WEBVTT 1 00:00:03.680 --> 00:00:12.199 Astounding Tales of the Public Domain with Father Malone. Enhanced audio performances from the 2 00:00:12.279 --> 00:00:19.399 Golden Age of science fiction, featuring tales by Brave Radberry, Miriam Alan d 3 00:00:19.559 --> 00:00:24.960 Ford, Robert E. Howard, Paul Anderson, H. P. Lovecraft, 4 00:00:25.199 --> 00:00:32.000 and Moore. Hear it twice monthly at weirding Way Media. Astounding Tales 5 00:00:32.079 --> 00:00:53.479 of the Public Domain with Father Malone, weirding Way Media, Redially, Pat 6 00:00:53.759 --> 00:01:00.439 Pignic, Light and shad, Realism, Surrealism, Impressionism, end of a 7 00:01:00.520 --> 00:01:07.680 story and interestingly Hodblall a good alinship toward the bisarre and this place is nothing 8 00:01:07.680 --> 00:01:12.519 if it isn't a bizarre There's no admission, no requirement of membership, only 9 00:01:12.519 --> 00:01:17.079 a strong and a fighting belief in the park at the top of the stairs 10 00:01:17.879 --> 00:01:21.799 or the things that go bump in the night the name of this place, 11 00:01:21.840 --> 00:01:29.760 you would committed your actually denially out of the ranks. The Night Got Welcome 12 00:01:29.799 --> 00:01:34.280 back art lovers to Midnight Viewing The Night Gallery podcast, where we discussed Night 13 00:01:34.319 --> 00:01:38.280 Gallery Rod Serlings. Follow up to the Twilight Zone, I'm father alone in 14 00:01:38.400 --> 00:01:42.280 here with me in the Gallery are Dreams for Sale? The Twilight Zone eighty 15 00:01:42.280 --> 00:01:47.239 five podcasts. Mike white. Are you the Messiah? Oh? I am 16 00:01:47.480 --> 00:01:52.359 also joining us is Dreams for Sale. The Twilight Zone eighty five's Chris Stashuho 17 00:01:52.400 --> 00:01:56.239 may have heard of these things before. They're called ghettos. Listen. This 18 00:01:56.359 --> 00:02:00.840 is season two, episode thirteen. Were This aired originally on December the fifteenth, 19 00:02:01.040 --> 00:02:05.480 nineteen seventy one. The episode is split into two segments. Those are 20 00:02:05.560 --> 00:02:09.039 The Messiah on Mott Street and The Painted Mirror. Of course, you're all 21 00:02:09.159 --> 00:02:15.439 here by invitation, but don't let it disturb you if these paintings per se 22 00:02:15.759 --> 00:02:19.560 don't happen to be you a thing. These are rather special paintings, the 23 00:02:19.719 --> 00:02:23.000 kind of hanging generally put up with a noose. This painting, for example, 24 00:02:23.879 --> 00:02:29.360 is of a rather special world. What has become perpetuated in the language 25 00:02:29.400 --> 00:02:35.439 as the ghetto, that dismal realm of push kites and poverty, where hopes 26 00:02:35.439 --> 00:02:39.960 are stamped down like dirty shoes on snow. Death is a commonplace visitor to 27 00:02:40.039 --> 00:02:46.039 these somber alleys, but occasionally someone else visits. Our painting is called The 28 00:02:46.120 --> 00:02:51.439 Messiah on Mott Street. And this place, should you not already know it, 29 00:02:51.520 --> 00:02:54.599 is the Night Gallery. Although I we're in for a rod Sterling kind 30 00:02:54.639 --> 00:02:59.360 of an evening. The Messiah on Mott Street is written by Rod Sterling and 31 00:02:59.439 --> 00:03:05.479 directed by Don Taylor. He is a returning director to Night Gallery. Guys. 32 00:03:05.520 --> 00:03:08.919 You know the other episode he directed, They're tearing down Tim Riley's Bar. 33 00:03:09.319 --> 00:03:13.919 This one starts. This is the moment I wish I had the soundboard 34 00:03:13.919 --> 00:03:17.120 for He's a jolly Goodfellow, because really, I mean literally the only thing 35 00:03:17.280 --> 00:03:23.639 missing from Wow, you know what? You're right? This