WEBVTT 1 00:00:03.680 --> 00:00:12.240 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 --> 00:00:53.119 of the public Domain with Father Malone. Weiring Way Media. We dealt page 6 00:00:53.560 --> 00:01:00.560 Pigny, light and shad, realism, surrealism, impressionism to a story and 7 00:01:00.719 --> 00:01:06.879 interestingly on the wall, a good alenship toward the desire. And this place 8 00:01:07.000 --> 00:01:11.159 is nothing if it isn't bizarre. There's no admission, no requirement of membership, 9 00:01:12.000 --> 00:01:15.239 only a stroke of the parting belief in the dark at the top of 10 00:01:15.239 --> 00:01:19.920 the stairs, or things that go bump in the night, the name of 11 00:01:21.079 --> 00:01:23.680 this place, you would committed your action defentially out of the rank. Just 12 00:01:23.840 --> 00:01:29.680 the night got all right? Welcome back, our lovers to Midnight Viewing The 13 00:01:29.879 --> 00:01:34.640 Night Gallery podcast I'm Father Malone and with me here in the gallery are from 14 00:01:34.799 --> 00:01:38.680 Dreams for Sale, The Twilight Zone eighty five podcast, Mister Mike White, 15 00:01:38.920 --> 00:01:44.159 Have we met them before? Missure? And from Chronicles from the crypt the 16 00:01:44.239 --> 00:01:49.359 former casualty mister Chris statue. But what if we don't know? If the 17 00:01:49.480 --> 00:01:55.319 deeutsy could give, we could be good and bad. Oh, we're gonna 18 00:01:55.359 --> 00:01:59.439 get to that. Here we are discussing season two, episode seven. This 19 00:01:59.519 --> 00:02:02.680 one aired November the third, nineteen seventy one, broken into two segments, 20 00:02:02.959 --> 00:02:10.639 Midnight Never Ends and Brenda's first selection, a painting suggesting solitude or at least 21 00:02:10.680 --> 00:02:16.080 solemnity as viewed during the midnight holler. It tells a tale of two young 22 00:02:16.159 --> 00:02:22.800 people caught inexorably in a recurring nightmare, with a finale on the jewelting side. 23 00:02:23.439 --> 00:02:29.120 Our painting with the somewhat familiar face is called Midnight Number Ends and this 24 00:02:30.000 --> 00:02:34.800 is the Night Gallery Now. Midnight Never Ends was written by Rod Serling, 25 00:02:34.879 --> 00:02:38.919 based on a half dozen or so earlier teleplays by Rod Serling, like five 26 00:02:38.039 --> 00:02:42.039 Characters in Search of an Exit and a world of his own, and it 27 00:02:42.080 --> 00:02:46.360 was directed by Janau Schwarz and stars Robert F. Lyons Chris. He was 28 00:02:46.400 --> 00:02:50.560 in Transylvania six five thousand. You know, Mike hats that movie too, 29 00:02:50.639 --> 00:02:53.360 right, It's not just me this time around that you get to get to 30 00:02:53.639 --> 00:02:59.560 waggle your Transilvania six five thousand, weener as you realized I'm out numbered. 31 00:03:00.199 --> 00:03:02.719 You are outnumbered this time. Heather Drain ain't here to help you, pal, 32 00:03:04.159 --> 00:03:09.520 and Trevor isn't I. It also starts Stute Susan Strasburg, daughter of 33 00:03:09.599 --> 00:03:15.560 Lee Strasburg, who starred in my favorite TV movie of all time, Mazes 34 00:03:15.599 --> 00:03:19.759 and Monsters with Tom Hanks, and also starts Joseph Perry. It is the 35 00:03:19.800 --> 00:03:23.639 story of a motorist and a hitchhiker with a strange feeling that they've done all 36 00:03:23.639 --> 00:03:28.680 this before. And what is that strange clacking in the heavens? Michael, 37 00:03:28.840 --> 00:03:32.680 you think of this one? Oh man? I I could see that twist 38 00:03:32.759 --> 00:03:37.599 coming a mile away, and boy, oh boy, did I really want 39 00:03:37.639 --> 00:03:43.000 it to not be that twist. But it was, and I sat through 40 00:03:43.000 --> 00:03:46.120 it and I'm mat How about you, Chris? You know Father Malone. 41 00:03:46.560 --> 00:03:50.159 God, he's winding up. Yeah, I'm winding up, all right, 42 00:03:50.479 --> 00:03:54.280 I'm gonna it's I've been doing this for eight years now, going on nine. 43 00:03:54.319 --> 00:03:58.759 It'll be nine at the end of twenty twenty three. This may be 44 00:03:59.719 --> 00:04:03.080 one of the worst hours of anything I have ever had to watch. For 45 00:04:03.360 --> 00:04:09.240 anything I've ever podcasted about, and you have been privy to a lot of 46 00:04:09.280 --> 00:04:13.360 bad stuff that we've talked about together, fatherm alone, and we've been privy 47 00:04:13.360 --> 00:04:16.680 to bad stuff that we've all talked about together on the aforementioned Dreams for Sale. 48 00:04:17.279 --> 00:04:21.959 This is, without a doubt, one half of the worst episode of 49 00:04:23.079 --> 00:04:26.879 TV I may have ever seen, at least up until this point. This 50 00:04:26.959 --> 00:04:33.319 episode's twist is so foreshadowed, it's literally the painting. It's so fucking infantile 51 00:04:33.480 --> 00:04:40.240 in what the expectations are from you as an audience that they can't even be 52 00:04:40.360 --> 00:04:45.079 bothered with giving it an interesting twist. It is exactly what they say it's 53 00:04:45.120 --> 00:04:47.040 going to be. They don't even they don't even care about you as an 54 00:04:47.079 --> 00:04:53.120 audience enough to do something different other than exactly what you're expecting as an audience 55 00:04:53.160 --> 00:04:56.800 member. And the fact that it's Rod Serling, yeah makes sense because at 56 00:04:56.800 --> 00:05:00.800 this point, Rod, I wish you would just go away. That's mean. 57 00:05:00.480 --> 00:05:06.360 Yeah, Well, this episode segment is fucking awful. It's minimalist in 58 00:05:06.399 --> 00:05:11.759 a way that marmalade Wine was, but it is as unsuccessful as the worst 59 00:05:11.759 --> 00:05:15.480 segment on this show, which is the you know, the next episode segment, 60 00:05:15.480 --> 00:05:20.319 we're gonna be talking about just the central premise. Well, okay, 61 00:05:21.000 --> 00:05:25.759 Rod Serling's writing a script and we're