Long before Casablanca, Howard Koch scripted one of the most notorious media events in American cultural history. Hired by John Houseman for Orson Welles’s Mercury Theatre on the Air, Koch (with Anne Froelick) fashioned the October 30, 1938 adaptation of H. G. Wells’s The War of the Worlds into a faux-news-bulletin so convincing that some listeners believed Martian cylinders were actually landing in New Jersey. The immediate result was press outrage, a flood of angry telephone calls to the network, and a national debate about radio’s power and responsibility — Houseman, Welles and the Mercury troupe were pilloried in editorials and by nervous local authorities.
But the lurid image of a panicked nation fleeing into the streets is more myth than fact. Subsequent scholarship has shown that the extent of the panic was exaggerated by newspapers eager to discredit radio and by sensational after-the-fact reporting; while there were genuinely frightened listeners and a handful of incidents, the broadcast did not trigger mass hysteria coast to coast. Still, the episode haunted Koch’s early career, cemented the Mercury broadcast in American folklore, and left an enduring cultural legend about the danger of realistic mass media — a legend that persists even as historians debunk the scale of the supposed panic.
Follow the sources
Status and citations are supplied by the archive. AI concept art is an interpretation, not historical evidence.