WEBVTT 1 00:00:03.680 --> 00:00:12.199 Astounding Tales of the Public Domain with Father Malone. Enhanced audio performances from the 2 00:00:12.279 --> 00:00:19.399 Golden Age of science fiction, featuring tales by Brave Radberry, Miriam Alan d 3 00:00:19.559 --> 00:00:24.960 Ford, Robert E. Howard, Paul Anderson, H. P. Lovecraft, 4 00:00:25.199 --> 00:00:32.000 and Moore. Hear it twice monthly at weirding Way Media. Astounding Tales 5 00:00:32.079 --> 00:00:54.159 of the Public Domain with Father Malone, weirding Way Media, Redially Pat Pignic, 6 00:00:54.920 --> 00:01:00.920 Light and shad, Realism, Surrealism, impressionism, end of a storage 7 00:01:00.719 --> 00:01:06.480 and interest in the pond, blow a good elenship towards the desire. And 8 00:01:06.599 --> 00:01:11.000 this place is nothing if it isn't a desire. There's no admission, no 9 00:01:11.200 --> 00:01:15.159 requirement of membership, only a strong and a plighting belief and depart at the 10 00:01:15.159 --> 00:01:19.719 top of the stairs or the things that go bump at the night. The 11 00:01:19.840 --> 00:01:23.239 name of this place, you would commend your actually definitely out of the rank 12 00:01:25.040 --> 00:01:33.400 the night. Good Welcome back art lovers to Midnight Viewing The Night Gallery podcast, 13 00:01:33.439 --> 00:01:37.200 where we discuss Night Gallery Rod Serlings follow up to the Twilight Zone. 14 00:01:37.480 --> 00:01:41.640 I'm Father Malone and with me here in the gallery are the Podcast of Powers. 15 00:01:41.879 --> 00:01:48.959 Mike White Hello, also shining as his Bollywood cinema clubs, Chris Stash 16 00:01:48.959 --> 00:01:52.439 Here did you feel that rush of cool air? Past year? This is 17 00:01:52.480 --> 00:01:57.079 season two, episode twelve, which aired on December eighth, nineteen seventy one. 18 00:01:57.439 --> 00:02:00.799 The episode is split into three segments. Was our cool Air, Camera 19 00:02:00.879 --> 00:02:07.079 Obscura and quothe the raven? Painting Number one it has to do with death, 20 00:02:07.959 --> 00:02:12.400 usually the last chapter in every Man's Book of Life. Ye ashes in 21 00:02:12.479 --> 00:02:16.120 the dust, the tomb and the engraving on the stone Death the finale. 22 00:02:16.960 --> 00:02:22.599 But our first painting offers up a tail with the final curtain. Not quite 23 00:02:22.639 --> 00:02:25.840 the final curtain. There's an epilogue. We offer you now a little item 24 00:02:25.919 --> 00:02:31.639 called cool Air, tonight's first painting in the Night Gallery. Cool Air was 25 00:02:31.759 --> 00:02:38.479 written by Rod Serling from a short story by HP Lovecraft and directed by Janos 26 00:02:38.520 --> 00:02:44.240 Swark. Twenty two segments, Gentlemen, Jeno Swart, twenty two segments. 27 00:02:44.319 --> 00:02:49.159 Least it's not Jane Keiarney. Wow, thank god it's not Gene Kiarney doing 28 00:02:49.199 --> 00:02:52.919 twenty segments. I think I would lose my mind. This one stars Henry 29 00:02:53.000 --> 00:02:57.080 Darrow Barbara Rush, who, by the way, appeared in a TV movie 30 00:02:57.080 --> 00:03:00.960 called The Man, which was about the First Black President, starring James Earl 31 00:03:00.080 --> 00:03:06.840 Jones, written by Rodster. Oh, yes, such a great, great 32 00:03:06.879 --> 00:03:12.439 movie. This is the tale of a May December romance. What do you 33 00:03:12.439 --> 00:03:17.159 think of this one, Mike? It left me cold? Oh bing bang, 34 00:03:21.759 --> 00:03:29.439 Yes, I was waiting for that rim shot there, Chris. Yeah, 35 00:03:29.479 --> 00:03:32.120 there we go late on the uptake around here. We just got the 36 00:03:32.199 --> 00:03:38.199 sound bore. Uh. Yeah, we're back in HP Lovecraft territory. Though 37 00:03:38.879 --> 00:03:44.800 again, I can tell what's going on. Why are we supposed to not 38 00:03:44.960 --> 00:03:47.439 figure this stuff out? Like, yeah, the guy's dead, Like I 39 00:03:47.479 --> 00:03:52.280 could tell you that right from the get go. I don't know, I 40 00:03:52.439 --> 00:03:55.879 was. I really wanted to like this one. Maybe if it was like 41 00:03:57.039 --> 00:04:00.360 half the length I would have liked it a little bit more. But at 42 00:04:00.360 --> 00:04:04.560 the length that it was, and just that I could see the twist coming, 43 00:04:06.240 --> 00:04:11.360 