watching it in real time. Cool, 62 00:05:26.240 --> 00:05:30.360 But you wouldn't have your character say, oh, he's going to open that 63 00:05:30.360 --> 00:05:34.800 door now, or like try to predict the future. It just is that. 64 00:05:34.839 --> 00:05:39.240 Why he's confused in the painting is because the characters in the thing are 65 00:05:39.279 --> 00:05:43.040 getting autonomy of their own. Father Malone, tell us, tell us what 66 00:05:43.079 --> 00:05:46.680 you think, because you you haven't weighed in on this night, Mary yet 67 00:05:46.240 --> 00:05:50.279 I liked it. No, you did not. You didn't you your fucking 68 00:05:50.439 --> 00:05:54.839 joke? Yeah, I kind of did it. I'll tell you why You're 69 00:05:54.879 --> 00:05:59.319 gonna have to because I wouldn't believe you otherwise. Okay, I mentioned too 70 00:06:00.079 --> 00:06:02.519 Sterling scripts he wrote before that are basically the same thing. It's five characters 71 00:06:02.519 --> 00:06:05.160 search connection, which is great. It's a great episode. There's There's No 72 00:06:05.279 --> 00:06:12.879 Question, which is kind of based on an earlier play five actors in search 73 00:06:12.920 --> 00:06:15.920 of an author or something, Yes, exactly. And the other one was 74 00:06:16.560 --> 00:06:20.959 a world of his own where an author can create anything he wants, you 75 00:06:21.000 --> 00:06:24.399 know, and he records it on the thing a piece of tape. Remember 76 00:06:24.480 --> 00:06:27.600 that, And At the end, they had a little bit where Rod Serling 77 00:06:27.639 --> 00:06:29.279 comes in. He's like, this is all just a joke, and he's 78 00:06:29.279 --> 00:06:30.120 like, Rod, you shouldn't say that, and he burns it up. 79 00:06:30.160 --> 00:06:33.839 The Keenan Wyn burns up the piece of tape that and Rod Serling disappears. 80 00:06:34.319 --> 00:06:36.560 I knew where it was going and what it was going, but I just 81 00:06:36.680 --> 00:06:41.439 liked watching these people, and I liked those minimalist sets, Like I thought 82 00:06:41.480 --> 00:06:46.680 it made more sense because these are it's a fragmentary world that these characters are 83 00:06:46.720 --> 00:06:49.879 living in because the writer sucks and like just keeps rewriting them, and he's 84 00:06:49.920 --> 00:06:54.920 only ever rewriting them based on previous stories he had already included them in, 85 00:06:55.000 --> 00:06:58.279 so they their confusion is like I think I was a spy, but then 86 00:06:58.399 --> 00:07:02.120 she was just in an earlier story that he also discarded. In that aspect, 87 00:07:02.240 --> 00:07:06.279 I really liked it because I understood why the characters. Look. It 88 00:07:06.319 --> 00:07:12.000 doesn't make sense why they're suddenly conscious, because clearly somebody's writing them to say 89 00:07:12.040 --> 00:07:15.040 these things. So that's a conflict that doesn't make any sense at all. 90 00:07:15.240 --> 00:07:20.399 But the idea of characters kind of becoming sentient to the point where they know 91 00:07:20.480 --> 00:07:25.399 how poor they are because of how poor their author is. I like that 92 00:07:25.560 --> 00:07:28.959 idea a lot. I don't think it works overall. I think there are 93 00:07:28.959 --> 00:07:30.800 some shots that are kind of cool. I don't know. It didn't bother 94 00:07:30.839 --> 00:07:33.639 me as much as to bother you guys. I certainly would not put I 95 00:07:33.680 --> 00:07:39.279 wouldn't say anything in the last season, the season seven of Talis from the 96 00:07:39.319 --> 00:07:43.160 Crypt is better than this thing. This, like, you know, twenty 97 00:07:43.160 --> 00:07:46.759 minutes of whatever you got, give me that, Chris, No, I 98 00:07:46.800 --> 00:07:48.959 will. I mean, I'm not even going to pretend like what you said 99 00:07:49.000 --> 00:07:56.439 is wrong, Like you're completely right. It's just this what in anyone's mind, 100 00:07:57.120 --> 00:08:01.439 you know, specifically Rod Serling, would lead you to believe that this 101 00:08:01.519 --> 00:08:03.519 is a story worth telling. Though, That's what I don't understand. What 102 00:08:03.720 --> 00:08:09.560 is the point of this story for us to go? So when a writer 103 00:08:09.680 --> 00:08:13.360 is writing things, the characters have autonomy and remember no, because that's just 104 00:08:13.480 --> 00:08:16.040 in this story. That's the case. This is not making some sort of 105 00:08:16.240 --> 00:08:22.240 grand ruling on fictional characters written large. It's just this story. So it's 106 00:08:22.279 --> 00:08:26.959 just it seemed kind of like the twist was what they were trying to get 107 00:08:26.959 --> 00:08:30.560 to, and they worked backwards from the twist, which is not a great 108 00:08:30.560 --> 00:08:33.919 way to write a script, right, You got to the twist maybe is 109 00:08:33.039 --> 00:08:35.799 organic If there is one at all, there doesn't have to be one. 110 00:08:37.440 --> 00:08:41.000 I mean, I love time loop stories. And at first I was hoping 111 00:08:41.039 --> 00:08:43.639 that this was a time loop story. I was like, oh cool, 112 00:08:43.840 --> 00:08:46.279 you know, like, oh, something different is happening this time, okay, 113 00:08:46.399 --> 00:08:50.080 and so what's the trick? What's going on with this? And then 114 00:08:50.080 --> 00:08:54.519 when it was the character thing. One of my favorite movies of all time 115 00:08:54.759 --> 00:09:00.440 is John Payss nineteen eighty five Crime Wave, which was released on video as 116 00:09:00.440 --> 00:09:05.080 The Big Crime Wave, and it's very much an author writing scripts. You 117 00:09:05.120 --> 00:09:09.399 get to see what's inside of like little snippets of scripts. He can write 118 00:09:09.759 --> 00:09:13.720 beginnings and he can write endings, but he can never come up with the 119 00:09:13.799 --> 00:09:18.159 middle. So he's very frustrated. And he comes up with like three or 120 00:09:18.200 --> 00:09:24.799 