The original "Twilight Zone" run - between October 1959 and June 1964 - remains unrepeatable. Series creator Rod Serling helped create an anthology model featuring short, impactful episodes with twist endings, each united by the surreal appeal of the titular liminal space. To venture into the twilight zone was to experience the bizarre and the macabre, which often took on the appearance of the mundane to deceive unsuspecting travelers. While some episodes are unconventional morality tales that warn against the evils of consumerism or the cost of bad taste, others take mysterious turns and suggest thought-provoking "what-if" scenarios. Although The Twilight Zone goes beyond a single genre, its own memorable offers have always been considered science fiction.

Of course, not every Twilight Zone story follows the conventions of the genre, but the shared connection to this liminal space creates a commonality that cannot be ignored. Some science fiction stories, like "The After Hours," explore the horrors of embracing human identity. Others—like the brilliant pilot episode, "Where's Everyone At?"—make a case against acute human isolation. There are evolving shades of these science fiction stories, such as "Distance," a deeply personal reflection for Serlingor the absurdly unfunny "Mr. Dingle the Strong," which plays out like an alien story gone horribly wrong.

However, Rod Serling disagrees with the general view that The Twilight Zone is exclusively a sci-fi show. Despite the occasional presence of aliens and time travel, he once told The Modesto Bee (via MeTV), “This is not science fiction; this is pure fantasy we're doing."

Although The immense influence and legacy of Serling's series is undeniable today, it wasn't easy to sell the idea of ​​an anthology series dealing with such diverse, current topics. In an interview with the Fort Worth Star-Telegram, Serling talked about his days before CBS and how difficult it was to present The Twilight Zone as a fantasy series that challenged the definitions of what was considered acceptable for network television. "I tried to sell this idea three years ago and was kicked out," he said. “Fantasy used to be a dirty word on TV.

Serling's feelings about fantasy and science fiction can be summed up in the third season episode "The Fugitive", in which he distinguishes between the two genres in his classic opening narration. He posits science fiction as "the improbable made possible" and fantasy as "the impossible made probable." He then suggests a merging of these genres within the episode, stating that this alliance marks a journey "into the heart of the Twilight Zone".

While Serling may have begun to envision the series as fantasy, the genre-defying nature of its episodes must have made him reassess his stance—though he still shied away from the "sci-fi" label:

"It is difficult to give a genetic classification, a single definition of the series. I guess you could say they are stories of the imagination. They all tilt from the center - unreal, speaking in terms of reality. No, they are not vehicles for social criticism, they are mature stories for adults."

Well, rigid genre classifications hardly matter in the face of such electrifying tales of mystery and beyond. You can classifies The Twilight Zone as speculative fiction, but it seems her goal has always been to defy expectations.