one stars Edward 36 00:03:23.719 --> 00:03:29.400 G. Robinson, the original Little Caesar, yathat Koto, Tony Roberts, 37 00:03:29.639 --> 00:03:32.560 and Joseph Ruskin as a fanatic. He was the man in the bottle in 38 00:03:32.599 --> 00:03:36.560 the original Twilight Zone. He was a genie in that he was so goddamn 39 00:03:36.639 --> 00:03:39.159 scary. This one's a period peace set in the nineteen twenties. Oh no, 40 00:03:39.240 --> 00:03:43.879 wait, this is contemporary. This is a contemporary tale of a young 41 00:03:43.960 --> 00:03:46.360 boy looking for the Messiah on the streets of New York to help his ailing 42 00:03:46.520 --> 00:03:51.560 grandfather. What do you think of this one, Mike? Was that a 43 00:03:51.599 --> 00:03:57.360 mistake that it's nineteen twenties? No, it's contemporary because I couldn't tell what 44 00:03:57.400 --> 00:04:00.919 the hell year this was, What the hell was going on? I mean, 45 00:04:00.360 --> 00:04:05.879 it does feel like it feels like Grandpa's apartment building is from a whole 46 00:04:05.960 --> 00:04:10.039 other era as well as a lot of the people out on the street. 47 00:04:10.479 --> 00:04:15.160 But not everybody, because nobody seems to have any sort of issues with this 48 00:04:15.199 --> 00:04:19.680 little kid just going out and bringing the off at Koto home. It just 49 00:04:19.720 --> 00:04:26.240 seems a little weird that there's a there's a black guy in the living room. 50 00:04:26.399 --> 00:04:32.839 Are you aware of this? It takes so long for the kid to 51 00:04:32.839 --> 00:04:38.199 find the Messiah, like just like for him to leave the apartment. There's 52 00:04:38.240 --> 00:04:44.879 just so much of all of the stuff. And yeah, I did not 53 00:04:45.040 --> 00:04:49.360 mind this episode at all. In fact, it felt like there was a 54 00:04:49.399 --> 00:04:54.800 lot more to it that had I read this as a story or even a 55 00:04:55.680 --> 00:05:00.639 novella, that I would have picked up a lot more. It just felt 56 00:05:00.759 --> 00:05:06.560 very literary with the its construction. I was really happy to see Tony Roberts 57 00:05:06.879 --> 00:05:12.360 show up in this. I mostly know him. We talked a little bit 58 00:05:12.360 --> 00:05:15.319 about Woody Allen recently. I mostly know him from his work with Woody Allen, 59 00:05:15.480 --> 00:05:20.319 like Annie Hall and played against CM I mean, especially Annie Hall. 60 00:05:20.639 --> 00:05:25.120 So I was very happy to see him. But he feels very nineteen seventy 61 00:05:25.120 --> 00:05:30.959 two seventy three, and yeff At Koto feels very nineteen seventy two seventy three, 62 00:05:30.000 --> 00:05:33.040 and then the rest of the story feels like it is in the nineteen 63 00:05:33.040 --> 00:05:39.240 twenties or thirties. I was waiting for Tony Roberts to ask Edward G. 64 00:05:39.439 --> 00:05:44.439 Robinson if Jew eat Jew? Did you eat? I distinctly heard him call 65 00:05:44.480 --> 00:05:53.720 me a Jew. I do not understand what in God's name the point? 66 00:05:54.399 --> 00:06:00.399 Excuse me, what in yef At Koto's name is going on here? Uh? 67 00:06:01.279 --> 00:06:06.160 Was this segment forty minutes, and somehow Rod Serling went into the tartus 68 00:06:06.160 --> 00:06:13.040 with it and added another forty I've never seen a segment takes so long like 69 00:06:15.120 --> 00:06:17.879 so, I'm not so. I was feeling hyperbolic, but more or less 70 00:06:18.680 --> 00:06:25.000 correct like it. It's fucking insane. I cannot believe that somebody thought that 71 00:06:25.040 --> 00:06:27.839 anybody would be compelled by this. I think we all know the story that 72 00:06:27.879 --> 00:06:34.199 they're getting at and the message that it's trying