WEBVTT

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Astounding Tales of the Public Domain with
fatherom Alone, Stories of our future from

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the distant Past, enhanced audio performances
from the Golden Age of science fiction,

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featuring tales by Paul Anderson, Marion
Zimmer, Bradley, Robert E. Howard,

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Ray Bradberry and Moore. Tune into
Astounding Tales of the Public Domain with

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fatherom Alone at Weirdingwaymedia dot com weird
Way You're always welcome with this particularly mission.

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There's no's, no admission, no
requirement of the membership, only a

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strong and abiding belief in the dark
at the top of the stairs or lady

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is the Night Gallery? All right, allur loves. Welcome back to Midnight

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Viewing of the Night Gallery podcast,
where we take a look at Rod Serling's

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follow up to The Twilight Zone.
We're talking about Night Gallery and joining me

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here in the gallery as always are
the projection boots, mister Mike White,

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Hello, Hello, and of course
scary stories we tells Chris Statue. Now

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did you hear the one about the
two Arabs? Hey lady, Hey lady,

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make him laugh, make him cry? Oh yeah, Well, we'll

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be getting into that in just a
moment. We are Discussing Season one,

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episode four, which ran on January
sixth, nineteen seventy one, and was

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comprised of two stories. They were
called them Make Me Laugh and Clean Kills

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and Other Trophies on display this evening
a postiche of painting from oddball Land.

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The poet Sir Max Beerbaum reflected that
no one ever died of laughter. Object

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of brush and palette rebuttaled. The
clone is Jackie Slater, his occupation a

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comedian, his aspirations to collect funny
bones and hang them on the walls of

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his life, to hide the cracked
plaster and yellowed wallpaper that is part of

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the interior decoration of failure. Poor
Jackie Slater, a bad joke told in

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a foreign language in an empty hall. The comic unable to coax laughter.

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The painting is called make Me Laugh, and this lightless limbo is called the

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Night Gallery. Now Make Me Laugh. Was written by Rod Serling, directed

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by Steven Spielberg, and starred Godfrey
Cambridge. That's right, Grave Digger Jones,

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Tom Bosley, Jackie Vernon and Grandpa
al Lewis very briefly and it is

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the story of a failed stand up
who sees the chance that start him when

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he meets the Oh, I'll leave
it to you guys to describe what he

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meets in the bar. Chris,
what'd you think of this story? You're

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probably better off asking Mike first.
I Mike, what do you think of

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this story? Well, there's a
reason why we talked about how Steven Spielberg

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directed that one episode of Night Gallery, and we talked about that on the

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first episode. We don't talk about
make me laugh, and I think there's

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a reason for that. Though.
It was fun. I loved seeing Jackie

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Vernon in here the voice of Frosty
the Snowman, so that was kind of

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nice. Always fun to see him
with his body um. Also, what

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the coach in Well, yeah,
he was the coach in Cold Check.

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I think he was. Also,
picture isn't that his picture? It is

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IMDb? Yeah, yeah, it
should be this y just so we're all

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clear. Not a term for real, right, It's a completely made up

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term, is it? I don't
know because I googled it and nothing came

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up. Is it like saying chemo
sabi? Like, isn't that the word

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for friend? Hey? Chemo sabie? At least Tom Bosley is playing,

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isn't playing a man who's slow.
Yeah, what was it? Like,

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Spielberg's like, get me Bosley not
in this episode, but he wasn't That

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first one was dummy, right like
this it's a sad sack And now we've

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gotten the other side of his sad
sack coin here. Yeah itinerant gambler.

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I'm going to probably kill myself because
I lost my eyes. But at least

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the loan sharks are happy. Yeah
that's yes, exactly. So Spielberg was

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like, you know, he was
really pathetic. Now let's get him also

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pathetic but doing better than the lead
at least a little bit, but but

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somehow more pathetic that he's hitched his
start in this particular way. Oh,

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I can go either way with Godfrey, Godfrey, Cambridge and um Man.

