If you like stuff like The Twilight Zone or The Outer Limits, you should check out Lights Out. It was a TV show that ran from 1946-1952 and featured the kind of weird stories and situations that would make those later shows famous. It also illustrates one of the key issues about television at the time. Although many critics today see television horror as a poor relation to cinematic horror, Lights Out was an adaptation of a radio horror show that had started in the 1930s. The radio show was hugely popular throughout the 1930s and 1940s and, after 1936, it was associated with the figure of Arch Oboler, an outspoken anti-fascist who was fond of social and political themes.

Also, during this period, it was radio, rather than cinema, that was the mass medium, and horror was one of its key genres at the time. For example, if one looks at the radio output of Orson Welles during the late 1930s, it is striking how many of the stories that he adapted were clearly associated with Gothic horror. Furthermore, he not only decided to make Dracula the first radio production of his Mercury Theater radio show, but his infamous radio broadcast of War of the Worlds was clearly intended as a horror story and was broadcast on Halloween. Welles had even built up a major reputation on radio as the voice of The Shadow, a radio superhero with mystic powers and an emphatic association with horror. (For more on Welles, radio and horror, see my article, Shadows and Bogeymen: Horror, Stylization and the Critical Reception of Orson Welles during the 1940s.)

Consequently, the kinds of horror that one finds in Lights Out are very different from those associated with cinematic horror at the time. Indeed, 1946, when Lights Out started on TV, was precisely the point at which the cinematic horror cycle of the 1940s went into decline before the resurrection of horror in the 1950s, with the SF-horror films that followed The Thing from Another World (1951). (It fact, it is interesting that Lights Out had already been playing with the relationship between horror and science fiction on the television well before 1951.)

Lights Out did not focus on monsters, or on Gothic villainy, but rather on the weird and uncanny. In The Dark Image, for example, a wife is menaced by a mirror that was the property of her husband’s former lover. Initially oppressed by its presence, she eventually finds herself trapped on the other side of the glass, her rival having taken her place in our world. Furthermore, the process of her entrapment in the mirror is fascinatingly visualized, and requires one to rethink the common claim that television is somehow less visual than cinema and is therefore a problematic medium for horror.

The sequence is highly visual and uses trick photography to convey the notions of doubling, transference and entrapment, but it does not do so in a literal way. It does not aim for verisimilitude but for something more suggestive or metaphorical. In other words, it demonstrates that, even in the late 1940s and early 1950s, television was clearly a visual medium, and that it was experimenting with visual techniques of story-telling, even if it sometimes visualized things in terms that were different to those common in the cinema.

It is no surprise then that Rod Serling claimed to have been inspired by Oboler and by shows like Lights Out. Of course, you shouldn’t expect the kinds of production values on which Serling was able to count a decade later but, as a fun-filled glimpse into an imaginative and experimental period of television horror, Lights Out has much to offer.