect of rubbing shoulders with plenty of big-name acts there, but Dave puts things in perspective, telling him that the concert is very important.
Soon they are flying over the host city, and view a long span of wall. It is here that Dave tells the boys (and us) that the wall was built after a war divided the country. The concert the Chipmunks will play at, is set up so that those on the concert side, can send the music across the wall to those on the other side, where a number of freedoms are encroached upon…including the ability to listen to our play rock music (which shocks the heck out of Alvin).
After landing in the (nondescript) city, Dave checks on the staging area, while the boys head over to check out the wall.
They soon encounter a little girl named Caterina, who is waiting for her brother Erik to send a message over the wall.
The message comes taped to a soccer ball, along with some drawings he did. The boys agree to take some pictures with Caterina to send back over the wall…and only after taking the pictures, does she recognize them(?). Her brother is a big fan of rock and roll (as well as the Chipmunks), but when the family was forced to flee, her brother did not make it to their side of the city.
Wanting to help reunite the siblings, Alvin attempts to use his star-power to try and reason with the guards on the other side of the wall’s entry-point. However, they assume the three boys are there to ‘defect,’ and one guard orders that the trio be taken to ‘the rock pile.’
Dave hears their cries for help, but is unable to get to them in time. He then attempts to scale the wall, but before he can make it over, Erik’s soccer ball hits him, and he falls back down.
Caterina intercepts the ball, which has a note saying that Erik has seen the Chipmunks being carried off, and is going to try to help them escape during the concert that night. Naturally, Dave takes Caterina’s word to wait (instead of going to the US Embassy to try and get the boys released).
Erik ends up infiltrating the boy’s room as a bellboy(?), and brings along some towels to tie together, allowing them to escape out the nearby window. He then takes them to a tailor, who disguises the boys. Before they leave, the old man gives them some items to give to his granddaughter, who is also on the other side of the wall.
However, the group doesn’t get far, when the boys are recognized, leading to them being recaptured, along with Erik.
As night falls, the boys are led to ‘the rock pile,’ with Alvin emotionally trying to drag out his expected death.
“Give him, ‘the ax,” says the man in charge.
Alvin braces for the worst…but is surprised when he is handed an electric guitar! Simon and Theodore are also surprised, when they are also given instruments.
It is then, that the commanding officer reveals that he and his men (who I guess have chosen to defect against their superiors!), want the boys to play rock and roll!
“Show our people, it should not be forbidden any longer,” he says.
On the other side of the wall, Dave has waited long enough, when he suddenly hears Alvin’s voice, singing a song that carries over the wall.
Soon, people on both sides of the wall are listening to the song. As they join in the chorus, the wall begins to form cracks, and soon a portion of it crumbles to the ground! Once the song ends, Caterina is reunited with Erik, the tailor with his granddaughter, and Dave with the Chipmunks.
The image then wavers, and we see Alvin and his brothers, asleep on an airplane. It is at this point that Dave wakes them up, and points out the wall through the plane’s window.
“It was just a dream,” says Alvin, “But it doesn’t have to be.”
As the episode ends, we get one more image of Caterina and Erik, standing next to the open wall.
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While Alvin and the Chipmunks did have some emotional episodes, something about The Wall always stuck with me. It was when I went looking around online for more information on it some time ago, that I was surprised to find others also had fond memories of the storyline as well!
One reason the episode stuck in my head, was probably due to the song that Alvin and the boys sing.
For much of their career, the Chipmunks have mostly sung their renditions of popular songs. In the case of this episode, the song that was sung was an original piece of music (just who wrote it, I have no clue).
While there have been a number of albums of Chipmunk music released over the years, this song still has never had a proper release. Of course, if you look around Youtube, you’ll find audio copies people have gotten off the episode.
At the time, episodes of The Chipmunks usually consisted of two 10-12 minute stories. The Wall was the first part of the episode, that aired on December 17, 1988. However, some believe it’s story may have been inspired by several events.