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And this reminds me a lot,
Chris of the episode we did on the

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New Star Trek with what's the guy's
name from like Book of Boba Fette or

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yeah, no, it was from
Obi Wan Kenobi, the guy who did

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the X Files podcast. He starred
as a comedian who yes, thank you,

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And it kind of reminds me of
that. I guess it's just the

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setting at the oh, I see
Okay, yeah, it kind of,

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yeah, it kind of. Does
I mean that that episode is about as

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successful as this one? Yeah,
Tim Thomerson one and Twilight, Yeah,

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that one actually is the best of
the three as far as I'm concerned,

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I think you're right, you know, the other two, to their credit,

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at least I know what they're trying
to tell us, because here we've

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got you know, first of all, once again, this is ron Soiling

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operating and is sort of like nineteen
thirties theater radio drama height and we've a

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he's like he's supposed to be a
failed comedian, but he's been at it

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for sixteen years. He so I
guess he's been making money for a while.

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He's got an agent in everything,
and this is like the end of

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the run. But like I can't
understand like what his purposes as far as

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is this a guy who's like he
never reached it or did he? Is

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he a fail? Is he a
failure or is he like a never was?

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You know what I mean? And
like so when he gets what he

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wants, like that all needs to
make sense, Like I need to know

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is this a story about like like
careful what you wish for or is it.

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Like the character goes to pains to
tell us that he got into comedy,

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Like the path began when he was
a young man and he was fat

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and ugly and everyone made fun of
him and they pushed him off the dock

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at camp. But the laughter,
like he even though they were laughing at

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him, that was the drug,
right, So that set him on this

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path. So maybe that the story, like, don't start a job where

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it's based on your own personal humiliation. I don't know. I'm honestly sitting

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here just trying to think more than
anything else. Because there's a line it's

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more more more than likely a throwaway
line. But his you know, he's

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like Godfrey Cambridge says his manager.
He's like, tell him, tell him,

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you know, I was. I
had this six week stint and you

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know, wherever the fuck diddle dick
nowhere, right, And it just like

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it makes me wonder the same thing
that you're wondering. Father Molanch's like,

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who was this guy ever funny?
Because the jokes that he's telling are infinite,

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so bad there's not even a question
as to whether or not they're funny.

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They're not funny. Yeah, you
would find this joke book in a

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crackerjack box. Yeah, and this
particular segment takes place in the present,

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which then was nineteen seventy and Gonfrey
Cambridge tells his manager, we've been at

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this for sixteen years, right,
so he started in nineteen fifty four.

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Those jokes were bad and old in
nineteen fifty four. What has he been

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doing for sixteen years? He deserves
to not have a career in comedy.

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He doesn't know what he's doing,
and he's terrible at it, and his

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remotives in doing it are flawed.
Well, and what it feels like the

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episode should have been was just have
him and another person, and that other

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person is the up and comer and
starts to overshadow him. And he does

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all this because he is worried about
not having a job anymore. That's what

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this story should have been, because
then you have the stakes as to why

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he I mean, he doesn't have
to be funny. Then it doesn't matter.

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He's just losing his job to someone
else as opposed to losing it to

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no one, losing it of his
own volition, I guess, is what

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the story is telling us. But
yeah, he's not funny, not even

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remotely funny, like like he goes
in and chides his manager for not coming

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out like stacking the deck and like
laughing at his material. It's like,

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how could he? It's the worst
ever, like like like the fact that

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Tom Bosley is stuck by this guy, like what did he save his life?

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Like in Vietnam? And that's the
in Vietnam which hasn't happened yet,

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right, well, it's happening currently. Maybe it happened a couple of years

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ago. They were they were a
team for a while and then they went

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to Vietnam together. Yeah, I
have no idea. It's somehow this is

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worse than the Jordan Peel version,
which is saying something because that episode is

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twice as long as this one.
It's also like only what like twenty two

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minutes, but this felt longer than
that one. Oh my god, so

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many situations where we learned about people
not laughing or laughing at him. I

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mean, just think of the possibilities. And that's another thing, okay,

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like putting a sign, the fact
that Jackie Vernon is placing a man named

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like Jay Chatterjee and he's wearing a
turban and clearly in brown face. We're

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gonna like put that aside first,
right, just put that whole thing aside.