four different sets of characters, and they are recast into different things, and 121 00:09:24.840 --> 00:09:28.120 you get to see, like Ronnie Boyle the Elvis impersonator, and this story 122 00:09:28.360 --> 00:09:33.279 is this other character and this other story really well done. Like I said, 123 00:09:33.279 --> 00:09:35.759 one of my favorite things in the world. And then I see this 124 00:09:35.840 --> 00:09:41.120 and I'm just like I've seen this done so many times of these characters kind 125 00:09:41.120 --> 00:09:45.440 of becoming self aware and all these things that I'm just like, it's not 126 00:09:45.559 --> 00:09:48.639 handled well here, Like I've seen it handled really well, and I've seen 127 00:09:48.679 --> 00:09:54.000 it handled and like I mean even like a like a Carol Burnett's skit where 128 00:09:54.000 --> 00:09:56.679 I'm just like, Okay, yeah, they are in control of the narrative 129 00:09:56.720 --> 00:10:01.120 type of thing. Interesting but not good. And then I mean, usually 130 00:10:01.120 --> 00:10:03.480 I love Carol Burnett. I just want to put that out there. But 131 00:10:03.679 --> 00:10:07.200 then you get something like this, I'm just like, you're not doing it 132 00:10:07.279 --> 00:10:09.519 right. You're not doing it the right way, you know, like make 133 00:10:09.600 --> 00:10:15.080 it one or the other. He is he controlling them? Are they controlling 134 00:10:15.200 --> 00:10:20.720 him? Are they sent him? Just it was I wasn't happy with this 135 00:10:20.759 --> 00:10:22.759 one. You know, even that Will Ferrell movie is better than this and 136 00:10:22.799 --> 00:10:26.639 it has its stranger than fiction. Yeah, it's the same premise, like 137 00:10:28.360 --> 00:10:33.279 you, this character exists separate from stories or in tandem with stories, or 138 00:10:33.320 --> 00:10:37.759 he's trying to figure that out and how he exist. That's again and there's 139 00:10:37.759 --> 00:10:41.600 something to be mined there. And it's not like this is like a blackout 140 00:10:41.639 --> 00:10:45.039 segment and it's all we they didn't give him enough time. Half of the 141 00:10:45.159 --> 00:10:48.639 god damned episode it's twenty minutes, so they had plenty of time. I 142 00:10:48.720 --> 00:10:54.240 just they paired the time looping thing with something else, and I think it's 143 00:10:54.320 --> 00:10:58.320 one high concept thing or the other, and together they just don't work very 144 00:10:58.320 --> 00:11:01.919 well. I don't disagree with any of that. If you're taking this on 145 00:11:03.039 --> 00:11:05.759 face value as the segment that it is, then you know it is kind 146 00:11:05.799 --> 00:11:09.039 of it is a failure. Okay, I enjoyed it, but that doesn't 147 00:11:09.120 --> 00:11:13.440 mean it's it is good and I would recommend it. I'm just saying I 148 00:11:13.519 --> 00:11:16.519 enjoyed it. But if you view it through the prism of where Ron Sterling 149 00:11:16.720 --> 00:11:22.320 is right now, it's it's kind of great because it seems like he's almost 150 00:11:22.320 --> 00:11:26.279 commenting on the fact that he keeps doing this. He doesn't even know where 151 00:11:26.320 --> 00:11:30.200 these characters are from anymore. He's just rewriting the same shit, and none 152 00:11:30.240 --> 00:11:33.240 of it's good. And where is his place in any of this, like 153 00:11:33.440 --> 00:11:37.600 where he is in his career and in this series, And if this is 154 00:11:37.679 --> 00:11:45.279 him working out his demons about where he has found himself in the Night Gallery, 155 00:11:45.360 --> 00:11:46.879 that makes me like it a lot. It doesn't work as a segment, 156 00:11:46.960 --> 00:11:50.679 but a sort of a socio political examination of road seting. I like 157 00:11:50.720 --> 00:11:56.279 it. Hey, Like, I appreciate writing things as Catharsis, but like, 158 00:11:56.720 --> 00:11:58.360 what Catharsis is there? Here? What are you getting at here? 159 00:11:58.679 --> 00:12:03.840 You write a coherent episode of your own show anymore? Yeah, we know 160 00:12:03.399 --> 00:12:07.120 we're watching your show, dude, Like we're watching your show, Like we 161 00:12:07.240 --> 00:12:11.320 know it's not coherent. I just I like you said, like, what 162 00:12:11.440 --> 00:12:15.759 is he commenting on other than himself? Right? Look? Yeah, it's 163 00:12:15.799 --> 00:12:22.600 indefensible as as drama or as you entertainment, right as a meta textural comment 164 00:12:22.679 --> 00:12:26.919 on his own state of confusion, though, I think it's sores. But 165 00:12:26.000 --> 00:12:31.879 then we'll probably get an episode from him next time we talk about episode eight 166 00:12:31.919 --> 00:12:35.759 that may or may not be good. So what is he commenting on other 167 00:12:35.759 --> 00:12:37.480 than he can't do it and he keeps not being able to do it? 168 00:12:37.759 --> 00:12:41.080 So what are you really commenting on? Rod Serling? I don't understand. 169 00:12:41.200 --> 00:12:45.120 I can't do it, but I'm gonna keep not doing it and wasting your 170 00:12:45.120 --> 00:12:46.559 time. Yeah, if this one, this last episode, though, it 171 00:12:46.600 --> 00:12:50.200 would be great, right, Oh for sure. You know we kind of 172 00:12:50.240 --> 00:12:54.240 ran into a similar thing on Barney Miller where they had Jack Sue kind of 173 00:12:54.360 --> 00:12:58.120 they had an opportunity for him to be done with the show and they didn't 174 00:12:58.159 --> 00:13:01.240 take it. And this would be if this were Rod Stirling's final moment on 175 00:13:01.279 --> 00:13:05.960 the show, like then that would be a masters stroke, but it's not. 176 00:13:05.639 --> 00:13:09.279 So it's a prout as far from it it being his last thing with 177 00:13:09.320 --> 00:13:11.960 the show as possible. Yeah, this is chift that shuffled this down to 178 00:13:11.960 --> 00:13:16.840 the end of season three and then right could question could this have worked as 179 00:13:16.840 --> 00:13:20.240 a Twilight Zone episode. It did. It worked a couple of times. 