During the late 1980’s, there was already growing resentment towards the Berlin Wall, that had divided East and West Berlin since 1961. In 1987, former President Ronald Reagan had given a speech, in which he had requested that Soviet President Mikhail Gorbachev, “tear down the wall.”
The Wall of Iron concert in the episode, may have been inspired by several artists who played near the Berlin Wall. In 1987, David Bowie performed there during his Glass Spider Tour, and in 1988, Bruce Springsteen and his band followed suit (which could explain Alvin’s Springsteen-like vocals!).
And then, on November 9th, 1989, the unthinkable happened.
It was on this day, that the gates separating East and West Germany were thrown open. I didn’t fully understand it at the time, but I can still recall NBC News footage with reporter Tom Brokaw in the foreground, reporting on the event. Plus, word is that the weekend after the event, NBC re-aired The Chipmunks episode featuring The Wall in it.
Cartoons have often found ways to insert real-world notions or thoughts. Most of the time, they go over the heads of their younger audiences.. In the case of The Wall however, there was just something about it’s message about unifying families who had been separated under horrible circumstances, that I think stuck with many who saw it…and still see the episode today.
Retro Recaps: E.R. (Season 5, Episode 8), “The Good Fight”

Growing up in the 1990’s, I still remember when NBC ruled Thursday nights, with their Must-See-TV lineup.
Thanks to the involvement of Jurassic Park alumni Michael Crichton and Steven Spielberg, I soon had another show to watch along with Seinfeld and Frasier, when E.R. debuted in 1995.
Like millions across the country, I was soon deeply engrossed in the interconnected lives of the staff of County General Hospital, in Chicago, Illinois. The constantly-roving cameras, along with the hyper-kinetic scenes when the doctors would have to contend with emergency situations, soon had me sucked in.
All these years later, there’s been a few episodes that I can still recall parts of from memory. One of them came out twenty years ago this week, and I thought it fitting to do a Retro Recap on it.
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As the episode starts, we find John Carter (Noah Wyle) and several of the E.R. staff, working on a little girl named Corinna Nelson (Nicolette Little). While her father Sawyer (John Thaddeus) only has a gash on his forehead from the vehicular accident they were involved in, Corinna has a ruptured spleen. Med student Lucy Knight (Kellie Martin) takes Sawyer to be stitched up, before returning to Corinna.
Doctors Mark Greene (Anthony Edwards) and Peter Benton (Eriq LaSalle) soon enter the room to examine the little girl, when her eyes close and her blood pressure spikes! A blood transfusion has been set up, but her body does not seem to be taking it. Lucy is sent to ask Sawyer if his daughter has any special conditions, but upon checking on him, she finds he has disappeared.
Sawyer had given Lucy some information, including the phone number for Corinna’s mother. Upon calling her, Lucy is given some shocking news: Sawyer’s name is actually Keith, and he kidnapped his daughter a few weeks prior!
Things don’t get better when they find out that Corinna has a very uncommon blood type, and the blood draw taken from Keith after the accident, confirms a match with his daughter. Carter inquires to the nearest blood banks, but finds nothing. Meanwhile, Lucy’s shift ends, and she attempts to follow the street address Keith gave her, even though Carter feels he just gave her false information.
Carter is soon relieved by Dr Greene, and takes off with a woman he knows named Roxanne Please (Julie Bowen). However, he also is informed by a member of the Chicago Police Department, that they found Keith’s totaled car came from a dealership in the Chicagoland area.
Carter attempts to spend the afternoon with Roxanne, but his mind is still on Corinna, and he heads off for the dealership, hoping to find information on Keith. There he finds out that Keith is a bookie, and the salesman tells Carter to check with a Bellhop at the Delaware Hotel downtown for more information.
Carter does so, and is surprised to find that Lucy is already there. The address Keith gave her was a former place he lived, and some locals in the area directed her to the hotel. A bellhop tells them that a guy named Toby knows Keith, and recommends they check out a meat-packing plant.
Back at the hospital, Corinna’s mother has arrived, but her daughter’s condition has worsened. With the lack of blood (her mother’s blood type does not match), her kidneys are in danger of shutting down.