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That's what Steven was saying. Now, Now, George, I want

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to pitch you this idea. This
Night Gallery episode that I'm on. Jackie

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Vernon's casting makes literally no sense to
me whatsoever, Like what was he a

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draw at the time, like the
like what we need to get Jackie Vernon

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on here and then we can publicize
it and then the ratings will skyrocket,

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Like, No, that doesn't make
sense anyway. I'm putting aside the Clayton

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and inherent racism that goes on in
the middle of the episode. Yeah,

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okay. So he's making a deal
with a genie that never goes well for

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anyone ever in any of these anthology
stories that pausit one of these, right,

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and he wants him to make him
funny. Basically it's the idea,

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but he wants people to laugh at
the things he says. And then he's

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just saying random stupid bullshit in the
bar and everyone's breaking up and laughing.

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Right, So my initial thought is, Okay, so that's what this is.

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Everything that comes out of his mouth, people are gonna laugh until it

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drives him insane. But that's not
the case because in the next scene he's

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having a conversation with his manager,
who this is like months later because he's

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been on The Red Skelton Show and
ship. Now he's headlining in Las Vegas.

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By the way, the montage of
all of the hotels in Las Vegas

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all gone, yeah, right,
isn't that fun? Only imagine if you

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will, Las Vegas circa nineteen eighty
five. It's a nightmare, a consumerist

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wasteland. So then he has a
conversation with Tom Moseley. Tom Bosley isn't

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laughing at all and anything he says
and then oh, okay, you say,

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somebody take the ball. This movie, This episode is exhausting, This

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episode is it's It's bad. Sterling
always seems to me. I hate to

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keep kicking him, but we're getting
a lot of him in this in this

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season because he wrote the lion share
of the episode. So he's all really

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good. Oh my god, well
some of them are, but like you

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know, anyway, I'll beat on
him in the next segment as well,

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and I will, but I feel
like Sterling to me is was always sort

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of chasing. The screenplay for On
the Waterfront like it's the screenplay that he

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was capable of writing and maybe should
have written but didn't, And so like

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this sort of like downtrodden man thing, the jones that he's got that he's

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always working out, Like the difference
in his characters and something like on the

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Waterfront is like in that character,
like some of the things have gone wrong

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for him in his life. But
Sterling's characters are always these losers who don't

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deserve anything anyway, right, right, So like so it becomes this chore

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where I can't enjoy anyone because everyone
is miserable and terrible. And on top

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of it, we have this supernatural
huha that doesn't make any sense because there

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are no rules for it, and
it's like a twenty minute segment Like come

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on, I mean, I see
your point with all this stuff. Yeah,

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the inconsistency is what really got me. I was just like, okay,

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yeah, everything then that he should
say from then on out gets a

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complete belly laugh. People cannot stop
laughing at anything. So even if he

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goes out on the street and somebody
gets hit by a car, he's just

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like, hey, somebody get hit
by a car, and everyone cracks up

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laughing yeah, yeah, like my
life is dying of cancer? Like,

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right, can you imagine if in
word play they just dropped it halfway through?

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Oh yeah again, nobody cares anyways, right right. This is the

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kind of lazy writing that I expected
from the new show. This is the

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kind of lazy writing that the new
show has in abundance, and I didn't

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expect it from Rod Serling. And
you know what, guess what. You

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could have told me that fucking Mickey
Mouse directed this episode, and I would

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have told you, yeah, Betty
did, because Steven Spielberg brings absolutely nothing.

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No, it could have been senior
spielbergo for all I know. I

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agree if it felt like an obligation
at this point, But then again,

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the script is really a radio play, Like can you imagine reading it and

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going, what am I supposed to
do with this? The whole thing is

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three guys in a bar talking endlessly, followed by two guys talking in a

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backstage of a nightclub, and it
was just I don't know, that's right.

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Defended to Spielberg's credit, it didn't
look setbound. He made it look

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good. Yeah, I guess like
that's the only saving grace in this episode

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for me because you know the thing
about the inconsistency with the mythology quote unquote

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going on like it's part and parcel
with the rest, because it didn't decide,

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it couldn't decide what kind of story
it was telling, so it couldn't

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decide what kind of punishment to meet
out to our hero, who probably doesn't

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deserve it anyway. I don't deserve
getting hit by a car. Yeah,

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probably not. Well, you know
what he kind of does. Because if

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you're gonna race across the street to
tell someone an old, crusty joke and

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not look about the two Arabs,
I want to know what happened, Yeah,

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right, and it is this like
incredibly racist. He left me hanging.