180 00:13:20.960 --> 00:13:24.799 So there you go. There's I think it's just I think it's also maybe 181 00:13:24.039 --> 00:13:28.240 the third or fourth retread of it is just old news. Now, dude, 182 00:13:28.279 --> 00:13:33.120 Like, come on, hold the horses statue. They're held, okay, 183 00:13:33.200 --> 00:13:37.240 because you know, in each of the episodes, I'm trying to shine 184 00:13:37.240 --> 00:13:41.360 a spotlight on some of our lesser known members of the Night Gallery family in 185 00:13:41.440 --> 00:13:45.080 this one. Don't hold it. Don't hold the next segment against him because 186 00:13:45.120 --> 00:13:46.600 his writing is not bad here, But I want to talk about Douglas Hayes 187 00:13:48.279 --> 00:13:52.399 because this is his last contribution to Night Gallery. He wrote and directed The 188 00:13:52.440 --> 00:13:58.519 dead Man in season one and wrote the Housekeeper under his um The Housekeepers one 189 00:13:58.639 --> 00:14:01.320 with Larry Hagman, which was really kind of fun and weird. Oh yeah, 190 00:14:01.399 --> 00:14:03.879 yeah, now this guy, Doug hay is. One of his first 191 00:14:03.879 --> 00:14:09.159 gigs writing and directing on television was First Circus Boy, which is a deep, 192 00:14:09.200 --> 00:14:13.720 deep cut for monkeys fans. Gelins is a little Boy. He spent 193 00:14:13.759 --> 00:14:18.000 the majority of the fifties writing Rin Tin Tin, which is forty six episodes 194 00:14:18.039 --> 00:14:22.200 of that. He was actually nominated for WGA Award for that. He was 195 00:14:22.200 --> 00:14:26.360 also nominated for a WGA Award for his work on Maverick, the original Maverick 196 00:14:26.399 --> 00:14:31.039 television series. But his relationship with round Sterling began in the sixties on twilight 197 00:14:31.120 --> 00:14:35.960 Zone. He directed The After Hours, he directed I of the Beholder, 198 00:14:37.360 --> 00:14:41.799 he directed The Invaders, and he directed my absolute favorite episode of the Twilight 199 00:14:41.919 --> 00:14:46.759 Zone, The Howling Man. When Twilight Zone went away, he started writing 200 00:14:46.799 --> 00:14:50.279 features and directing them. He wrote and directed Kitten with a Whip, the 201 00:14:50.399 --> 00:14:52.919 sixty six version of bo Jest, and then wrote the screenplay for Ice Station 202 00:14:54.120 --> 00:14:56.759 Zebra, which is a great fucking movie. Later on in his life in 203 00:14:56.799 --> 00:15:01.840 the in the eighties that remember that North and Mouth mini series that was Douglas 204 00:15:01.840 --> 00:15:05.720 Hayes. He was a sculptor and a painter and a novelist, and he 205 00:15:05.799 --> 00:15:09.279 also produced Douglas Hayes Junior, who is an actor and writer, and he 206 00:15:09.320 --> 00:15:13.080 wrote a bunch of episodes of Far Escape, Rockney O'Bannon's TV show, which 207 00:15:13.120 --> 00:15:15.960 is to me the gold standard in science fiction. Anyway, just wanted to 208 00:15:15.960 --> 00:15:18.759 shout out to Douglas Hayes, and I'm sorry, mister Hayes, because we're 209 00:15:18.759 --> 00:15:24.200 now going to talk about Brenda. There was something rather remarkable in the scope 210 00:15:24.200 --> 00:15:30.279 of imagination, peculiar to children. They project and dream and fantasize with duty 211 00:15:30.279 --> 00:15:33.799 and simplicity and faith and amount of it somehow eludes this as we grow older. 212 00:15:35.519 --> 00:15:39.840 This is Brenda, and Brenda has a playmate. It comes to her 213 00:15:39.879 --> 00:15:43.279 in part because of loneliness. And what I wish for you is that you'll 214 00:15:43.320 --> 00:15:50.200 never get that lonely. This was written by Matthew Howard, Douglas Hayes's pen 215 00:15:50.320 --> 00:15:54.519 name, based in the short story by Margaret Saint Clair, who also provided 216 00:15:54.559 --> 00:15:56.759 the story for the boy who predicted earthquakes at the beginning of the season, 217 00:15:58.399 --> 00:16:00.799 and it was directed by Alan Rye, who was also a Twilight Zune directory 218 00:16:00.879 --> 00:16:07.519 did mister Denton on Doomsday. It stars Laurie Prang, she's nineteen here, 219 00:16:07.399 --> 00:16:14.639 Glenn Corbett, he was Zephy from Cochrane once first the Ogs that from Cochrane. 220 00:16:14.960 --> 00:16:18.480 Also Robert Hogan and Pamela Ferdan, who I think we're going to talk 221 00:16:18.480 --> 00:16:22.720 about a little because she is I think the best thing in the episode, 222 00:16:22.960 --> 00:16:26.840 and it's a real goddamn shame she's not the lead. It also stars a 223 00:16:26.200 --> 00:16:30.080 gilly suited trash heap, and it tells the story of a lonely young girl 224 00:16:30.120 --> 00:16:36.519 who's befriended by a creature who is just as missus misunderstood as her possibly or 225 00:16:36.919 --> 00:16:41.320 perhaps she's a fucking asshole, and like calls to like, what'd you think 226 00:16:41.320 --> 00:16:44.559 about this one? Chris? You know, there haven't been a lot of 227 00:16:44.559 --> 00:16:49.320 things that we've watched that I would consider an affront to my ability to enjoy 228 00:16:49.440 --> 00:16:59.879 things. But Laurie Prang's performance in this is some of the most obnoxious act 229 00:17:00.000 --> 00:17:07.960 acting choices I think I've ever seen in anything. The voice that she's doing, 230 00:17:07.880 --> 00:17:14.720 coupled with the dialogue that she's being asked to deliver, right when the 231 00:17:14.839 --> 00:17:23.640 tide was so low you can walk across along with a beyond meandering story that 232 00:17:23.720 --> 00:17:30.680 it serves no purpose other than two I don't know, frankly, uh show 233 00:17:30.759 --> 00:17:33.240 us that. Yeah, like you said, assholes attract assholes? No shit? 234 00:17:34.599 --> 00:17:41.039 Uh? Like I wonder why or how anyone could have watched the dailies 235 00:17:41.079 --> 00:17:44.039 and said, yeah, this