It is then that Dr Kerry Weaver (Laura Innes) gives the team some hope. The rare donor program has found some frozen units of Corinna’s blood type in Nashville. The blood is soon on the way, and Corinna is prepped for surgery for her ruptured spleen.
Meanwhile, Carter and Lucy have gone from the meat-packing plant, to a dilapidated neighborhood looking for Toby. Lucy manages to find a relation who says he may be at a market nearby. However, as she glances up at the nearby El train platform, she sees Keith on it!
Carter quickly rushes across the street and jumps the turnstile. Unfortunately, he is accosted for not paying the fare, and he watches as the train leaves with Keith on it. Carter and Lucy then find Toby, who claims he doesn’t have Keith’s contact information, but suggests talking to a guy named Uncle Joey at Soldier Field.
Back at County General, the blood has been received, but there’s bad news. Several small holes have been found in the bag, which could mean the contents may have been exposed to bacteria. This leads to Dr Benton and the others to performing a “blood-less surgery,” attempting to repair the girl’s spleen, while trying to keep her from losing what little blood she has left.
Taking Uncle Joey’s advice, Carter and Lucy head to another address on the south side of Chicago. As they wander around some dilapidated buildings, they both begin to question each other’s motives in looking for Keith. Carter claims he went looking because he wanted to help. Lucy on the other hand, feels responsible since Keith walked away when her back was turned (which Carter had berated her for earlier).
“I shouldn’t have made you feel that way,” admits Carter. “Truth is, you’re the only med student I had that showed any promise.”
Things don’t get better when Carter ends up taking a fall, and dislocating his shoulder. The two decide to leave, but find that someone has torched Carter’s Jeep!
They then take off on foot, and soon come to a payphone. Lucy decides to call Toby back to see if he can provide more information, but Carter feels that they’ve reached a dead-end.
Surprisingly, Toby comes through, and provides them with an address that leads them to a small wooden shack along some train tracks. They find evidence that Keith and Corinna had been living in the shack, along with a phone message.
Playing back the message, they hear Keith’s voice telling someone named Inga that he’s across the street, and to check on Corinna at the hospital.
This sends Lucy and Carter headed back to the hospital to look for Inga, when Lucy thinks of Keith saying the words, “across the street.”
The two end up rushing into a restaurant called Doc Magoo’s across from County General, and sure enough…Keith is there!
Keith is quickly rushed over to the hospital, where Lucy draws his blood. He’s then wheeled into the room with his daughter and ex-wife, but it is then that Dr Greene explains Corinna’s condition. The spleen surgery came out successfully, but given how much time has elapsed since she first needed the blood transfusion, Corinna has slipped into a coma. She’s had multiple seizures, and her kidneys have shut down.
“But his blood will make her better, right?” asks Corinna’s Mom.
“A lot of damage has been done,” says Dr Green, quietly.
After getting his arm in a sling, Carter goes up on the roof, and finds Lucy there. While they were able to get Corinna the blood she needed, Lucy is upset that they couldn’t have saved her from her current condition.
“Some patients get to you more than others,” says Carter, sitting down next to her. “I know. But when you do everything that you can…sometimes, even more than you though you could, you got to walk away knowing you fought the good fight. You fought the good fight, Lucy. Tomorrow, you’ll fight another one.”
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When it came to E.R., the general format for an episode, usually involved weaving multiple stories together like a hospital-based soap opera. Sometimes however, the show writers would give their multiple plot-threads a break, and focus on a singular event like this one.
In the E.R., the fight to save Corinna ends up being an event that touches almost every regular character on the show (even George Clooney’s Dr Doug Ross shows up for a few minutes). However, it feels almost like the secondary story arc, with the main focus being on John Carter and Lucy Knight’s quest to find Corinna’s father.
For the show’s fifth season, Lucy Knight was a newcomer to the hospital staff: a third-year medical student, but one that had some difficulty asking questions and getting a handle on certain elements. This led to a series of mishaps that soon ended up with her and John Carter at odds with each other.
