Amazing Stories (1985 TV series)

Lore & Background

The series originated from Steven Spielberg's desire to use short story ideas not substantial enough for feature films, and his fond memories of starting in television with shows like Night Gallery and Duel. The title was licensed from the science fiction magazine Amazing Stories, first published by Hugo Gernsback in April 1926. NBC gave Spielberg an unprecedented commitment of 44 episodes over two years, with a budget of $1 million per half-hour episode, exceeding the standard $900,000 for hour-long TV episodes at the time. Spielberg aimed to create an all-ages family show emphasizing wonderment, fantasy, irony, and comedy, while avoiding the moralizing of earlier anthology series like The Twilight Zone. He wanted one third of directors to be newcomers, but established directors such as Clint Eastwood and Martin Scorsese also directed segments due to their desire to work with Spielberg.

Season one premiered with the Spielberg-directed episode 'Ghost Train,' which pulled in one third of the television audience but was beaten by CBS's Murder, She Wrote. Ratings declined rapidly, and the season ranked 40th out of 67 shows. Story editor Mick Garris attributed the lukewarm reception to unrealistic audience expectations. For season two, Spielberg took a less hands-on approach, authoring fewer stories and allowing a panel of writers and producers including Richard Matheson, Robert Zemeckis, and Garris to consult. Despite these changes, the series fell to 62nd place and was canceled after its two-year contract expired. The 1987 film Batteries Not Included was originally intended as an Amazing Stories episode but became a theatrical release because Spielberg liked the idea so much.

Reader's Guide

Amazing Stories holds significance as a high-profile anthology series from one of Hollywood's most influential directors, Steven Spielberg, and as a showcase for emerging and established talent. Its title sequence, created by CGI firm Robert Abel and Associates, was an early use of computer-generated imagery in television. The series won five Emmy Awards from twelve nominations, and the episode 'The Amazing Falsworth' earned writer Mick Garris an Edgar Award. Despite its creative pedigree and substantial budget, the series was not a ratings hit, ranking 40th in its first season and 52nd in its second, leading to cancellation after the initial two-year commitment. The series was revived on Apple TV+ on March 6, 2020. Its legacy includes a notable soundtrack, with scores by composers such as John Williams, James Horner, and Jerry Goldsmith, later released on CD by Varèse Sarabande and Intrada. The series also served as a training ground for writers and directors, reflecting Spielberg's intent to foster new talent.

Did You Know?

• The series title was licensed from Amazing Stories, the first dedicated science fiction magazine, created by Hugo Gernsback in April 1926.
• The title sequence was made by computer-generated imagery firm Robert Abel and Associates.
• Episodes 'The Mission' and 'Go to the Head of the Class' each ran 46 minutes, while all other episodes ran about 24 minutes.

Spielberg's Vision and the NBC Deal

Steven Spielberg conceived Amazing Stories as a creative outlet for the short ideas and stories that never quite grew into feature-length films. Drawing on fond memories of his early television work—including Night Gallery, Marcus Welby, M.D., and the TV movie Duel—he wanted to return to the medium with a fresh anthology concept. His vision was an all-ages family show built around wonderment, fantasy, irony, and comedy, deliberately steering clear of the heavy moralizing he associated with earlier anthologies like The Twilight Zone. When producer Gary David Goldberg connected Spielberg with NBC executives Grant Tinker and Brandon Tartikoff, the network agreed to an unprecedented 44-episode commitment spanning two years, a condition Spielberg insisted on so he could refine the format between seasons. The per-episode budget of one million dollars for half-hour segments exceeded the standard cost for hour-long regular series. Spielberg also negotiated specific terms: no use of his name in promotion after the premiere and a fixed 8 p.m. Sunday timeslot.

Creative Team and Production Approach

Spielberg took a deeply hands-on role in shaping the series, particularly during its first season. Story editor Mick Garris explained that his primary duty was rewriting scripts to match Spielberg's specifications, which is why 16 of season one's 22 episodes carried a "Story by" credit for the director. Spielberg wanted roughly one-third of his directors to be newcomers, viewing the show as a training ground for emerging talent. His reputation attracted established filmmakers like Clint Eastwood and Martin Scorsese, both eager to collaborate with him; Peter Weir also expressed interest but scheduling conflicts with The Mosquito Coast prevented his participation. The series' title sequence was produced by CGI firm Robert Abel and Associates, placing it among the early television shows to feature computer-generated imagery. Most episodes ran approximately 24 minutes, though two standouts—"The Mission" and "Go to the Head of the Class"—extended to 46 minutes. By season two, Spielberg stepped back, authoring fewer stories and bringing in consulting writers including Richard Matheson and Robert Zemeckis alongside Garris.

Critical Acclaim Versus Ratings Reality

Despite modest audience numbers, Amazing Stories earned significant industry recognition. The series accumulated 12 Emmy Award nominations and took home five wins. The first-season episode "The Amazing Falsworth" earned writer Mick Garris an Edgar Award for Best Episode in a Television Series. The premiere, "Ghost Train," directed by Spielberg himself, initially captured roughly one-third of the television viewing audience, trailing only CBS's Murder, She Wrote. However, word of mouth proved less favorable than internal enthusiasm, and ratings steadily eroded, leaving the show ranked 40th among 67 programs by the end of season one. Garris attributed the lukewarm reception to unrealistic audience expectations, with viewers anticipating the spectacle of Spielberg's feature films. Season two fared worse, with Tartikoff blaming the Sunday-night pairing with the Alfred Hitchcock Presents revival for siphoning family viewers toward ABC's Wonderful World of Disney. The series ultimately fell to 52nd place, and NBC declined to renew it once the two-year contract expired.

Legacy and the Long Tail

The series title carried a direct lineage to Hugo Gernsback's Amazing Stories, the first dedicated science fiction magazine, launched in April 1926. The show's influence extended beyond its two-season run: the 1987 science fiction film Batteries Not Included was originally developed as a story for the anthology, but Spielberg grew so attached to the concept that he elevated it to a theatrical release. In 1999, Varèse Sarabande issued a CD featuring rerecordings of the scores for "The Mission" and "Dorothy and Ben," composed by John Williams and Georges Delerue respectively, along with Williams' opening and closing themes, performed by the Royal Scottish National Orchestra under conductor Joel McNeely. The series also left a mark on television's anthology tradition, demonstrating that a creator-driven, family-oriented format could attract top-tier directors and writers. Nearly three decades later, on March 6, 2020, a revival of Amazing Stories premiered on Apple TV+, keeping the franchise's spirit alive for a new generation of viewers.