to I guess attempt to get 73 00:06:34.240 --> 00:06:40.800 out, but wrong way to go. I mean, if if Camera Obscura 74 00:06:41.079 --> 00:06:46.199 was a little long, if the last episode had some segments that were a 75 00:06:46.199 --> 00:06:49.680 little long, Holy shit, this is like, this is just This is 76 00:06:50.000 --> 00:06:55.199 probably the worst segment I've seen on this show in terms of the length, 77 00:06:55.439 --> 00:06:59.839 feeling double what it actually is. It is a sensitive take on the Jewish 78 00:06:59.839 --> 00:07:03.519 experience centered around Christmas time. Way to go, Rod, I don't know 79 00:07:03.519 --> 00:07:10.319 who Santa is. Wow. This segment is worse to me in every way 80 00:07:10.879 --> 00:07:15.240 than Tim Riley's bar except for the aforementioned lack of for He's a jolly good 81 00:07:15.240 --> 00:07:18.160 fellow. But you know why because Tim Riley at least wasn't precious. And 82 00:07:18.279 --> 00:07:28.199 this is thanks to the adorable subplot of grandson Mikey wandering the streets alone to 83 00:07:28.240 --> 00:07:30.959 find the Messiah. By the way, when he's not doing that incredibly dangerous 84 00:07:31.000 --> 00:07:38.800 thing, Evidently this tiny, tiny child is taking care of his ailing grandfather. 85 00:07:39.279 --> 00:07:42.759 Is he taking himself to school as well? Is he doing the grocery 86 00:07:42.800 --> 00:07:46.120 shopping? That's what I'm getting out of it. Why is Tony Roberts not 87 00:07:46.399 --> 00:07:49.439 intervening? By the way Tony Roberts I think of him, I always think 88 00:07:49.480 --> 00:07:53.959 I'd taken a pellem one two three, just trying to make that a mayor 89 00:07:54.040 --> 00:07:57.600 get out of bed and come deal with the subway situation. This episode, 90 00:07:57.720 --> 00:08:01.639 I get where he's coming from. It's yet an other the downtrodden man. 91 00:08:01.839 --> 00:08:09.720 We also get this really false happy ending where the check from his long lost 92 00:08:09.879 --> 00:08:15.160 brother arrives and everything's going to be okay. And you know what, Yafakoto. 93 00:08:15.199 --> 00:08:16.079 He might have been the Messiah, but he might have just been the 94 00:08:16.120 --> 00:08:20.839 mailman. You know, it's a bit ambiguous because we know most mailman are 95 00:08:20.920 --> 00:08:24.040 delivering packages at fucking one o'clock on the morning on Christmas. Thank you, 96 00:08:24.319 --> 00:08:28.639 thank you, thank you. This whole thing where they had to make sure 97 00:08:28.680 --> 00:08:31.960 to point out the clock and that it was just about midnight, and then 98 00:08:33.000 --> 00:08:37.440 everything else basically contradicting that it was anywhere near midnight, and especially that the 99 00:08:37.519 --> 00:08:43.519 kid was just outside and it was daylight and now it's pitch black and midnight 100 00:08:43.559 --> 00:08:46.879 and I'm like, what is going out? Thank you for bringing that up. 101 00:08:46.000 --> 00:08:50.320 Day for another and the back lot. What a combination. I was 102 00:08:50.480 --> 00:08:54.679 so confused. I just I felt like I felt like I had fallen asleep 103 00:08:54.720 --> 00:09:00.720 for a minute and like missed it. It's what a chill. Let's just 104 00:09:00.759 --> 00:09:03.440 put it that way. As if as if thirty six minutes wasn't enough, 105 00:09:03.480 --> 00:09:07.919 you needed to have a time jump inside of your segment a couple hour time 106 00:09:09.000 --> 00:09:15.399 jump like it, and and the story that they're telling is not that interesting. 