With this episode, we both got to see each of them being strong-willed and caring people, who just want to help. The storyline isn’t too different from those we’ve seen before, where two characters who don’t get along, are forced to find common ground to achieve a goal.
The episode also had the two sharing some personal information about themselves. At one point when the topic turns to Keith “abandoning” his daughter, John and Lucy begin to divulge a bit about their own fathers. Carter admits that a father should stick around for his kids, only to find out from Lucy that her father wasn’t around when she was young.
The episode worked to bridge the communication gap between them, and going forward, the two ended up becoming a fan-favorite “pairing” that is still talked about to this day.
Looking back on the episode now, the storyline of the two looking for Keith Nelson seems a bit ridiculous. I doubt any medical drama today would use such a storytelling device, but the concept of doing whatever it takes to try and save someone definitely spoke to me. There’s even an added “emergency beat” when Carter comes across a woman in a housing complex, who is suffering from tuberculosis.
The final moment with John and Lucy taking a beat after their adventure, is still one of my favorite moments from the series. Carter’s speech about “fighting the good fight,” is one that I sometimes think about in my quieter moments.
Retro Recaps: My Top 5 Favorite “Got Milk” ads

For those of us who grew up in the 1990’s, there was one commercial ad campaign that you couldn’t ignore.
Beginning on October 27th, 1993, the Got Milk ad campaign officially began showing up on TV. Soon it would be in print magazines, on billboards, and many other places.
For many like myself who watched a lot of television in the mid-1990’s, there are many commercials that were made for the campaign, that are still stuck in my head. There were so many, that I decided to compile my (personal) Top 5 favorites from the Got Milk ad campaign (hint: most of them are from the early days of the campaign).
And so, here’s my little stroll down memory lane.
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5. Trix
A nervous man enters a convenience store, and picks up three boxes of cereal, including Trix. At the register, the old woman chastises him for this.
“Don’t you know Trix are for kids?” she laughs, ringing him up, as he bolts out the door.
Once returns to his apartment, the man empties the cereal into a bowl, before suddenly, unzipping his skin(!), revealing that he is the Trix rabbit in disguise!
The rabbit is finally about to enjoy his cereal, when he realizes…that he’s out of milk!
Over the years, the Got Milk campaign would often bring some star-power into their commercials. After all, how else to get the kids’ attention, than to use characters and icons they were familiar with? Additional iconic characters used over the years, included The Powerpuff Girls, and Mario from Nintendo.
Personally, I felt that the Trix rabbit commercial was the stronger of these concepts, given that it played with the topic of desperation, and then trips up the main character right before he can achieve his goal…which was often a staple of many different Got Milk commercials.
Of course, if one looked at the commercial logically, the rabbit could simply eat the cereal without milk (plus, four years before this commercial came out, a promotional campaign had let kids across America, vote to let him eat the cereal during a Trix commercial).
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4. Yum-Yum Time
As the clock strikes six, an old woman prepares to feed her cats. Unfortunately, she quickly realizes she’s all out of milk.
Looking for a substitute, she finds some non-dairy creamer in a cupboard.
“Oh look,” she says to herself. “Just like milk.”
Mixing the creamer with water, she then proceeds to feed the cats…but one lick, and they turn on her.
Next thing we see, are paws closing the blinds, locking the doors…and turning off the power to the house!
This was one of those commercials where someone tries to get out of a bad situation, but as we soon see, their fate is sealed.
Most likely thanks to a number of Stephen King-based films, we know that when you mess with cats, things aren’t going to turn out well. Though as the commercial begins, I don’t think anyone expected the final outcome, making the final moments both humorous…and a little uncomfortable.
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3. Heaven
As the commercial starts, we see a businessman firing someone over his cellular phone…before nonchalantly walking out into the middle of a street, and getting hit by a truck!
Next, we see him in an all-white world.
“Welcome, to eternity,” a female voice says, as the man notices a pile of huge chocolate-chip cookies on a table.
“Heaven,” he murmurs, taking some bites, before going to the nearby fridge, and finding it filled with milk cartons.