is okay. People aren't going to find this 236 00:17:44.079 --> 00:17:48.559 to be a complete nightmare to watch. But it is. And you know, 237 00:17:48.039 --> 00:17:52.839 I have seen nothing else with Lori praying in it. I don't know 238 00:17:52.920 --> 00:17:56.039 if this is her this is her thing. I don't know if this is 239 00:17:56.079 --> 00:18:00.960 what her acting stylings are, but this I think is for me, the 240 00:18:00.000 --> 00:18:03.880 worst segment of this show up until this point. This is just some of 241 00:18:03.880 --> 00:18:11.359 the most horrific child acting that I've ever seen, and her dialogue just made 242 00:18:11.400 --> 00:18:17.359 me want to turn it off and save Bottomlane. I tried, but I 243 00:18:17.480 --> 00:18:19.279 just couldn't do it. Oh, you missed your chance. You got one 244 00:18:19.359 --> 00:18:23.519 pass. No, I didn't even want to take it. I suffered through 245 00:18:23.559 --> 00:18:27.039 this for you. Okay, Well you let me know when you get to 246 00:18:27.119 --> 00:18:36.839 that point. Mikel I really wanted to like this. I was so excited 247 00:18:36.960 --> 00:18:42.599 to see the prequel to the Pierre malfay story in Cold Check that I was 248 00:18:42.599 --> 00:18:45.680 just like, oh wow, this is fantastic. We get to see where 249 00:18:45.720 --> 00:18:49.599 he started from before he went to Chicago. This is great. And I 250 00:18:49.680 --> 00:18:53.960 was really hoping that he was gonna eat this braddy little girl after she's teasing 251 00:18:55.039 --> 00:18:59.519 him and gets him in this like pit and everything, and then it just 252 00:18:59.559 --> 00:19:02.279 goes off the rails. I mean it was already off the rails to begin 253 00:19:02.359 --> 00:19:06.559 with. I mean it's such a bizarre story, this whole thing of like, 254 00:19:07.200 --> 00:19:08.799 you know, the way that she's kind of a dick to Pamela ferdin 255 00:19:10.440 --> 00:19:14.839 using that bizarro voice and all this stuff, and then suddenly this monster shows 256 00:19:14.920 --> 00:19:17.960 up and I'm like, Okay, what am I watching now? I know 257 00:19:18.039 --> 00:19:22.119 I'm watching The Night Gallery, but this just this weird left turn. I 258 00:19:22.119 --> 00:19:26.480 almost got whiplash and the creatures caught in the pit. I'm like, Okay, 259 00:19:26.839 --> 00:19:32.279 is she gonna feel guilty or something? Is she going to do something 260 00:19:32.319 --> 00:19:37.279 to this creature? The moment when she comes downstairs and her dad, who 261 00:19:37.319 --> 00:19:42.000 doesn't do anything other than yell at her, when her dad and the other 262 00:19:42.039 --> 00:19:47.200 guy are there with like torches in the living room, and I'm just like, 263 00:19:47.599 --> 00:19:53.680 what am I watching Oh this is not good at all, and then 264 00:19:53.759 --> 00:20:00.319 the whole her with the doors and what's good what's evil? I'm just like, 265 00:20:00.400 --> 00:20:04.359 she needs to be put away. She is a complete sociopath. She 266 00:20:04.440 --> 00:20:08.559 doesn't know what's good and what's evil. This was actually a prequel to the 267 00:20:08.640 --> 00:20:14.440 fourth episode of the fourth season of Sherlock Mike. This is actually just Sherlock's 268 00:20:14.599 --> 00:20:18.000 long lost sister, and this is the highland that you're stranded on with the 269 00:20:18.119 --> 00:20:23.519 giant trash goblin monster the entire time. This is the actual mind palace. 270 00:20:23.599 --> 00:20:30.799 This is what I'll let you goes off the rails for me. But yeah, 271 00:20:30.880 --> 00:20:34.519 the father yells at her specifically about good and evil at one point, 272 00:20:34.759 --> 00:20:38.640 like, oh, yeah, one good, one evil. You can't make 273 00:20:38.720 --> 00:20:41.599 up for good with evil or evil for good. You gotta pick one than 274 00:20:41.640 --> 00:20:48.000 the other good. How do we know if it does a close? You 275 00:20:48.119 --> 00:20:52.480 know, they've had this conversation so many times. There should have been a 276 00:20:52.519 --> 00:20:56.720 moment where they go out to look at the rabbits and they start talking about 277 00:20:56.759 --> 00:21:00.319 feeding the rabbits and her dad just puts a fucking it's one in the back 278 00:21:00.359 --> 00:21:07.319 of her head because it's just like, what in God's name was anyone thinking 279 00:21:07.359 --> 00:21:14.160 when this character was concocted from the muck of the you know, the amniotic 280 00:21:14.200 --> 00:21:17.519 fluid of creation, Like who was saying to themselves, I want to create 281 00:21:17.559 --> 00:21:22.559 the most obnoxious child character known to man like that. If that's not what 282 00:21:22.640 --> 00:21:26.480 their intent was, I can't imagine what they were thinking. Either of you 283 00:21:26.559 --> 00:21:32.480 happen to read the short story by Margaret Saint Clair. Now, most synopsies 284 00:21:32.480 --> 00:21:36.480 you'll read will tell you it's exactly like what happens in Ni Gallery, which 285 00:21:36.559 --> 00:21:40.480 leads to me to believe nobody's read the goddamn short story. Because she's a 286 00:21:40.599 --> 00:21:45.559 rambunctious young girl not on vacation. She lives in like a six family community, 287 00:21:45.759 --> 00:21:51.359 and she kind of marches to her own beat up and nobody likes her, 288 00:21:51.480 --> 00:21:56.799 and she's very, very lonely, and then this creature emerges, who 289 00:21:56.880 --> 00:22:00.640 is probably a manifestation of either her loneliness or the fact that she's a child 290 00:22:00.680 --> 00:22:06.119 transitioning to an adult. So this monster is kind of menaces everyone but her, 291 00:22:06.240 --> 00:22:08.079 and then they capture it and they put rocks in it, and then 292 00:22:08.079 --> 00:22:11.359 she sits by it like a year doesn't go by, but she sits by 293 00:22:11.359 --> 00:22:14.839 it, telling it that she still loves it, and like wait, it 294 00:22:14.920 --> 