Yeah, it did it. No joke, auld dially be called boy. 44 00:04:11.400 --> 00:04:15.720 They love HP Lovecraft, don't they? They really really do. I 45 00:04:15.800 --> 00:04:18.879 mean, look, I'm not gonna say, oh, at what a weird 46 00:04:19.000 --> 00:04:23.959 HP Lovecraft story to adapt, because look like HP Lovecraft in a lot of 47 00:04:23.959 --> 00:04:27.600 ways is like Stephen King, like He's got plenty of things to adapt, 48 00:04:27.600 --> 00:04:32.279 folks, And they're not all winners for a reason. Whatever the fuck the 49 00:04:32.319 --> 00:04:38.120 conceit of this episode is that there is a man who has a living corps 50 00:04:39.240 --> 00:04:44.199 because he lives in an icebox. You know what, Sure, fine, 51 00:04:44.199 --> 00:04:49.439 whatever, but that's like a ten minute episode segment, not a twenty minute 52 00:04:49.600 --> 00:04:56.079 segment, like good good lord. And I'm you know, not to jump 53 00:04:56.079 --> 00:04:59.279 ahead, but I'm not sure that that criticism is not going to be leveled 54 00:04:59.279 --> 00:05:02.399 against both of these segments. I think they're both too long for what they're 55 00:05:02.439 --> 00:05:08.279 trying to do. I think this one is way too long for what the 56 00:05:08.319 --> 00:05:11.399 punchline is. And look, I'm not saying the punchline doesn't work. It's 57 00:05:12.079 --> 00:05:18.360 it's sufficiently campy and kind of goofy, but way too long, just way, 58 00:05:18.399 --> 00:05:23.959 way, way too well. It also doesn't help that it feels so 59 00:05:24.079 --> 00:05:30.240 similar to the one we just talked about on our last episode with them, 60 00:05:30.680 --> 00:05:35.040 the woman that was Oh wait is that the one? Was it a woman 61 00:05:35.120 --> 00:05:41.680 that was being menaced by that thing? Or am I completely mixing this up? 62 00:05:43.360 --> 00:05:46.839 Yeah? Also HP Lovecraft right, and it's like basically a woman comes 63 00:05:46.879 --> 00:05:48.879 in and it's just like, oh, what is this stuff? And then 64 00:05:49.160 --> 00:05:53.600 oh, there's a big monster or a big twist quote unquote at the end. 65 00:05:53.959 --> 00:05:56.720 Yeah, it's it's a shame that they they're on the heels of one 66 00:05:56.759 --> 00:06:02.720 another because the romance respect is not present in the original HP Lovecraft story. 67 00:06:03.120 --> 00:06:08.079 And I actually think it's an improvement by Rod Serling in that regard. And 68 00:06:08.079 --> 00:06:10.920 if you read the original story, there's a lot of like, you know, 69 00:06:10.959 --> 00:06:15.120 he's supposed to be from Spain, so it's all phonetically written like oh 70 00:06:15.160 --> 00:06:20.800 elite l etli. It's very embarrassing. Henry Darrow. Henry Darrow here, 71 00:06:20.839 --> 00:06:26.319 he's five years younger than Barbara Rush, playing a dashing older man. I 72 00:06:26.399 --> 00:06:29.360 liked him. I liked his performance a lot. I thought Barbara Rush was 73 00:06:29.439 --> 00:06:34.279 really good. There's another unnecessary wrap around, just like the Pickman's model and 74 00:06:34.319 --> 00:06:39.079 the last one, which starts in the present for no reason and then takes 75 00:06:39.160 --> 00:06:43.160 us back like that. To me is the lamest part of it is the 76 00:06:43.199 --> 00:06:47.920 surling concoction that we're going to see the leaves blow off the top of the 77 00:06:47.959 --> 00:06:51.519 gravestone at the end and realize he's been dead twice. By the way, 78 00:06:51.600 --> 00:06:55.360 who put that there? She put that there? Why would that be on 79 00:06:55.439 --> 00:06:59.199 there? Weirdest thing ever by the way his name is misspelled on the grave. 80 00:07:00.480 --> 00:07:04.120 High production values abound at midnight at the at the Night Gallery podcast. 81 00:07:04.720 --> 00:07:08.879 I guess this isn't the podcast has high production values. This show doesn't. 82 00:07:09.079 --> 00:07:14.959 Is this the backlot? Oh? Speaking of the backlot and high production At 83 00:07:15.000 --> 00:07:16.759 one point, like this starts. It s a period piece. It's set 84 00:07:16.759 --> 00:07:19.240 in the nineteen twenties, and she's in the back of you know what is 85 00:07:19.360 --> 00:07:25.519 you know, basically a horseless carriage as a like driving down the street and 86 00:07:25.560 --> 00:07:30.600 in the background the street is blocked off by a Universal Studios van. Oops. 87 00:07:30.000 --> 00:07:34.519 Oh geez, I mean, what are you? What are you implying? 