American Scandal: Twilight Zone Accident | “It's Going to be Big” | Episode 2 (Feb 24, 2026)

Episode Overview

This episode (the second in the “Twilight Zone Accident” series) delves deeper into the behind-the-scenes events leading up to the infamous on-set tragedy during the filming of the 1983 film Twilight Zone: The Movie. Host Lindsey Graham guides listeners through the decision-making, rule-bending, and increasing pressure faced by director John Landis and his production team as they prepare for the film’s dangerous helicopter/Vietnam village sequence. Key themes include safety shortcuts, illegal child casting, ambition, and the blind pursuit of spectacle.

Key Discussion Points & Insights

1. Securing the Helicopter

• Dan Allingham’s Task
  • Unit Production Manager Dan Allingham negotiates with Claire Merriweather, the president of Western Helicopters, to rent a Huey helicopter for the film's climactic sequence.
  • Western’s director of operations and chief pilot, Dorsey Wingo, is a Vietnam veteran, impressing the filmmakers despite limited movie experience.
• Safety Concerns Raised
  • Merriweather is wary, referencing prior damage to aircraft from pyrotechnics:
    • “See, we hired out a Hughes 500 to another production last year, and it came back with $10,000 worth of rotor damage.” (02:35)
  • Allingham assures him:
    • “Safety first.” (06:08)
• Production Pressure
  • Allingham is pleased to have secured the helicopter at a competitive rate but knows time and logistical hurdles remain as the crucial setpiece approaches.

2. The Illegal Child Casting

• Finding Child Actors
  • Standard casting agents refuse involvement, citing a likely violation of state labor codes—leading the burden to George Folsey Jr., the producer.
  • Folsey bypasses official channels to cast 7-year-old Mika Dinh Le (Vietnamese descent) and 6-year-old Renee Chi Chen (Taiwanese descent).
• Parents’ Introduction to the Shoot
  • Folsey charms both kids and their parents, downplaying risks and emphasizing opportunity:
    • “It’s really a small part of the movie, but perhaps the most important. In fact, I think you two will steal the show.” (12:19)
  • Landis inflates the spectacle, likening the scene to fireworks:
    • “We’re going to have this big helicopter and these big explosions… It’s going to be awesome.” (14:10)
• Avoiding Detection
  • Folsey hides all traces of the children’s involvement—scripts under lock, names off call sheets, secrecy with cast and crew.

3. Unsafe Set Practices

• Filming at Indian Dunes
  • The Vietnam village set is carefully chosen for its cinematic flexibility and isolation, also allowing the team to sidestep union and regulatory scrutiny.
• Special Effects Decisions
  • Efforts to achieve realism result in risky choices:
    • Instead of time-consuming (but safe) squibs, the special effects foreman advocates for using live ammunition to destroy props during the shoot.
      • Vic Morrow, the film’s star, expresses discomfort but is reassured and ultimately goes along after rehearsal and assurances.
• Crew Concerns
  • Some crew members question these unsafe shortcuts but defer to speeding up the schedule.

4. Scheduling & Secrecy

• First Night with Children (July 21, 1982)
  • Mika and Renee wait in trailers for hours; they (and their parents) must pose as guests, per Folsey’s instructions.
  • Filming with the children stretches past 4:30 a.m., after which exhausted parents are paid in cash and asked to return the next night.
• Paperwork Evasion
  • Assistant Director Andy Howes actively omits mention of the children in official production paperwork, uneasy but unwilling to challenge his superiors.
  • When approached by Jack Tice—a fire safety officer who also happens to be a certified child welfare chaperone—Howes nervously covers up the children’s involvement, leaving a warning note for producers.

5. The Mounting Pressure for the Grand Finale

• Director & Producer Motivations
  • Landis is under immense studio scrutiny after overruns on previous films and must finish on time and on budget.
  • The final scene demands precise choreography: stunts, helicopters, explosions, and the children must all be coordinated flawlessly, leading to mounting risk.
• Vic Morrow’s Reluctance
  • Morrow confides concerns to his lawyer, Al Green, about substances on set and the general atmosphere:
    • “Did I tell you they used live ammunition in one shot?... Well, yeah. I was out of the way by the time they opened fire, but I didn’t like it. Then there’s this helicopter.” (30:57)
  • Green offers to intervene, but Morrow, needing the paycheck and feeling pressured, demurs:
    • “Nah, I’ll leave it alone. I need this too much. …I’ll soldier through. I mean, it’s just one more night, right?” (31:34)
• Continued Secrecy and Risk Mitigation
  • Folsey devises new plans to keep the children hidden from Jack Tice and others who could shut the shoot down for breaking child labor laws.
  • Above all, producers rationalize the risks as a means to achieving cinematic greatness:
    • “The helicopter, the explosions, Vic Morrow saving two children. It’s all going to be something spectacular.” (39:56)

Notable Quotes & Memorable Moments

• On Safety vs. Spectacle:
  • "We have a mantra on set, Mr. Merriweather. It's simple ... Safety first." – Dan Allingham (06:08)
• On Avoiding the Law:
  • "What he doesn't tell the parents is what they are doing is illegal." – Narration (15:24)
• On the Risks of Ambition:
  • "To several of the crew ... bringing guns and live ammunition onto set all seems like an unnecessary risk. Especially to save only the time to set up squibs." (19:44)
• On Parental Anxiety:
  • "Folsey looks at the parents. He thanks them for letting the kids come along, but says that if anyone asks why they're all here, they should answer that they're friends of his visiting the set." (24:38)
• On Industry Pressure:
  • "But it takes a brave man, man in Hollywood, to stand up to powerful producers and directors." – Narration on Andy Howes’ choice (29:04)
• On Morrow’s Fears:
  • "But this one does feel different. Sloppier, somehow. Did I tell you they used live ammunition in one shot?... Then there’s this helicopter." – Vic Morrow (30:53)
• On Rationalizing the Risk:
  • “He’s sure when people see the finished product, all will be forgiven. The helicopter, the explosions, Vic Morrow saving two children... It’s all going to be something spectacular.” (39:56)

Important Timestamps

• 02:35 – Helicopter rental and prior incidents with special effects.
• 12:19 – Folsey explains the children’s role and reassures parents.
• 14:10 – John Landis enthuses about the big finale.
• 19:44 – On-set use of live ammunition for realism.
• 24:38 – Instructions to families to hide the kids’ purpose on set.
• 29:04 – Second Assistant Director Andy Howes' dilemma.
• 30:53 – Vic Morrow expresses concerns to his lawyer.
• 31:34 – Morrow’s decision to “soldier through.”
• 39:56 – Folsey’s belief that spectacle will override concerns once the film is released.

Conclusion & Lead-In to Next Episode

The episode builds toward a critical point, highlighting how ambition, secrecy, and unsafe practices converge—setting the stage for the tragedy to come. It ends with a foreboding note:
“In our next episode, John Landis’ explosive finale goes tragically wrong and an investigation begins into who was to blame.”

The tone is breathless and urgent, echoing the pressures and rationalizations of Hollywood at the time. This episode illustrates how a series of small rule-bending choices can accumulate into catastrophic risk, leaving listeners on the edge of tragedy.