Tony Newman
James Darren
Tony Newman
The Time Tunnel
7.6
1966
1 Season • 30 Episodes
Action & AdventureSci-Fi & FantasyDrama
Overview
The Time Tunnel is a 1966–1967 U.S. color science fiction TV series, written around a theme of time travel adventure. The show was creator-producer Irwin Allen's third science fiction television series, released by 20th Century Fox and broadcast on ABC. The show ran for one season of 30 episodes. Reruns are viewable on cable and by internet streaming. A pilot for a new series was produced in 2002, although it was not picked up.
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Trailer
TV Trailer for The Time Tunnel, 1960s
Cast
Reviews
✦ AI-generated review
God's Lonely Man in the Machine
There’s a kind of sleeplessness that feels chemical, like the static in your body has started leaking into your eyesight. Colors turn wrong. The night hums too loudly. *Taxi Driver* doesn’t merely portray that state; it drags you inside it. The movie opens with a yellow cab sliding out of a cloud of street steam like some animal hauling itself up from underground, all under Bernard Herrmann’s bruised, mournful saxophone. Every time I watch that intro, my chest tightens a little. Scorsese tells you right away: this city is sick, and so is the man drifting through it.
Paul Schrader wrote the script while living through his own ugly stretch, supposedly circling Los Angeles in his car with a loaded gun and an ulcer. He basically dropped Dostoevsky’s Underground Man into post-Vietnam New York. But what gives the film its sting isn’t the theory behind it. It’s the humiliation. The porno-theater date with Betsy is still almost unbearable to watch. Scorsese holds on Cybill Shepherd’s face as disgust dawns, while Travis just cannot process what he’s done wrong. He sincerely thinks he took her to a movie. In that scene, I don’t see a monster yet. I see a man missing a crucial piece of human wiring.
De Niro’s performance has been memed into cultural wallpaper—the mirror, the mohawk, all of it—so it’s easy to forget how exact his work is. Watch him enter the Palantine campaign office: shoulders clenched, stride stiff, body moving like he’s operating it from a manual. De Niro got a hack license and drove a cab for weeks, and you can feel that preparation in the way he drains the charm out of himself. What’s left is not swagger but vacancy, taut and dangerous. Pauline Kael was dead on when she called it "one of the few truly modern horror films" in *The New Yorker*. Travis is frightening because he isn’t some grand villain. He’s the quiet man in the corner with too much time and a hunger to turn himself into a mission.
And then there’s the ending. The bloodbath in the tenement is ugly enough, but the real chill comes after the shooting stops. People still argue over whether the coda is a dying fantasy; Scorsese has mostly said it isn’t. Literal or not, the point lands either way. Travis rescues Iris, the headlines call him a hero, and the culture decides that the right kind of violence can clean a man right up. Society doesn’t know what to do with sickness when it accidentally flatters the story it wants to tell. So Travis goes back out into the rain, still behind the wheel, still checking the mirror, still waiting for the next reason.
There’s a kind of sleeplessness that feels chemical, like the static in your body has started leaking into your eyesight. Colors turn wrong. The night hums too loudly. *Taxi Driver* doesn’t merely portray that state; it drags you inside it. The movie opens with a yellow cab sliding out of a cloud of street steam like some animal hauling itself up from underground, all under Bernard Herrmann’s bruised, mournful saxophone. Every time I watch that intro, my chest tightens a little. Scorsese tells you right away: this city is sick, and so is the man drifting through it.
Paul Schrader wrote the script while living through his own ugly stretch, supposedly circling Los Angeles in his car with a loaded gun and an ulcer. He basically dropped Dostoevsky’s Underground Man into post-Vietnam New York. But what gives the film its sting isn’t the theory behind it. It’s the humiliation. The porno-theater date with Betsy is still almost unbearable to watch. Scorsese holds on Cybill Shepherd’s face as disgust dawns, while Travis just cannot process what he’s done wrong. He sincerely thinks he took her to a movie. In that scene, I don’t see a monster yet. I see a man missing a crucial piece of human wiring.
De Niro’s performance has been memed into cultural wallpaper—the mirror, the mohawk, all of it—so it’s easy to forget how exact his work is. Watch him enter the Palantine campaign office: shoulders clenched, stride stiff, body moving like he’s operating it from a manual. De Niro got a hack license and drove a cab for weeks, and you can feel that preparation in the way he drains the charm out of himself. What’s left is not swagger but vacancy, taut and dangerous. Pauline Kael was dead on when she called it "one of the few truly modern horror films" in *The New Yorker*. Travis is frightening because he isn’t some grand villain. He’s the quiet man in the corner with too much time and a hunger to turn himself into a mission.
And then there’s the ending. The bloodbath in the tenement is ugly enough, but the real chill comes after the shooting stops. People still argue over whether the coda is a dying fantasy; Scorsese has mostly said it isn’t. Literal or not, the point lands either way. Travis rescues Iris, the headlines call him a hero, and the culture decides that the right kind of violence can clean a man right up. Society doesn’t know what to do with sickness when it accidentally flatters the story it wants to tell. So Travis goes back out into the rain, still behind the wheel, still checking the mirror, still waiting for the next reason.