88 00:07:34.560 --> 00:07:40.959 Father Malone? Maybe shoot the scene at night? I thought you were, 89 00:07:41.000 --> 00:07:45.399 like, what are you? Are you implying that they fruit stand back 90 00:07:45.480 --> 00:07:49.600 there or like two guys carrying a pane of glass anything other than a vehicle 91 00:07:49.680 --> 00:07:54.839 from nineteen seventy one just sitting there like, hey, folks, the tour 92 00:07:54.920 --> 00:07:58.680 is right right this way. Hey, who was asleep at the wheel at 93 00:07:58.720 --> 00:08:01.360 this point? H that's the question. I blame Jano. But Jane did 94 00:08:01.439 --> 00:08:05.319 do something really cool here. There's a there's a conversation scene when they're sort 95 00:08:05.319 --> 00:08:09.560 of falling in love it's a minute and a half pan around the dinner table. 96 00:08:11.879 --> 00:08:16.079 There's a joint in it, but it's it's really masterful considering all the 97 00:08:16.160 --> 00:08:20.519 other limitations that they're sort of saddled with. Also, the music in this 98 00:08:20.560 --> 00:08:24.959 episode, uh, this was a guest composer, guy named Robert Bain. 99 00:08:26.120 --> 00:08:31.600 He was an LA session music musician, was actually Henry Mancini's guitarist, and 100 00:08:31.879 --> 00:08:37.320 he was specifically chosen by Laird to do a Spanish flavored theme for this episode 101 00:08:37.360 --> 00:08:39.720 and actually works really well. As far as I'm concerned, is this episode 102 00:08:39.759 --> 00:08:45.679 about because soiling made it of romance? Is this now a tale of necrophilia? 103 00:08:46.000 --> 00:08:54.360 Jeesus necromantic? Rod? Certainly, I'm just saying. I mean, 104 00:08:54.559 --> 00:08:58.559 if we're if we're talking literally, then yes, well, all right, 105 00:08:58.000 --> 00:09:01.320 good for you. Rod. HP. Lovecraft was into some freaky shit. 106 00:09:01.759 --> 00:09:05.879 Lovecraft didn't have anything to do with that part of it, that's all Sterling. 107 00:09:05.320 --> 00:09:09.679 Yeah, But I mean the concept, you know, the concept though 108 00:09:09.799 --> 00:09:13.720 it still lends itself in that direction. The concept of necrophilia just goes way 109 00:09:13.720 --> 00:09:16.960 back to the beginning of civilization. We always had it with us. It 110 00:09:16.039 --> 00:09:20.440 just took Rod Sterling to really popularize it. Use it in between commercials for 111 00:09:20.559 --> 00:09:31.919 so exactly, I only use AJAX when I now back to necrophilia. It's 112 00:09:31.960 --> 00:09:37.320 the most romantic presentation of necrophilia I've ever seen. I was moved. I 113 00:09:39.120 --> 00:09:41.000 yeah, you know, when you think about it that way, boy, 114 00:09:41.039 --> 00:09:45.840 it really puts it all in perspective, doesn't it. You know what? 115 00:09:45.879 --> 00:09:50.759 Hey? I I wish the payoff was in an episode half the episode segment 116 00:09:50.799 --> 00:09:54.679 half the length. That's really it. Like, it's not a bad segment, 117 00:09:54.720 --> 00:09:58.159 I just don't think it gets to the point fast enough. And also, 118 00:09:58.200 --> 00:10:01.320 like your stall, as if we can't kind of figure out what's going 119 00:10:01.360 --> 00:10:05.080 on, Like, was anyone surprised at the end that he was a corpse? 120 00:10:05.519 --> 00:10:09.080 Like they kind of you know, hint at it a lot like a 121 00:10:09.080 --> 00:10:13.720 lot, a lot, a lot, a lot a lot. Yeah. 122 00:10:13.759 --> 00:10:18.320 Also, this episode does contain I think the single worst performance in any segment 123 00:10:18.360 --> 00:10:24.200 we've seen thus far, which is that handyman ice carrying guy whoever he is? 124 00:10:24.639 --> 00:10:28.399 What's with that guy in there with the you've got ice in the bathroom 125 00:10:28.399 --> 00:10:31.679 just pulling all these faces like he's you know, yeah, I don't know, 126 00:10:31.759 --> 00:10:37.879 like he's auditioning. He's late stage Leslie Nielsen. Boy, he was 127 00:10:37.919 --> 00:10:41.399 bad. He branched out a bit this evening and move a few feet away 128 00:10:41.399 --> 00:10:46.600 from the usual