In the case of the Zone, the uncanny content in question is not simply a representation of something human-like (though cyborgs, talking dolls and dummies, and sentient mannequins do make appearances) but a fictionalized reflection of society or our species in general. When viewers find their skin crawling at the sight of poorly rendered video game characters, this phenomenon is in accordance with Sigmund Freud’s conventional definition of uncanniness as well as the uncanny valley. When viewers find themselves shaken by The Twilight Zone episodes that make their surroundings feel familiar and yet suddenly foreign, uncanniness is performing a slightly different function – more conceptual than visual – but it relates to the valley just as directly. In fact, the Zone’s existence as an entire dimension rather than a singular entity or image might make it even more compatible, at least at the linguistic level, with notions of the uncanny valley. Though the word “valley” in this instance describes a visual representation of a negative reaction, it also calls to mind associations with geography, an idea that The Twilight Zone frequently plays with and complicates.