107 00:09:15.879 --> 00:09:20.559 It's just we've seen these, we've Wasn't there a Twilight Zone eighty five 108 00:09:20.679 --> 00:09:24.919 thing where the guy was Santa Clause and it was the drunk guy was Santa 109 00:09:24.039 --> 00:09:28.759 Like this is that has that same just like Saccharin, which was a remake 110 00:09:30.159 --> 00:09:33.240 of a segment from the original Twilight Zone. Right of them, this seems 111 00:09:33.240 --> 00:09:37.480 feels like that same Saccharin bullshit, That's what this is. Just so like, 112 00:09:37.639 --> 00:09:41.519 this is not a night Gallery segment. This is a Twilight Zone segment 113 00:09:43.639 --> 00:09:48.080 hat in hand, poor man bullshit. Constantly having him having Edward g. 114 00:09:48.279 --> 00:09:52.720 Robinson think he's like facing the Angel of Death for two seconds does not equal 115 00:09:52.759 --> 00:09:58.440 a horror tale. This is a tale, fantasy and it has no place. 116 00:09:58.480 --> 00:10:01.320 I don't care if this is there Chris episode, and it is because 117 00:10:01.360 --> 00:10:03.600 it's they aired on December the fifteenth, but I don't care if it is 118 00:10:03.600 --> 00:10:07.679 their Christmas episode. I mean, they do point out that Jewish children do 119 00:10:07.720 --> 00:10:13.000 not know who Santa Claus is per Rod Sterling. It's like we're fucking the 120 00:10:13.159 --> 00:10:16.240 know, Like that's not how that works at all, it's not how that 121 00:10:16.360 --> 00:10:20.039 works at all, Rod, And we know that, and you know that. 122 00:10:20.080 --> 00:10:24.000 I just get it's so masturbatory at this point with Rod Serling like, 123 00:10:24.200 --> 00:10:30.600 just like I need forty minutes of this fifty minute show to tell this story. 124 00:10:30.639 --> 00:10:33.000 You know what, whatever, Rod, Fine, Fine, Sure, 125 00:10:33.360 --> 00:10:39.519 we'll go and shoot our segment with Jabor whatever. Rod. It's just at 126 00:10:39.559 --> 00:10:43.240 some point it's like when is enough too much? And where it's like thirty 127 00:10:43.320 --> 00:10:46.759 minutes is a little much for this show, frankly, But it's good to 128 00:10:46.759 --> 00:10:50.960 see Afadkoto. Yeah. I mean, he's got like three lines, but 129 00:10:50.000 --> 00:10:54.080 the man is walking gravity and just that the last interaction between him and Tony 130 00:10:54.159 --> 00:10:58.000 Roberts is pretty good. It doesn't redeem anything. It's just good to see 131 00:10:58.360 --> 00:11:07.320 great actors doing work. We all of us have a kind of fascination for 132 00:11:07.519 --> 00:11:11.159 mirrors. There's a most appealing mystery to what is on the other side of 133 00:11:11.200 --> 00:11:16.519 a looking glass, and occasionally we turn into Alice. Our last selection denies 134 00:11:16.600 --> 00:11:22.559 Gallery a very special looking glass, and it's called the Painted Mirror, all 135 00:11:22.799 --> 00:11:26.639 right. Our next segment is called the Painted Mirror. This one was written 136 00:11:26.639 --> 00:11:31.720 by Jeane Kearney based on a short story by Donald Wandre. He's one of 137 00:11:31.759 --> 00:11:35.879 a Lovecraft's circle of writing friends. This one was also directed by Jene Kearney, 138 00:11:37.080 --> 00:11:41.480 starring at Jean Jaugabar, Arthur O'Connell, and Rosemary to Camp. She 139 00:11:41.639 --> 00:11:46.080 was in Thirteen Ghosts. This is the story of a thrift store handyman at 140 00:11:46.120 --> 00:11:50.440 war with his garish proprietor who discovers an ancient world behind a mirror glass. 141 00:11:52.000 --> 00:11:56.200 And that ancient world has a distinct high school stage quality. Let's think of 142 00:11:56.240 --> 00:11:58.080 this one, Chris, We're going to say, backdrop at sears quality. 