00:22:18.279 will wait for it. That seems kind of like a nice story. It's 295 00:22:18.319 --> 00:22:21.519 not spoon fed to you, you know, you just get the idea. 296 00:22:21.559 --> 00:22:26.160 And she's really really straightforward about what is happening here. What they in the 297 00:22:26.279 --> 00:22:30.480 scene that Mike that you're describing when she's let the thing into the house and 298 00:22:30.519 --> 00:22:34.799 it's menacing by just standing there and doing nothing, and they're all freaking out 299 00:22:34.799 --> 00:22:38.000 and yelling at each other, the parents. My note was, what the 300 00:22:38.039 --> 00:22:42.480 fuck is going on in this house right now? Just what? He's got 301 00:22:42.480 --> 00:22:45.880 a flashlight on the thing, so it's immobilized, I guess. And then 302 00:22:45.960 --> 00:22:49.160 he has the wife go call the neighbor, who then takes his time to 303 00:22:49.160 --> 00:22:52.799 come up. This all happens in real time, by the way, Yes, 304 00:22:52.599 --> 00:22:56.440 the gun will do nothing. The gun will not stop it, but 305 00:22:56.599 --> 00:23:00.359 like, okay, they're going to burn your house down on the island for 306 00:23:00.400 --> 00:23:03.480 a while. We don't know. Apparently it has like these guys are the 307 00:23:04.039 --> 00:23:08.680 neighbor with the rifle like knows this thing like, which makes it not part 308 00:23:08.720 --> 00:23:11.839 of the girl at all, just this monster that kind of comes so our 309 00:23:11.880 --> 00:23:15.799 only clue as to what it is is what the girl has told us it 310 00:23:15.920 --> 00:23:19.319 is and every word out of her mouth makes me want to kill myself. 311 00:23:21.599 --> 00:23:25.599 Laurie prank is nineteen years old. Okay, I mentioned the other actress, 312 00:23:25.759 --> 00:23:30.440 Pamela Forerd and who's in it, Pamela Ferd and was Lucy Winters on Brady 313 00:23:30.440 --> 00:23:33.839 Bunch Jan's Friend. She was the voice of Lucy van Pelton basically any Charlie 314 00:23:33.839 --> 00:23:38.640 Brown, especially you've ever seen she was in and the Child Children Shall lead 315 00:23:38.640 --> 00:23:42.400 in Star Trek and guess what, she's actually eleven years old here, which 316 00:23:42.440 --> 00:23:45.920 is the age of these characters. And then they went, you know what, 317 00:23:45.160 --> 00:23:48.079 No, let's cast a nineteen year old and have her do a young 318 00:23:48.279 --> 00:23:56.200 voice and make all the weirdest sort of methody choices instead. That'll that'll endear 319 00:23:56.279 --> 00:24:00.599 it her to the audience. Like they didn't stack the deck against the character 320 00:24:00.720 --> 00:24:04.960 enough just by making her a total fucking asshole. Then they cast the most 321 00:24:06.119 --> 00:24:10.000 unpleasant actress they could ever think of. This is Alan Reisner's fault. I 322 00:24:10.000 --> 00:24:12.519 guess the director of it, but like, I don't know, let's lay 323 00:24:12.559 --> 00:24:18.400 the blame on everybody at night Gallery unwatchable. Man. I had to watch 324 00:24:18.400 --> 00:24:22.880 it twice because I want to be thorough for this goddamn podcast, but like 325 00:24:22.079 --> 00:24:27.640 the seconds at his wits end here, I had to pass. You guys 326 00:24:27.680 --> 00:24:32.759 have it, I don't. And at one point my girl Amber walked in. 327 00:24:32.799 --> 00:24:34.319 She hadn't seen any of it, and like she walked in watched it 328 00:24:34.359 --> 00:24:37.680 for thirty seconds. It turned to me, when who is this horrible person? 329 00:24:37.720 --> 00:24:41.519 It just walked out of the room, and I was like so envious, 330 00:24:42.240 --> 00:24:45.400 as if that real time battle with the monster. That is not a 331 00:24:45.440 --> 00:24:49.079 battle at all. It's just them yelling at each other and then they shake 332 00:24:49.160 --> 00:24:52.119 some torches at it. I do want to make one of those newspaper torches 333 00:24:52.160 --> 00:24:56.440 though. That seems like a really irresponsible idea that I like it, but 334 00:24:56.960 --> 00:25:00.519 nice and dangerous, especially indoors. Yeah, you're bound to burn your own 335 00:25:00.559 --> 00:25:06.440 damn house down before you burn any fucking giant turd with arms. Oh my 336 00:25:06.519 --> 00:25:08.599 god? And what was like? I know the budget was bad, and 337 00:25:08.640 --> 00:25:12.279 I know it's just a Gillie suit on a giant frame or something, but 338 00:25:12.559 --> 00:25:15.920 hey, what you are being You're being generous to call it a Gillie suit. 339 00:25:17.039 --> 00:25:22.000 It looks like a bunch of trash bags. I don't know, what 340 00:25:22.079 --> 00:25:26.200 do you call this creature design swamp thing adjacent. If swamp Thing was viewed 341 00:25:26.240 --> 00:25:30.359 by someone who didn't have glasses on, yeah, and if swamp Thing were 342 00:25:30.640 --> 00:25:37.079 played like they just skinned job of the hunt and put the trash bags on 343 00:25:37.160 --> 00:25:40.640 job and shove it out there, like that's what it was. And so 344 00:25:41.000 --> 00:25:44.440 anyway, my point earlier was like, you know, we spend real time 345 00:25:44.440 --> 00:25:48.039 with them, pausing casts and everything, but we also get how many chase 346 00:25:48.119 --> 00:25:52.960 scenes between worldis catch me, I bet you can't catch me. Why would 347 00:25:52.000 --> 00:25:56.240 it want to catch her? Even if its intent was to kill her? 348 00:25:56.319 --> 00:26:00.839 Just being in the presence of her until you got to kill her wouldn't be 349 00:26:00.920 --> 00:26:04.160 worth it. This is the first character in the history of cinema, jenn'or 350 00:26:06.279 --> 00:26:08.799 I have inclined to agree with you. I like I was saying, I 351 00:26:08.839 --> 00:26:15.200 can't believe that anybody saw the dailies and was like this is perfectly okay, 352 00:26:15.240 --> 00:26:18.319 Like somebody either somebody was asleep at the wheel or somebody