The series' opening montage was a work of art in its own right. A camera positioned low-to-the-ground - and likely a steadicam - races at warp speed through an entirely empty but ornate, Gothic-style Victorian house.
The trademark Darkroom episode, perhaps the most heavily publicized and most eagerly anticipated of the short run, was a special effects extravaganza entitled "Siege of August 31" which involves a Vietnam veteran and southern farmer named Neil (played by Ronny Cox) locked in combat with toy soldiers (and toy vehicles, including a helicopter) made animate.
The final confrontation, an impressive collage of rear projection, blue screen and miniature effects, occurs in a barn by black of night as the veteran adorns his uniform and literally returns to the war that haunts his dreams.
Based on a short story by Davis Grubb, and written for television by Peter S. Fischer, "Siege of August 31" is directed by Peter Crane.
On the other hand, Neil is depicted in deliberately unflattering, villainous terms as well. He strikes his wife across the face not once but twice, and is merciless -- nay, actually vicious -- with Ben, his son. He refuses to relent in his quest to send the boy off to a military academy against his will.
This is not a small question. Perhaps I'm being pedantic in demanding the story pick a definitive side in what is a complicated issue, but the story is less than it should because it never decides what the point here is.
Yet "Siege of August 31" remains incredibly memorable because of that great special effects denouement (which was trumpeted in commercials and previews for the series).