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He left me hanging with that one
one. You wanted to know more?

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Yeah, I just got to go
grab my copy of Truly Tastes Just

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Jokes from nineteen eighty three. Yeah. Yeah, those jokes were funnier than

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every joke presented as a joke in
this episode. I was like painting this

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evening. He has to deal with
the stalker and the victim, the hundred

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and a hundred, that rare breed
of Homo sapien whose love of butchery is

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not a sport, but a consuming
passion offered. You know, clean kills

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and other trophies. All right,
our next story is called clean Kills and

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other Trophies. This one was written
by guess who, guys Rod Serling whoa

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Yeah, I know, making a
rare appearance. I almost wanted to give

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him a I almost wanted to give
him the benefit of the doubt. Yeah.

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And this one was directed by Walter
Don. This one starts Raymond Massey,

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Tom Troupe, Herbert Jefferson Junior,
and Barry Brown. This one concerns

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an a bitter old game hunter who
demands that his son make his first kill.

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Chris, what do you think of
this one? Oh? My god?

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What is going on with this show? Already? We're four episodes in.

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What is going on? I will
say? I will say Season two

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is on the way? Okay?
What does that mean? That means that

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when the series started, it was
kind of this agreement that Serling was going

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to do it all, he was
gonna write it all, he was going

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to okay, and that's the agreement
that they all kind of kept too for

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season one. So you're saying the
whole like a little bit far too little

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bread on far too much, certainly, but the reverse. But yeah,

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but next season, that's what you're
saying. Lantild sort of asserts himself,

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so you're saying, take it with
a grain of salt and a shot of

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penicill and because Rod Serling's doing everything, Yeah, yeah, well it shows

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there are other people in the mix
and they're just waiting to to step forward,

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and they will. That's that's what
I'll say about Father Malone saying hashtag

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it gets better. Yeah, yeah, and that, and you know,

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then I don't feel that bad because, yeah, this is another segment that

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just spins its wheels for twenty minutes. Nothing that happens in this segment is

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remotely interesting. You can kind of
guess where it's going once you realize what

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the subject material is, once the
conceit of the episode is there's only one

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way that this ends with this guy's
head up on the wall, like yeah,

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duh no, like the Some of
the best and worst things ever written

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have their endings telegraphed. The things
that have the endings telegraphed and still work

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often feel like a miracle, because
more often than not, it's this where

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it's like, yeah, well,
of course his head was going to be

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up on the wall. It's the
Twilights, I mean, Nike Gallery.

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It's a Twilight Zone episode. These
last two episodes would feel more at home

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in nineteen eighty five than they would
in the original run of the show,

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which is me remembering the original run
of the show a lot more rose tinted

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glasses than even it probably deserves.
Ah, Man, I mean, I

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like Raymond Massey so much, you
know, I just talked about him with

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Arsenic and old Lace. You know, it was a great Abraham Lincoln.

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It's funny, Chris, because I
kept thinking of The Last Dinosaur while I

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was watching this, and I'm just
like, man, I kind of wish

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that Richard Boone was in this role
because there's just nothing. There's nothing for

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these poor guys to do. Because
yeah, to your point, Father Malone,

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it's like, I know how this
is gonna end when it begins,

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and there's nothing really for me to
like, kind of clomb onto. I

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really wanted more of the Herbert Jefferson
Junior characters, like, Okay, yeah,

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that guy seems interesting. I want
to know more about him, but

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we didn't get him. Yeah,
what a presence for him. Yeah,

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Sterling going out on a limb here
asserting the idea that old old money refinery

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like his hiding bitter hatred, like
oh thanks, rod, we did,

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we didn't know, And of course
it has to take place in an old

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mansion and it's an old money white
man. And yeah, I liked this

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episode more when it was Ozzie Davis
and Roddy McDowell. Yes, yeah,

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it was, yeah, right,
like fucking how lazy are we right now,

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mister Sterling, because like that was
two episodes ago or not my not

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too but like the pilot of the
goddamn show, like okay, why are

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we doing another old white man African
American? Butler helps him get his come

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up ins like this is the same
thing. It's the same thing. It's

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just instead of a painting, it's
trophy like trophy heads, you know.