143 00:11:58.600 --> 00:12:05.759 It be that grish. It blows my mind that in nineteen seventy one Jajagabar 144 00:12:05.960 --> 00:12:11.480 was fifty four. Wowe sprightly here considering what we all kind of remember her 145 00:12:11.480 --> 00:12:16.679 as me, that's I was gonna say. The last time we saw well, 146 00:12:16.720 --> 00:12:18.960 and the last time we saw Ja Jagabar speaking of police officers, was 147 00:12:20.039 --> 00:12:26.720 in the opening segment of Naked Gun two three. Yeah, where she goes 148 00:12:26.759 --> 00:12:31.559 and smacks the top of Dreben's car. And that's, you know what, 149 00:12:31.720 --> 00:12:37.000 like fifteen years after this, So I have no frame of reference for Ja 150 00:12:37.159 --> 00:12:41.039 Jagabar and what makes her famous? I mean I know what makes her famous 151 00:12:41.080 --> 00:12:43.159 now, but I was not. You know, I don't think that was 152 00:12:43.360 --> 00:12:48.559 the way before my time. So I get her stick in this episode, 153 00:12:48.600 --> 00:12:54.840 and she plays that stick perfectly. If she's essentially the Paris Hilton of the 154 00:12:54.879 --> 00:12:58.120 sixties and seventies, which is I mean kind of maybe sort of you know, 155 00:12:58.200 --> 00:13:03.519 a social life or socialite adjacent person, what have you? Fine, 156 00:13:03.759 --> 00:13:05.600 I get it then, and I don't know, I think it, you 157 00:13:05.639 --> 00:13:09.600 know, not to say that the last segment needed more time, but maybe 158 00:13:09.600 --> 00:13:11.720 this segment needed less time. But I think the segment still kind of works. 159 00:13:13.240 --> 00:13:16.759 How about you, Mike, Yeah, I mean it's pretty simple gag. 160 00:13:18.080 --> 00:13:24.039 But and I don't necessarily get all of the chemistry between Ja in the 161 00:13:24.080 --> 00:13:28.240 old shop owner, Like I know what she's supposed to be, but like 162 00:13:28.399 --> 00:13:33.840 just the way that she's picking on him seems very odd and like had she 163 00:13:33.000 --> 00:13:39.840 had him more under her thumb and really made it like a dire thing as 164 00:13:39.840 --> 00:13:43.000 opposed to, you know, she buys him out. You know, she's 165 00:13:43.039 --> 00:13:45.399 just like, here's all the money that you need to get out of here. 166 00:13:45.480 --> 00:13:48.559 And I was just like, okay, well that sounds good to me. 167 00:13:48.639 --> 00:13:50.720 Maybe I'm just of that age you know, like, oh, you're 168 00:13:50.720 --> 00:13:54.799 gonna buy me? Okay, cool, that's great. You know, he 169 00:13:54.879 --> 00:13:58.879 doesn't seem like he should be that hard up after it. But what I 170 00:14:00.279 --> 00:14:03.559 like, had she been a little meaner, I would have liked this more. 171 00:14:03.159 --> 00:14:09.440 But I do like this whole thing of that horrible dog just yipping all 172 00:14:09.519 --> 00:14:13.919 the time and then it going into the mirror, and I was just so 173 00:14:13.960 --> 00:14:16.159 happy when it did because I was like, oh, well, I know 174 00:14:16.200 --> 00:14:20.840 what this means. But when we get to see what scares the dog, 175 00:14:22.039 --> 00:14:28.480 it's high comedy. I mean it is this is like like this is the 176 00:14:28.559 --> 00:14:31.159 kind of thing like I could see in Alex Winter, like cutting to some 177 00:14:31.320 --> 00:14:35.519 of these effects on like an idiot TV and then acting really scared because it's 178 00:14:35.559 --> 00:14:41.200 that level of like parody kind of thing with these just nasty b roll, 179 00:14:43.879 --> 00:14:48.440 you know, dinosaur shots that just they might as well just have taken like 180 00:14:48.559 --> 00:14:54.080 a gecko and pasted like a horn on his head or something. It was 181 00:14:54.159 --> 00:14:56.759 just so bad but so funny at the same time. Literally what they did 182 