thought that this was 353 00:26:18.319 --> 00:26:22.640 going to be really funny if it made it to air, was that it 354 00:26:22.720 --> 00:26:26.079 was it irony but just enjoying, Like I can't wait till this airs. 355 00:26:26.200 --> 00:26:33.799 I can't wait to annoy all of America. I I that's the question I'm 356 00:26:33.799 --> 00:26:38.319 asking because I whoever was making the decisions, they their opportunity to make decisions 357 00:26:38.359 --> 00:26:41.920 should be revoked. Somebody's asleep at the wheel. That's what it feels like. 358 00:26:42.119 --> 00:26:45.400 Yeah, you know, I'm playing all the blame at Rod here because 359 00:26:47.119 --> 00:26:49.799 this is obviously an author he chose because he chose one of the other stories 360 00:26:49.839 --> 00:26:53.160 and Doug Hayes is one of his pounds from Twilight Zone. So I'm gonna 361 00:26:53.240 --> 00:26:57.359 lay all the blame on them. And why what is this? What was 362 00:26:57.440 --> 00:27:00.720 this? I don't know. I don't even understand. I don't even understand 363 00:27:00.759 --> 00:27:04.680 the ending, Like I don't I don't understand what the point? What story 364 00:27:04.720 --> 00:27:08.680 were they trying to tell here? Because the short story makes sense, got 365 00:27:08.720 --> 00:27:12.079 it? But this like what? What? What? What did we even 366 00:27:12.200 --> 00:27:17.200 learn by the end that if you're an asshole, an asshole will also be 367 00:27:17.240 --> 00:27:19.880 found. You will find assholes in your life and they'll stone it to death 368 00:27:19.960 --> 00:27:23.599 and you'll learn for it. Like and is there like is there like a 369 00:27:23.640 --> 00:27:27.119 time jump in between? It's the air, you know, because they they 370 00:27:27.640 --> 00:27:32.640 give us the trees with the leaves and then no leaves, and then snow 371 00:27:32.720 --> 00:27:36.799 and then leaves again, and now she's back and she's supposed to like, 372 00:27:36.799 --> 00:27:41.640 like we to what end? Yes, nothing, nothing at all, because 373 00:27:41.720 --> 00:27:45.599 why does it matter? That's why question if it's if it's a person who's 374 00:27:45.000 --> 00:27:48.880 feels disconnected, even if it's somebody who's an asshole, and that's their rage, 375 00:27:48.960 --> 00:27:52.880 and now they've put their rage under this rock. And then they're like, 376 00:27:52.200 --> 00:27:56.000 but I still love you, like I'm waiting for the time, like 377 00:27:56.079 --> 00:27:59.279 I know you're there, and like if I need you, you'll be there. 378 00:27:59.440 --> 00:28:02.400 Like that could have been a story too, but that's not that's not 379 00:28:02.440 --> 00:28:06.519 what we got here. We just we just got a fucking asshole. I 380 00:28:06.599 --> 00:28:08.480 just hate her. Brenda, Brenda, Brenda, what are we gonna do 381 00:28:08.559 --> 00:28:14.920 with you? There's two doors, Brenda, there's two doors. There's two 382 00:28:14.960 --> 00:28:17.759 doors in life. Come on. Yeah. He does yell at her a 383 00:28:17.799 --> 00:28:19.200 lot, doesn't it, Like, oh my god, the dad is like 384 00:28:19.279 --> 00:28:23.440 the dad is just that, that's the crazy thing. Everybody in that family 385 00:28:23.640 --> 00:28:27.880 is just a fucking miserable shit. Yeah, the dad is just like, 386 00:28:29.200 --> 00:28:33.319 you know what, I can understand why she's mentally unhinged. Her dad is 387 00:28:33.400 --> 00:28:37.920 pretty unhinged too. He has he's just screaming the entire time. Listen, 388 00:28:38.000 --> 00:28:44.240 are you dumb little bitch like Jesus Christ too? Chill out? I don't 389 00:28:44.240 --> 00:28:47.519 know though, if he's always been like that or if she just broke him 390 00:28:47.680 --> 00:28:52.240 because she's awful. I got that. That that the conversation on the beach, 391 00:28:52.319 --> 00:28:56.920 Like how many times have I had to? Yeah? I like, 392 00:28:56.920 --> 00:29:00.200 where did I go wrong? Like I don't even want to deal with this? 393 00:29:00.279 --> 00:29:04.240 And alright, like even when he comes home but they they've fended off 394 00:29:04.279 --> 00:29:08.079 the monster and buried it under stones, and they're walking home and he sees 395 00:29:08.079 --> 00:29:11.559 her in the window, What are you doing? I want to know. 396 00:29:12.440 --> 00:29:17.400 If I think you need to know, I'll tell you. It's Yeah, 397 00:29:17.440 --> 00:29:19.799 he I guess he must just be at like WIT's end. Yeah, pushed 398 00:29:19.799 --> 00:29:25.680 to the limit by Brandon. We all were, and we well. And 399 00:29:25.680 --> 00:29:27.720 what I don't understand is like, how are we jumping a year forward in 400 00:29:27.759 --> 00:29:33.359 time and the dad hasn't just murdered her? That's it turns out it's her 401 00:29:33.400 --> 00:29:37.680 graves down right, right, or it's the way it should have been a 402 00:29:37.720 --> 00:29:41.279 year later and it's her grave next to the creature's grave, right, and 403 00:29:41.359 --> 00:29:44.720 the dad just being hauled off to jail. Even that would not justify the 404 00:29:44.799 --> 00:29:49.400 previous whatever that we had to walk. Ultimately, they needed another segment to 405 00:29:49.440 --> 00:29:55.480 go with the Midnight Never Ends segment. But why did they even film this? 406 00:29:55.839 --> 00:29:59.400 I genuine like the fact that we can't even suss out what the point 407 00:29:59.400 --> 00:30:03.519 of this was, I think is just shocking to me. If they had 408 00:30:03.519 --> 00:30:07.359 put this as the first segment and then followed it with The Devil Is Not 409 00:30:07.599 --> 00:30:12.400 Mocked, I would love The Devil Is Not Mocked. Yeah that's fair, 410 00:30:12.480 --> 00:30:15.480 Yes, yes, that's fair. Yeah, it would have been like the 411 00:30:15.519 --> 00:30:19.079 best reprieve known demand. Right. Oh, I get to spend time with 412 00:30:19.160 --> 00:30:25.160 Dragula, thank god. Yeah, as opposed to the