The Twilight Zone - The Little People

I think the power of The Little People—or its general impression—has waned years later from when I once watched this episode of Twilight Zone during the holiday marathons of the past. I think its point—how absolute power corrupts absolutely—was made all that while back but is more than a bit of a roar with all the subtlety of a foghorn. Maross is tired of being the “slob with a slide rule”, the officer under command, taking orders instead of giving them, expected to do what he’s told instead of telling others what to do. Claude Akins is his commanding officer, tired of his complaining and alarmed at his growing god-complex that develops when he discovers on a planet (in some hot, flat canyon) a society of miniature people (no “bigger than ants”). These people are terrified of him…he’s a giant to them and if they don’t see to his demands Maross can just crush their houses, trees, stores,  and vehicles with one foot stomp. They build him a statue in his image, increasing Maross’ already enlarged ego. He’s this manufactured deity, and Maross milks his position/stature for all its worth. Akins tries—bless his heart—to talk some sense into Maross, but it is all for naught. Maross is too far gone, too obsessed with being worshipped and feared. Akins spends the majority of the episode working on their downed ship, suffering the effects of space debris (pebbles into metal) and natural damage needing repair. While Akins attends to the ship, Maross secures the comforts supplied by the little people (food, water, and attention). Eventually Akins will fix the ship and leave, but Maross sees abandoning this planet as a return to inferiority, from god to subordinate isn’t a prospect he intends to accept. So Akins faces the laser pistol that shades his face, as Maross warns him to take off…or else.

All this builds to the twist which works its irony effectively…the first time. But it is so obvious, isn’t it? Maross will get his comeuppance in the Twilight Zone tradition…and he does. He’s such a big man to those smaller than him…this giant bully. So it made all the sense in the world that a giant bully would soon arrive to “pick on him”. No longer would Maross be the god. No longer would Maross be the deity. No longer would Maross be the head bully. Two giant spacemen (who look basically like Earthling astronauts, just of greater size, with voices that lend an echo of significant magnitude) run afoul of the same problems in space that Akins and Maross did, needing to land for repairs. One of them sees Maross, picks him up, crushing him instantly in his hand.

Maross plays the part to the hilt. A gleam of maniacal in his eyes, soaking in the effects his size affords him and how those much smaller cater to his every command; Maross has that face brimming with high esteem and wears his newfound status as a false god with confidence. Akins tries to bring him back down to earth (pun unintentional), down to size, but Maross was so far gone. He had explained to Akins that he always wanted to be the one in charge. Akins wants to know “what makes Maross tick”. Maross embellishes him. Akins just listens on in astonishment, nodding his head at Maross’ running commentary on escaping his lot in life and career as an officer receiving his instructions and obeying them. Akins tries to make him realize that being all alone will eventually cause him to crack. Not long after Akins leaves, the giants arrive and Maross is discarded to the ground like deposited trash, with rocks and dust sheeting across him. Maross’ created monument was pulled down upon him by those who once feared him, no longer concerned with worry of him crushing them underfoot. Couldn’t have happened to a better guy.

Maross’ character is seen one way, though. He’s played as a self-absorbed heel. He cares about nothing but himself. He goes on and on about attaining stature, completely devoted to his uprising…and that comes into full view. It is short-lived. I think that could be a particular criticism against the episode. Maross is not portrayed with layers. There really isn’t a “before and after” where there is this shift in the character. Much like “I Shot an Arrow into the Air” with Dewey Martin, Maross is painted as a loathsome twerp.