But
in cult television history, a painting is often something frightening or
terrifying…a monstrous “thing” that can change shape, or even act as a portal
to another world.
In
“The Cemetery,” the pilot of Rod Serling’s Night Gallery (1969 –
1972), Roddy McDowall’s character, Jeremy, is menaced by one of his uncle’s
paintings. Specifically, the work of art
seems to periodically “morph” into an ever-more horrifying dimension, depicting a dead man rising from
(a nearby) grave to approach the house proper.
Terror mounts as the painting
depicts that ghoul looming ever closer.
Farscape (1999 – 2004) featured a similar
episode, “Picture if you Will,” about a painting which could change form and
trap characters inside hellish fantasy domains or prisons.
In
Space:
1999’s (1975 – 1977) “End of Eternity,” an menacing alien named Balor
(Peter Bowles) is trapped in an asteroid prison for centuries. There, he is surrounded by monstrous artistic
renderings painted by his own hand. As
the unfortunate Alphans soon learn, Balor’s paintings are an artistic
representation of his world view and prevailing philosophy which, politely put,
revolves around sadism and torture. In
this case, a painting in this case represents an insight into a twisted,
perverse mind.
In
Friday
the 13th: The Series’ (1987 – 1990) two-part episode “The
Charnel Pit,” a cursed painting represents a doorway to 1790 France, and the
world of the Marquis de Sade. Series
star Robey, playing Micki, is transported back in time, and must find out a way
to get back to the 1980s. As one might
suspect, the painting proves the key to safe return.
In
Sapphire
and Steel’s (1978 – 1981) very first serial, Steel similarly becomes
trapped for a time inside a painting of a pastoral setting, making the work of
art a literal prison for the imperiled character.
Sometimes in cult-tv history, paintings are merely expression of an artist’s insight or great talent. Lt. Data
(Brent Spiner)
attempted to learn whether artificial life forms – androids – could also be creative by taking up painting in the Star
Trek: The Next Generation episode “11001001.”
Likewise,
Chaka (Philip Paley) proved he had evolved beyond the normal Pakuni range by
learning to paint (a portrait of Ta) in the Land of the Lost (1974 –
1976) second season premiere, “Tar Pit.”
Paintings
have also proven ironic or fantastic counterpoints to reality (The
Twilight Zone [1959 – 1964]: “The Midnight Sun,”), as weird psychic
evidence of ghosts (One Step Beyond [1959 – 1961]: “The Storm”), and even as
chronicle of honored history and a continuing legacy (Smallville [2001 – 2011]:
“Absolute Justice”)
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