This episode is one of the best of the second "Twilight Zone" series, featuring an intriguing variant on the concept of "It's a Good Life", and an outstanding (and utterly atypical) performance from the late Richard Mulligan. Toby Ross is a seriously mentally disabled young man in his late teens/early twenties being cared for by his two elderly parents (Mulligan and Haney) who also happens to have a unique power -- being able to summon objects or living creatures merely by looking at (or remembering) a picture, and saying "bring." Naturally, this presents horrible complications (especially since any living creature he summons arrives dead). When Toby is taken to the hospital, the doctors and a social worker (Alexandra Borrie) take notice of his unusual living situation, and believe that action is needed to enhance his development, while not understanding his gift.
The classic original series episode "It's a Good Life" set up the paradigm of what would happen if you had a small child with seemingly omnipotent power, but no social or moral boundaries to limit his use of that power. Terry Matz' and George R.R. Martin's script for "The Toys of Caliban" takes a parallel course -- a child with extraordinary powers, but without the mental ability to process the consequences of those powers. It also sets up an extremely powerful character dynamic with the parents, attempting to limit the risks of Toby's power by limiting his access to images that could lead to the destructive use of those powers. As age sets in, however, this strategy becomes increasingly difficult to maintain. In this respect, the story diverges from "It's a Good Life": while the original series episode focuses on the chaotic and destructive consequences of unchecked power, "The Toys of Caliban" establishes more concrete emotional stakes for its leads, addressing the anguishing choice faced by the parents in how to use what control they have to prevent the adverse effects of their son's powers. Complicating matters are the good-faith efforts of the social worker, who clearly doesn't understand the havoc her actions may bring.
This is where the performances come in -- Anne Haney is very good as his older, doting mother, Borrie's performance as the social worker is sincere, and David Greenlee is quite good as Toby, effectively conveying his limited verbal and mental ability. Which leaves us with Mulligan's performance, easily one of the best of the mid-1980s series (and the equal of some of the best of the original series). From start to finish, every part of his performance makes clear his character's appreciation of the enormous stakes, his deep love for Toby, and the resulting emotional anguish; yet every part of the performance is grounded and motivated. As a result, two of the key scenes -- his final meeting with the social worker and the finale -- come off as particularly poignant.
The only real detracting factor in this episode are the special effects at the ending, though these are almost certainly the result of excessive budgetary constraints by the network. Fortunately, the emotional impact preceding the final effect is so strong, the cheap effects won't really undermine the story's impact.
As noted, this episode is not only in the top tier of the 1980s version: it would clearly rank close to the top tier of the original series.
The classic original series episode "It's a Good Life" set up the paradigm of what would happen if you had a small child with seemingly omnipotent power, but no social or moral boundaries to limit his use of that power. Terry Matz' and George R.R. Martin's script for "The Toys of Caliban" takes a parallel course -- a child with extraordinary powers, but without the mental ability to process the consequences of those powers. It also sets up an extremely powerful character dynamic with the parents, attempting to limit the risks of Toby's power by limiting his access to images that could lead to the destructive use of those powers. As age sets in, however, this strategy becomes increasingly difficult to maintain. In this respect, the story diverges from "It's a Good Life": while the original series episode focuses on the chaotic and destructive consequences of unchecked power, "The Toys of Caliban" establishes more concrete emotional stakes for its leads, addressing the anguishing choice faced by the parents in how to use what control they have to prevent the adverse effects of their son's powers. Complicating matters are the good-faith efforts of the social worker, who clearly doesn't understand the havoc her actions may bring.
This is where the performances come in -- Anne Haney is very good as his older, doting mother, Borrie's performance as the social worker is sincere, and David Greenlee is quite good as Toby, effectively conveying his limited verbal and mental ability. Which leaves us with Mulligan's performance, easily one of the best of the mid-1980s series (and the equal of some of the best of the original series). From start to finish, every part of his performance makes clear his character's appreciation of the enormous stakes, his deep love for Toby, and the resulting emotional anguish; yet every part of the performance is grounded and motivated. As a result, two of the key scenes -- his final meeting with the social worker and the finale -- come off as particularly poignant.
The only real detracting factor in this episode are the special effects at the ending, though these are almost certainly the result of excessive budgetary constraints by the network. Fortunately, the emotional impact preceding the final effect is so strong, the cheap effects won't really undermine the story's impact.
As noted, this episode is not only in the top tier of the 1980s version: it would clearly rank close to the top tier of the original series.