00:14:56.799 --> 00:15:01.919 in that second shot it's a komodo drag again with a triceratops crown. That's 183 00:15:01.960 --> 00:15:05.159 all it is. And it's like it's like barely glued to it, because 184 00:15:05.159 --> 00:15:09.840 when you see it move, it kind of wigged, it wiggles a little 185 00:15:09.840 --> 00:15:13.000 bit, as they would say, it's not affixed with the best spirit gum. 186 00:15:13.360 --> 00:15:16.840 Yeah, if the prosthetic slathered lizards won't get you, the creature from 187 00:15:16.840 --> 00:15:24.320 the Black Lagoons arms will. Hey, he's finally being represented in this show. 188 00:15:24.360 --> 00:15:26.679 He's the only universal monster that hasn't shown up. Now he has and 189 00:15:28.039 --> 00:15:31.240 ri ip Rico Browning not to date this episode, but he just died. 190 00:15:31.279 --> 00:15:35.840 The original creature from the Black Lagoon. Also, this segment and the Pickman's 191 00:15:35.840 --> 00:15:41.120 Model segment, those are actually molded. Those arms we see are molded from 192 00:15:41.200 --> 00:15:46.159 the creature from the Black Lagoons original molds, and the legs on the Pickman's 193 00:15:46.159 --> 00:15:50.000 Model creature were also molded from the original creature of the Black Lagoon. So 194 00:15:50.279 --> 00:15:52.480 I guess that's why it looks that way. The creature is, you know, 195 00:15:52.600 --> 00:15:56.840 making uncredited cameo appearances here at night gall All right, why was Jean 196 00:15:56.919 --> 00:16:03.240 jacobors so goddamn into that location? Like it was a slum, like and 197 00:16:03.399 --> 00:16:07.159 there's all the look the story's like supposed to be some sort of terrible but 198 00:16:07.320 --> 00:16:11.320 old ways versus new in some sort of way, like with the you know, 199 00:16:11.399 --> 00:16:17.480 the old handyman and he's being pushed out and whatever. But like all 200 00:16:17.480 --> 00:16:19.519 the construction that was going on outside was that supposed to clue us in. 201 00:16:19.559 --> 00:16:22.600 That's like they were going to revitalize that neighborhood and that's why she wanted the 202 00:16:22.600 --> 00:16:26.919 location. Wouldn't it have made more sense had Jaja been his wife, like, 203 00:16:27.120 --> 00:16:30.840 and he's having this affair with this woman who loves him. Also, 204 00:16:30.919 --> 00:16:34.679 I love a tale where you know, you doorway opens up, So I 205 00:16:34.720 --> 00:16:37.840 was kind of excited when when it started until he scraped it away and we 206 00:16:37.879 --> 00:16:42.519 saw what it was, because oh my god. Like also Rosemary to Camp 207 00:16:42.600 --> 00:16:49.120 his love interest in it when gives him the mirror and says, never could 208 00:16:49.200 --> 00:16:55.799 understand how mirrors works. If that's to explain that this is actually a portal 209 00:16:55.840 --> 00:17:03.240 to some sort of weird prehistoric other universe. And boy, isn't everyone so 210 00:17:03.399 --> 00:17:07.519 blase about this portal, including Jean Jagabar, who walks up to it, 211 00:17:07.559 --> 00:17:10.559 is like, I can use the frame, but the picture is terrible. 212 00:17:10.559 --> 00:17:14.160 It's like you can see the smoke moving of like the the fog, and 213 00:17:14.440 --> 00:17:18.079 can you maybe hear the lizards screaming like you know, you can just walk 214 00:17:18.160 --> 00:17:22.559 into it. Everyone is just so casual about this momentous occasion that has just 215 00:17:22.640 --> 00:17:27.039 occurred in front of them. By the way, Poolky, that's what we're 216 00:17:27.079 --> 00:17:30.720 hearing. Oh boy. Now I haven't highlighted a sound effect recently, but 217 00:17:30.880 --> 00:17:36.319 this one needs to be called out because there are two shots of dinosaurs culled 218 00:17:36.440 --> 00:17:40.240 from other films. There is the one you mentioned, Chris, and then 219 00:17:40.279 --> 00:17:45.200 there is what is a brontosaurus that swings into the camera, faces directly into 220 00:17:45.200 --> 00:17:55.680 the camera and makes this noise that is the greatest noise of all time. 221 00:18:00.079 --> 00:18:03.880 You slow it down and maybe repeat it. That's that's just Tim malingoing. 