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1938-War of the Worlds Radio Program Scare

1938-War of the Worlds Radio Show

By Billy Booth, About.com

Orson Welles

Orson Welles

www.coutant.org
The ability to confuse audiences en masse may have first become obvious as a result of one of the most infamous mistakes in history. It happened the day before Halloween, on Oct. 30, 1938, when millions of Americans tuned in to a popular radio program that featured plays directed by, and often starring, Orson Welles. The performance that evening was an adaptation of the science fiction novel "The War of the Worlds," about a Martian invasion of the earth. But in adapting the book for a radio play, Welles made an important change: under his direction the play was written and performed so it would sound like a news broadcast about an invasion from Mars, a technique that, presumably, was intended to heighten the dramatic effect. As the play unfolded, dance music was interrupted a number of times by fake news bulletins reporting that a "huge flaming object" had dropped on a farm near Grovers Mill, New Jersey.

As members of the audience sat on the edge of their collective seats, actors playing news announcers, officials and other roles one would expect to hear in a news report, described the landing of an invasion force from Mars and the destruction of the United States. The broadcast also contained a number of explanations that it was all a radio play, but if members of the audience missed a brief explanation at the beginning, the next one didn't arrive until 40 minutes into the program.

At one point in the broadcast, an actor in a studio, playing a newscaster in the field, described the emergence of one of the aliens from its spacecraft.

"Good heavens, something's wriggling out of the shadow like a gray snake," he said, in an appropriately dramatic tone of voice. "Now it's another one, and another. They look like tentacles to me. There, I can see the thing's body. It's large as a bear and it glistens like wet leather. But that face. It... it's indescribable. I can hardly force myself to keep looking at it. The eyes are black and gleam like a serpent. The mouth is V-shaped with saliva dripping from its rimless lips that seem to quiver and pulsate... The thing is raising up. The crowd falls back. They've seen enough. This is the most extraordinary experience. I can't find words. I'm pulling this microphone with me as I talk. I'll have to stop the description until I've taken a new position. Hold on, will you please, I'll be back in a minute."

As it listened to this simulation of a news broadcast, created with voice acting and sound effects, a portion of the audience concluded that it was hearing an actual news account of an invasion from Mars. People packed the roads, hid in cellars, loaded guns, even wrapped their heads in wet towels as protection from Martian poison gas, in an attempt to defend themselves against aliens, oblivious to the fact that they were acting out the role of the panic-stricken public that actually belonged in a radio play. Not unlike Stanislaw Lem's deluded populace, people were stuck in a kind of virtual world in which fiction was confused for fact.

News of the panic (which was conveyed via genuine news reports) quickly generated a national scandal. There were calls, which never went anywhere, for government regulations of broadcasting to ensure that a similar incident wouldn't happen again. The victims were also subjected to ridicule, a reaction that can commonly be found, today, when people are taken in by simulations. A cartoon in the New York World-Telegram, for example, portrayed a character who confuses the simulations of the entertainment industry with reality. In one box, the character is shown trying to stick his hand into the radio to shake hands with Amos n' Andy. In another, he reports to a police officer that there is "Black magic!!! There's a little wooden man-Charlie McCarthy- and he's actually talking!"

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