The Outer Limits kick azz

Hallucinogenic rave for The Outer Limits:

With a free-flowing id and the assistance of old-school, no-nonsense directors like Gerd Oswald and Byron Haskin, Stefano established “The Outer Limits'” uneasy tone and celebratedly gothic atmosphere in the stellar episodes he wrote. Among these were “Don’t Open Till Doomsday,” a deliciously unctuous take on frustrated desire featuring a belligerent phallo-vaginal blob, coitus interruptus on a cosmic scale and several Stefano-penned songs; “The Bellero Shield,” a spin on “Macbeth” with a shimmering space creature as inadvertent Player King; “The Invisibles,” in which crablike aliens botch a takeover of the human race by commandeering its most marginalized members; and “Nightmare,” a prescient look at the internal and external bonds that disintegrate during wartime. Some of his other efforts, such as “A Feasibility Study,” “The Mice” and “The Zanti Misfits” (which features the series’ best-remembered monsters, a race of fist-sized ants with leering human faces), were less cohesive but no less distinctive

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