walking trash bag. 413 00:30:25.759 --> 00:30:27.640 Yeah. And again like even with the how terrible she is, Like the 414 00:30:27.640 --> 00:30:36.400 creature design is an affront in and of itself, it's not. It's just 415 00:30:36.440 --> 00:30:38.759 like what like we you know, Mike, like you mentioned with the Pierre 416 00:30:38.799 --> 00:30:42.160 Malfe from coal Check, Like we dragged that in cole check. Yeah, 417 00:30:42.799 --> 00:30:47.759 like and then you know what, it was well lit here it's like out 418 00:30:47.799 --> 00:30:52.200 in the open, walking around showing every defect. At least, don't light 419 00:30:52.279 --> 00:30:56.680 it very well. For fuck's sake, keep it in the dark. Yeah, 420 00:30:57.200 --> 00:31:00.480 over and over, like it's a conversation between her and the thing, 421 00:31:00.759 --> 00:31:04.880 like we need to see give it some eyes, give it some facial features 422 00:31:04.880 --> 00:31:11.960 of some sort. Yeah yeah. I mean when I first saw it, 423 00:31:11.000 --> 00:31:15.880 other than Pierre Malfey, the first thing I said was, it's a shambling 424 00:31:15.960 --> 00:31:18.480 mound. I mean, that's what it looks like. Is the old D 425 00:31:18.599 --> 00:31:22.759 and D shambling mound in the short story she comes upon it and it is. 426 00:31:23.759 --> 00:31:30.279 It's completely like humanoid. It's just a mossy thing with eyes and us. 427 00:31:30.960 --> 00:31:33.720 It has a dead bird in its hand, it has digits, and 428 00:31:33.799 --> 00:31:38.240 it's just a weird creature. So I don't know why that it takes some 429 00:31:38.359 --> 00:31:41.039 skinny guy and slap a bunch of mud on him and go there there it 430 00:31:41.119 --> 00:31:45.799 is. There's the muck. Mons could have been the guy from Twin Peaks 431 00:31:45.799 --> 00:31:48.720 season three. We could have been like, want to light for God a 432 00:31:48.799 --> 00:31:52.920 light? Sorry whichever. Yeah, I just I want to thank you Father 433 00:31:52.039 --> 00:31:57.200 Malone for sharing this with us. One of the worst things I've ever seen. 434 00:31:59.599 --> 00:32:00.839 Like nuinely, by the time this was over, I was like, 435 00:32:00.960 --> 00:32:05.160 I can't believe it, but this may be the bottom of the barrel. 436 00:32:05.359 --> 00:32:08.160 Remember season seven of tennis from the crypt or right back at you. Maybe 437 00:32:08.480 --> 00:32:14.319 I think this, I think this might be worse. No, no, 438 00:32:14.920 --> 00:32:19.440 just just for sheer volume, that's fair. This is only twenty just week 439 00:32:19.559 --> 00:32:22.480 after week this. You guys watched it once and you were happy that it 440 00:32:22.519 --> 00:32:27.359 was over. Yeah, this was like what the happiness came from, the 441 00:32:27.759 --> 00:32:30.759 lack of like, oh, I don't have to do that again, whereas 442 00:32:30.839 --> 00:32:36.119 I was like, fuck, if hell exists, Hell is just having to 443 00:32:36.160 --> 00:32:40.680 watch this episode on loop. Yeah, it's just playing scenes, just her 444 00:32:40.799 --> 00:32:45.759 voice over and over again. If this is this seems like the bottom. 445 00:32:45.799 --> 00:32:49.200 We can only go up from here. Now kill it with fire, God 446 00:32:49.200 --> 00:32:52.519 burn it. Just make sure it never comes back. All Right, We're 447 00:32:52.559 --> 00:32:54.839 gonna play a preview for the next episode and we'll be right back to wrap 448 00:32:54.960 --> 00:33:01.839 up. Subject a common enough item utilized by teenagers and tycoons, the daily 449 00:33:01.960 --> 00:33:06.279 journal, in which we notate the happenings of our day to day existence, 450 00:33:07.000 --> 00:33:10.440 but in this instance, a unique periodical that doesn't record what was, but 451 00:33:10.680 --> 00:33:16.200 rather predicts what will be. Its title, the Diary. It's our initial 452 00:33:16.240 --> 00:33:23.079 offering in the night gallery. Our painting reminds us that there's a strange fascination 453 00:33:23.119 --> 00:33:28.880 of digging holes alongside ancient oaks. You give the average man a shovel and 454 00:33:29.000 --> 00:33:32.880 an excento map, and the fantasy has come thick and fast. Pirate gold, 455 00:33:34.000 --> 00:33:38.240 hidden, Confederate treasure, and sometimes the unexpected and sometimes the unwelcome. 456 00:33:38.880 --> 00:33:47.880 Hence the title Big Surprise, our final offering, a study in depth of 457 00:33:47.920 --> 00:33:52.920 a gentleman from the acade, seeing here at the lectern, delivering a most 458 00:33:53.000 --> 00:33:59.759 scholarly treatise this particular class. I don't think you want to cut the paintings 459 00:33:59.759 --> 00:34:05.599 title. Professor Peabody's Last Lecture. That's right on the next midnight viewing, 460 00:34:05.599 --> 00:34:08.280 we'll be taking a look at season two, episode eight that's broken into four 461 00:34:08.480 --> 00:34:13.840 segments. Thank god. Those are the Diary, A Matter of Semantics, 462 00:34:13.960 --> 00:34:17.360 Big Surprise, and Professor Peabody's Last Lecture. This is my favorite episode of 463 00:34:17.480 --> 00:34:22.920 night Gallery. We're going to be watching and it contains my single favorite segment 464 00:34:22.079 --> 00:34:29.039 of the entire series. Wow, no pressure, gentlemen. Until then, 465 00:34:29.440 --> 00:34:32.039 Where can people find you? Chris Stashu Weirdingwaymedia dot com. That's where you 466 00:34:32.039 --> 00:34:36.880 can find this show, Father Malone's show, Mike White Show, all the 467 00:34:36.920 --> 00:34:38.920 shows, all of them can be found at weirdingwaymedia dot com and if you 468 00:34:38.920 --> 00:34:43.519 can't find him there, you probably shouldn't be listening to them. Do I 469 00:34:43.559 --> 00:34:45.760 have to ask you, Mike? No, right on. Thank you all 470 00:34:45.800 --> 00:34:51.000 for joining us here at midnight viewing. Go to weirdingwaymedia dot com and the 471 00:34:51.119 --> 00:34:52.400 gallery is closed