However, as he picks one up, he finds it empty. Pretty soon, he realizes that all of the cartons are empty!
“Wait a minute,” he murmurs, “where am I?”
Growing up, I often felt that Rod Serling’s The Twilight Zone had some important lessons. The most important lesson of all? Don’t be a jerk!
The businessman and his joy over someone less-fortunate than himself, seems very much in line with Twilight Zone characters who realize too late, what their selfishness has wrought upon themselves.
The kicker for this commercial, is we don’t even need to be told where this guy is spending “eternity.” It’s spelled out for us in the Got Milk logo we see at the end of the commercial…which is on fire!
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2. Oreo Kane
In a boardroom, we see a number of men sitting around a large table, trying to name a familiar black-and-white sandwich cookie.
As the men dunk their cookies in milk and play with them, all sorts of names are thrown out, from “twist-o-cookie,” to “choco-lama.”
The head of the company (named C.W.), doesn’t feel any of these names are winners.
“What do you think, Hurley?” he asks, to a man with his mouth full of cookie.
At this point, Hurley attempts to pour himself a glass of milk, but finds the carton empty. Addressing the boss, he shrugs his shoulders, and mutters through his mouthful of cookie: “Or-eo (aka ‘I don’t know’).”
“Hurley,” say C.W., his eyes opening wide, “you’re a genius.”
I’ve always been a fan of word-puns, and the way the writers come up with the punchline for this commercial, has always been one of my favorites! It’s still funny to see Hurley’s “accidental genius” moment.
While we have seen other cookie-related Got Milk commercials, the Oreo sandwich cookie has often prided itself on being an accessory to milk. This was one of the few times where we had a food product referenced by name in one of the commercials, rather than the nondescript chocolate-chip cookies in a number of them.
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1. Aaron Burr
As the commercial opens, we see a man sitting at a table, making a peanut-butter sandwich. As he stuffs the sandwich into his mouth, the radio program he’s listening to, begins it’s daily contest.
“For $10,000,” says the announcer, “who shot Alexander Hamilton, in that famous duel?”
The young man’s eyes go wide…as he’s sitting amongst all sorts of Hamilton-related historical items!
Just then, the phone rings. The man picks it up, and hears the announcer’s voice!
However, his mouth is still crammed full of sandwich, and he is unable to clearly say, “Aaron Burr.”
Grabbing the carton of milk nearby, he finds it to be empty…just as the radio announcer says his time has run out, and the phone-line goes dead!
I don’t think it’s any surprise that this, the first Got Milk commercial, ended up being my favorite.
What is surprising to a lot of people, is when they find out who directed this commercial: Michael Bay!
Bay’s kinetic filming and editing style is on display here, as the scenes cut fast-and-furiously all around the room. We get all sorts of information that the guy in the commercial is a huge fan of Hamilton and Burr, though when one stops to question things a bit more, it can make your head hurt (as most of Bay’s feature films have done).
The commercial went on to win several awards, and in 2015, was parodied in a promotional commercial, related to the hit Broadway musical, Hamilton.
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Over the years, the Got Milk slogan would also end up being mentioned in a number of shows and films, cementing it’s place in America’s pop-culture. It would also be used in a number of other slogans (such as Got Jesus).
The campaign also branched out into advertising for chocolate milk, and even had a Hispanic outreach with the slogan, Familia, Amor y Leche (“Family, Love and Milk”).
In 2014, there was an attempt to change the Got Milk slogan to Milk Life. However, in the Summer of 2018, Got Milk officially returned, to try and give the dairy products a boost, in the face of 21st century offerings like almond and soy milk. Plus, just like the big to-do over the years regarding the health benefits/risks of “the incredible edible egg,” dairy-based milk may not be the be-all/end-all to strong bones, and prevention of osteoporosis.
It’s interesting to think about what has happened to the world of milk-based products over the past 25 years, and if the current attempts to steer people back towards the dairy aisle, will work as well in the early 21st century, as it did on people’s consumer tastes in the late 20th century.