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And I think Sterling thinks he's being
sort of like forward thinking and like yeah

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out there you know what I mean. Yeah, this one in particular with

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like you know they bake in at
the start that Raymond Massey's character is completely

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racist, Like he refers to his
servant as like you so savage, you

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realize you can't take them out of
the jungle. Not really, Oh boy,

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certain kind of Stuffles suffers from,
like the noble savage kind of thing

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too, and like and everything the
guy says about his Washington's character like comes

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true. Like the guy is a
bucour or like a you know, a

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shaman and he's has this spell on
him and like, oh my god,

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and the spell, by the way, produced a lovely frame that that part

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of the voodoo magic is that part
of the the African tribalism, Like oh

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yeah, you didn't know that?
It hangs it like perfectly level too,

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like that do you think it said
his name on the plaque. I've been

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backing the wrong religion my whole life, because this religion seems to be on

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the ball. Yeah. I mean, if they say something bad is going

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to happen to you and you just
end up as a head mounted on the

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wall, can't say they didn't warn
you. This ends up being basically Brewster's

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00:20:59.839 --> 00:21:07.799
millions with murder because he's like,
you know, he's dangling money over his

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son, like this one million dollar
trust that he's already set up for him

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that he won't give to him unless
he murders or murder he kills a deer

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the next day, right, the
guy's lawyer is standing there. Who,

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by the way, Tom Troop,
I loved him, he was great like

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that. I don't know that.
I don't know what else i'd know him

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from, but a lot of presents
on him. His lawyer is saying,

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like, you know, if you
start proceedings tomorrow, that money will be

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yours and there won't be anything he
can do about that, even though he

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even though the old man threatens to
like spend it all, the lawyer counters

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00:21:38.440 --> 00:21:41.319
like Olivan injunction. By noon,
he won't be able to do anything.

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Still, this kid goes along with
it. Why because it has to happen,

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Because it's yet another debate in the
form of a story. Quote unquote

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00:21:51.480 --> 00:21:56.400
from Ron Surlan. We saw Tom
Trooper lawyer this year in my own private,

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Idaho. He played Keanu Reeves,
his dad, Oh, the mayor

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of Seattle. Right? Is that
Seattle Port? Yeah? Yeah, I

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remember it as a judge from something
I don't know anyway, Summer School.

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It's probably what you remember. It
is Mark Mark Harman film. That's that's

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the joint. Cis his own Mark
Harman is in Summer School. I love

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that. I mean, you know
what, you could do a whole podcast

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on summer and school movies and never
run out of things. That's back to

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school, start with summer school and
with summer school. Yeah, I do

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it three times from three different perspectives. I you know, father Moan,

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when you said the whole thing about
this being a discussion about you know,

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hunters and hunting and masculinity, like
that is a good discussion to have,

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00:22:48.640 --> 00:22:52.960
absolutely, but not here. Yeah, no, and no matter what,

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Actually, it could have worked here. It's a twilight Zone. I mean,

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00:22:55.559 --> 00:22:57.279
it's not gass. Yes, it
could have worked here. I mean,

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I'm not making that joke intentionally because
like these episodes, these two in

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particular, have felt like the twilight
Zone. Sterling seemed to be bristling against

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00:23:07.240 --> 00:23:12.359
the sort of horror in supernatural elements
of his Night Gallery television show like whit

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00:23:12.440 --> 00:23:15.519
What the fuck are you thinking?
Dupe? Come on? He seemed to

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00:23:15.559 --> 00:23:19.519
want to make Alfred Hitchcock Presents and
he would, you know, tolerate a

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little bit of supernatural folder all on
the side, you know what I mean,

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Because that's what we're getting. It's
more and more just like people murdering

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00:23:26.160 --> 00:23:30.440
each other, right, I know
they we get the twist at the end,

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but it's so irrelevant because really,
like like I said, like you

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said, Chris, like, it's
just you know, it's a debate in