222 00:18:03.920 --> 00:18:11.119 Yeah, to me, it sounded scooby Doo like, I mean, yeah, 223 00:18:11.160 --> 00:18:17.720 that's not a soundboard posts I mean, what is that? What is 224 00:18:17.720 --> 00:18:21.160 that noise? It's the sound of the dinosaur. No no, But like, 225 00:18:21.200 --> 00:18:25.480 what is the name of that sound effect? I don't know. I'm 226 00:18:25.559 --> 00:18:29.319 just pointing it out because it was so unusual. I don't think I'm going 227 00:18:29.359 --> 00:18:32.240 to found it. What it sounds to me like, Uh, if I 228 00:18:32.279 --> 00:18:37.519 were to name it, it would be sound engineer is tired, because it's 229 00:18:37.559 --> 00:18:41.000 like we need something here, Just give me the microphone. There we go 230 00:18:41.960 --> 00:18:48.720 like like startled the wind. Never could understand how mirrors work. I mean 231 00:18:48.720 --> 00:18:51.599 I saw a car with no wheels, she'd be like, I just don't 232 00:18:51.680 --> 00:18:57.680 understand how cars work. Yeah, well the mirrors painted and the car has 233 00:18:57.720 --> 00:19:03.440 no wheels. When the just the right the writing sometimes on the show is 234 00:19:03.480 --> 00:19:07.319 just really good on complete display here. As a former Los Angeles resident, 235 00:19:07.519 --> 00:19:11.440 I just want to say, the opening shot is some b roll that they 236 00:19:11.480 --> 00:19:14.599 shot of the four oh five man. The four h five has always been 237 00:19:14.640 --> 00:19:17.559 a parking lot. Jesus Christ. I thought it was bad when I was 238 00:19:17.559 --> 00:19:21.839 there. Apparently has never stopped being bad anyway. Is this not just a 239 00:19:21.920 --> 00:19:26.039 blackout sketch that's like five minutes too long? All we needed was harried man, 240 00:19:26.200 --> 00:19:32.119 horrible woman proprietor like bearing down on him. Here's a mirror, he's 241 00:19:32.319 --> 00:19:36.200 get to work on that mirror. We gotta get out. Oh pushes the 242 00:19:36.279 --> 00:19:40.599 rain. By the way, the moral of this story hooray for murder. 243 00:19:41.559 --> 00:19:44.839 I was actually expecting when they screaped the mirror way it would just be a 244 00:19:44.920 --> 00:19:52.200 mustachio. George went, oh yeah, yeah, yeah, yeah, That's 245 00:19:52.200 --> 00:19:53.960 why I always just thinking. He's like, I don't like this. This 246 00:19:55.000 --> 00:19:57.039 is such a gimmick that's been used a bunch of times, like the mirror 247 00:19:57.279 --> 00:20:00.039 that has something on the other side, and you know it's I don't know, 248 00:20:00.079 --> 00:20:04.000 it's fun, right, Yeah, But the moral of the story is 249 00:20:04.000 --> 00:20:08.960 it's okay to kill your partner. Just a bad person deserves to die. 250 00:20:10.240 --> 00:20:15.200 Okay, my moral judgment has been made. All right, We're going to 251 00:20:15.240 --> 00:20:18.640 play a preview for our next episode. We'll be right back to wrap item 252 00:20:18.720 --> 00:20:22.200 number one over there. It could be a gentleman sitting in an electric chair, 253 00:20:22.640 --> 00:20:27.319 but it isn't what it depicts. Isn't a sense a method of execution 254 00:20:29.160 --> 00:20:33.559 that we humans reserve for