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00:23:36.400 --> 00:23:41.880
the form of a screenplay, and
you're right, the Hunter debate is worth

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00:23:41.960 --> 00:23:48.279
having. And the sort of old
morals versus young and black and white,

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00:23:48.480 --> 00:23:52.680
like all of them are are worthy
of discussion, but not as a discussion

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00:23:52.920 --> 00:23:57.559
like dramatize them in a screenplay format
and then film it and then present it

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00:23:57.599 --> 00:24:02.039
that way. Don't have fourcare after
standing and remyambering at each other, then

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00:24:02.079 --> 00:24:04.880
you've got a Kevin Smith movie.
Yeah, that's fair. It's it's oddly

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And if you know, you said
the first episode, the first segment of

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the episode didn't feel set bound.
This does until they go outside, it's

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00:24:12.880 --> 00:24:17.119
like, yeah, that's just a
set somewhere, wildly set bound. The

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00:24:17.160 --> 00:24:22.000
final shot, in order to achieve
the guy's head on the wall and the

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00:24:22.039 --> 00:24:25.759
guy on the floor, you can
see it's a studio, like they haven't

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00:24:25.759 --> 00:24:29.119
even painted it, like there's a
rug there, but really it's just the

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00:24:29.160 --> 00:24:32.880
studio floor, so like they didn't
even didn't even give a shit. Sterling

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00:24:32.920 --> 00:24:36.759
Baby slipping, slipping, He's slipped, it's gone, it's done by now.

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I will say this now, man, I will say this about it.

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Though, And as sort of purple
as his prose can be, you

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00:24:44.359 --> 00:24:48.640
can see a distinct difference between the
last segment in this one, sterling like

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he must have come from a deep
well of rage, because every time a

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00:24:52.359 --> 00:24:56.599
character is being very mean on screen, no matter how radio drama it is,

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00:24:56.799 --> 00:25:00.480
no matter how set bound it is, that dialogue is killer, and

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00:25:00.640 --> 00:25:03.119
delivered by Raymond Massey. Here it's
really really good, whereas when he writes

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00:25:03.160 --> 00:25:07.000
sad sack stuff, it just makes
me hate that character. Like, so

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00:25:07.480 --> 00:25:11.720
you know that's sort of weird,
right, It's coming from a very angry

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00:25:11.759 --> 00:25:15.359
place, clearly. Yeah. But
like even in the even in the worst

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00:25:15.400 --> 00:25:18.240
of his writing, if it has
that sort of angry tinge to it,

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00:25:18.279 --> 00:25:22.839
there's something to draw from it,
Like, and I do think that we

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00:25:22.920 --> 00:25:26.480
get something of that here, even
though the whole thing is kind of a

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00:25:26.519 --> 00:25:29.680
shambles. All the performances I thought
were really good. But you know,

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00:25:30.079 --> 00:25:32.799
as a story, come on,
it's not much. It's not much of

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00:25:32.799 --> 00:25:36.799
a story. Yeah, is there
a story at all? It's leading us

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00:25:36.799 --> 00:25:38.759
by the nose to the one shot
that it wants to get, which is

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00:25:38.799 --> 00:25:41.160
the shot of his head on the
wall. I mean, that's what I'm

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00:25:41.200 --> 00:25:45.759
doing. Yeah, and here's the
payoff. It should have been a three

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00:25:45.799 --> 00:25:49.240
minute interstitial like you know, like
it totally could have for sure. Hey,

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00:25:49.359 --> 00:25:52.799
have you seen the with that great
old hunter Go, he's right here,

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00:25:53.240 --> 00:25:57.640
that's it. Yeah, yeah,
as the butler's smoking a big pipe

351
00:25:57.720 --> 00:26:00.640
or something, right, and like
an animal walks by in the background or

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00:26:02.559 --> 00:26:11.000
right on its hind legs and say
hello there. Yeah, anyving us about

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00:26:11.000 --> 00:26:14.240
this episode, gentlemen, or a
segment give me some more racism coming up.