other humans who happen to be dissimilar to us. 255 00:20:34.440 --> 00:20:40.720 You're about to look under that hood and meet firsthand one of the different ones. 256 00:20:41.279 --> 00:20:48.000 Tonight's first excursion into the realm of the unusual. Jealousy is what we 257 00:20:48.240 --> 00:20:53.440 normally paint grave and jealousy provides the spring point of this particular painting. It 258 00:20:53.480 --> 00:20:57.640 offers up the bottom line of what can happen to human beings when trust is 259 00:20:57.640 --> 00:21:02.400 wiped out by suspicion. At this point, it ceases to be just a 260 00:21:02.480 --> 00:21:07.279 kind of titillating tale of human comedy. It becomes what it is, a 261 00:21:07.359 --> 00:21:18.680 horror story. Our painting is called Tell David id number three in the night 262 00:21:18.720 --> 00:21:25.359 Gallery, you'll probably recognize as quaint figurine, the dead eyes, the son 263 00:21:25.480 --> 00:21:30.680 lips, a kind of thing that usually in fast nightmares, and that happens 264 00:21:30.680 --> 00:21:33.960 to be precisely what it is, a nightmare of the first order. It's 265 00:21:34.000 --> 00:21:42.640 titled Lagoda's Heads. That's right on the next midnight viewing we'll be taking a 266 00:21:42.680 --> 00:21:48.400 look at season two, episode fourteen. That's broken into three segments, the 267 00:21:48.519 --> 00:21:53.079 different ones Tell David dot dot dot and the Lagoda's Heads. One of those 268 00:21:53.240 --> 00:21:57.640 is about British colonials in Africa. Will it be Racist? You'll have to 269 00:21:57.640 --> 00:22:02.599 tune in to find out. And until then, where can people find you? 270 00:22:02.720 --> 00:22:06.599 Mike White? You can find me over at the Projection Booth podcast, 271 00:22:06.720 --> 00:22:11.119 which is available at Projection boothpodcast dot com, as well as Weirdingwaymedia dot com, 272 00:22:11.160 --> 00:22:17.000 where you can also hear me on a few other shows, including Ranking 273 00:22:17.079 --> 00:22:21.519 on Bass and the Life and Times of Captain Barney Miller. Hey, I'll 274 00:22:21.559 --> 00:22:26.480 go. You can check out Weirdingway Media for Chris's stuff like Cranking on Ass 275 00:22:26.480 --> 00:22:34.319 podcast the one time Mike, you had one opportunity to not do it and 276 00:22:34.400 --> 00:22:42.119 it was too much. Ranking on Bass Well, you can find me on 277 00:22:42.160 --> 00:22:47.880 the internet at Weirdingwaymedia dot com. Like like Mike mentioned, that's where you 278 00:22:47.880 --> 00:22:51.720 can find my movie podcast, the Culture Cast, and so many other shows 279 00:22:51.720 --> 00:22:55.279 that Mike and I have worked on, like the Cold Check Tapes, Dreams 280 00:22:55.279 --> 00:22:59.079 for Sale and let's mention a random show Twisting and on Cork. Those ladies 281 00:22:59.119 --> 00:23:02.839 are pretty funny and you should go listen to them and find out how funny 282 00:23:02.880 --> 00:23:06.160 you think they are. What about you, Father Malone? Where can people 283 00:23:06.200 --> 00:23:08.720 find you? You can find me at Weirdingwaymedia dot com. Here my show 284 00:23:10.079 --> 00:23:14.319 Noise Junkies I do with HP and Mando, Heather's Heather Drain it's a music 285 00:23:14.359 --> 00:23:18.720 podcast. Or Dark Destinations it's a half hour radio drama right and Produce, 286 00:23:18.880 --> 00:23:22.160 or you know, if you want to check out my visual stuff, over 287 00:23:22.160 --> 00:23:26.680 to fallowmlone dot com. So fallowmlone dot com or Weirdingwaymedia dot com. Go 288 00:23:26.720 --> 00:23:30.200 to all of those places. Thank you all for joining us here at midnight 289 00:23:30.279 --> 00:23:32.720 viewing. The gallery is now closed.