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00:26:14.359 --> 00:26:17.440
I'm excited for that. Wo oh
do you? I love all the

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00:26:17.480 --> 00:26:21.839
inherent racism we keep encountering, and
next we get we get the chauvinism and

356
00:26:21.920 --> 00:26:26.240
misogyny and everything. The sterling train
is going to continue, I guess with

357
00:26:26.359 --> 00:26:29.960
that. If you want to hold
on, we're going to play a commercial

358
00:26:30.079 --> 00:26:34.200
for our next episode. Welcome art
lovers. We offer for your approval of

359
00:26:34.319 --> 00:26:38.920
still Life if you will have noise, a soundless canvas suggestive of someone.

360
00:26:40.640 --> 00:26:45.200
The mouth belongs to Pamela and life
is shrieking battle acts made up of adnoids

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00:26:45.240 --> 00:26:52.400
tonsils and sound decipls in death,
an unmuted practitioner of fishwifery, undeterred and

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00:26:52.559 --> 00:26:57.400
UnGagged by what one would assume to
be the great silencer. Some ghosts come

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00:26:57.400 --> 00:27:00.960
back to hunt others, and back
simply to pick up where they left off.

364
00:27:02.480 --> 00:27:07.200
Our painting is called Pamela's Voice,
and this is the night Gallery.

365
00:27:07.960 --> 00:27:14.720
An unforgiving she usually buries its secrets
beneath itself. Warships and ocean liners,

366
00:27:14.759 --> 00:27:21.319
treasure guyons and submarines turn into rusting
relics inside a watery lacquer loss of memory.

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00:27:21.359 --> 00:27:25.720
But occasionally there comes a floating,
unbidden reminder of disaster, like this

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00:27:25.839 --> 00:27:30.000
lifeboat. The painting is called a
loan. Survivor will put it in tow

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00:27:30.279 --> 00:27:34.279
and see where she came from and
why, Moving off from ships like the

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00:27:34.279 --> 00:27:41.160
Titanic and the Andrea Doria to a
small fragment of history, This little collector's

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00:27:41.160 --> 00:27:45.319
item here dates back a few hundred
years to the British Indian colonial period,

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00:27:45.920 --> 00:27:48.759
proving only that sometimes the least likely
objects can be filled with the most likely

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00:27:48.839 --> 00:27:53.039
horror. Our painting is called a
doll, and this one you'd best not

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00:27:53.119 --> 00:27:59.880
play with. That is Episode five
It is split into three segments, Pamela's

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00:28:00.079 --> 00:28:04.839
Voice, Jesus Christ, I Lost
it again, Survivor and the doll Thank

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00:28:04.880 --> 00:28:11.759
you, Mike, I just gotta
leave it at that, no problem until

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00:28:11.920 --> 00:28:15.000
then. Where can people find you? Mike? Oh? You can find

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00:28:15.039 --> 00:28:18.920
me over at Projection Booth podcast,
where every week we're putting on a new

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00:28:18.920 --> 00:28:22.720
episode, much to my chagrin,
and also over at the Life and Times

380
00:28:22.720 --> 00:28:27.200
of Captain Barney Miller. Or even
you can find me at The Shabby Detective,

381
00:28:27.279 --> 00:28:32.279
which might be a bit available at
Chabby Detective dot com, where me

382
00:28:32.440 --> 00:28:38.240
and chucklehead Chris Stashue are talking about
mister Colombo, mister Frank Colombo once a

383
00:28:38.279 --> 00:28:42.279
month, having a good time doing
that. Yeah. I mean, let's

384
00:28:42.279 --> 00:28:45.759
be honest here, someone my age
has their opinion on a show that old

385
00:28:45.799 --> 00:28:49.240
doesn't matter. Why are you even
listening to me? A bunch of woke

386
00:28:49.359 --> 00:28:53.039
garbage? Yeah? Oh, and
Chris, where can people find you?

387
00:28:56.039 --> 00:28:59.759
Hih see Statue dot com is where
you can go to find my rantings,

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00:29:00.000 --> 00:29:03.680
wavings and musings all those things.
Cstasu dot com, cs t ac hiw

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00:29:03.880 --> 00:29:07.359
dot com. As for me,
you can find me over at father Malone

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00:29:07.519 --> 00:29:12.720
dot com until next time, we'll
see we are the Night Gallery or something.

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00:29:15.079 --> 00:29:15.160
Well, I'm convinced