and get into the area of photography. Now, this painting 129 00:10:46.759 --> 00:10:52.480 here had best be viewed in the dark room because it conjures up the ghostly, 130 00:10:52.759 --> 00:10:56.960 the ghastly, and the ghoulish. It tells the story about a very 131 00:10:56.960 --> 00:11:03.039 remarkable device that offers up a vision things are and a hellish vision of what 132 00:11:03.120 --> 00:11:09.960 they were and shlby. Our painting is called camera obscura. All right, 133 00:11:11.080 --> 00:11:16.559 Our next segment is called Camera Obscura. This one was written by Rod Serling, 134 00:11:16.159 --> 00:11:20.320 based on a short story by Basil Copper, and this one was directed 135 00:11:20.360 --> 00:11:24.720 by John M. Vadam. This one stars Renee Abo Genoir I just love 136 00:11:24.759 --> 00:11:31.720 saying his name, and the always incredible never heralded enough mister Ross and Martin. 137 00:11:31.320 --> 00:11:35.399 This one was as about a greedy financier who was introduced to a client's 138 00:11:35.440 --> 00:11:39.240 hobby, an optical illusion that's hard to shake. Which you think of this 139 00:11:39.279 --> 00:11:45.559 one, Chris, I love was well, what a name? What a 140 00:11:45.720 --> 00:11:50.440 name? Huh? What a recent loss? Jack passed away like two years 141 00:11:50.440 --> 00:11:54.320 ago, a year ago, something like that? Yeah he I yeah, 142 00:11:54.559 --> 00:11:58.879 never had the chance to interview him. Tried but never got him. He 143 00:11:58.320 --> 00:12:03.159 was the narrator for my favorite two favorite authors who write books together. He 144 00:12:03.200 --> 00:12:07.159 has been doing the voices for the narration for like ten fifteen books. So 145 00:12:07.200 --> 00:12:09.919 that's what I know. And I know he's from Deep Space nine obviously, 146 00:12:11.000 --> 00:12:16.440 but playing against the type of things that I've seen him in and the roles 147 00:12:16.480 --> 00:12:20.440 that I he's playing an asshole like and it's it's weird because normally he's not 148 00:12:20.279 --> 00:12:22.759 I mean, in in Boston Legal, he wasn't that character either. He 149 00:12:22.799 --> 00:12:28.799 was kind of the voice of reason in Boston Legal. So I like this 150 00:12:28.919 --> 00:12:33.200 segment. It's fun, it's fine. It's it's very similar to another segment 151 00:12:33.240 --> 00:12:37.039 coming up in a lot of ways. It has a certain kind of feel 152 00:12:37.080 --> 00:12:41.600 to it, and it's a very similar setup to things that you could see 153 00:12:41.679 --> 00:12:43.960 as recently as like you know, I'm sure they're still making things where the 154 00:12:45.000 --> 00:12:48.480 conceit is you're stuck now goodbye, like I'm sending you into the past. 155 00:12:48.639 --> 00:12:54.679 Like that's that's a pretty stock and trade conceit sometimes with these like Twilight Zone 156 00:12:54.679 --> 00:12:58.039 and anthology shows. So for what it was, I think it was fine. 157 00:12:58.559 --> 00:13:03.519 That fake mustache, that Russ Martin is wearing it's pretty bad like giant. 158 00:13:03.279 --> 00:13:07.279 I don't know, is the facial hair that they gave him is pretty 159 00:13:07.279 --> 00:13:11.799 funny to look at. Um, you mentioned some of Renee Aberson was credits. 160 00:13:13.200 --> 00:13:16.440 Are you not familiar with his television sitcom Benson that he was on. 161 00:13:16.759 --> 00:13:20.799 Nope, Okay, this is the Pretty Day too. Obviously it was late 162 00:13:20.840 --> 00:13:26.639 seventies early eighties, and he was pure asshole and that I know him from 163 00:13:26.720 --> 00:13:31.399 that show, and so to me, Renee aber has always has a level 164 00:13:31.399 --> 00:13:35.759 of asshole because of that. Yeah, he really helps save the segment. 165 00:13:35.919 --> 00:13:45.159 I I didn't get necessarily why Ross Martin was in that really really bad old 166 00:13:45.200 --> 00:13:50.759 man makeup because I kept thinking like he would show up because he basically sends 167 00:13:50.320 --> 00:13:54.679 Renee Aberginois to the past, and I was just like, oh, so 168 00:13:54.840 --> 00:13:58.559 young Ross Martin is going to show up here and be like hey, and 169 00:13:58.639 --> 00:14:01.480 like have a community, you know, have a conversation with him and be 170 00:14:01.559 --> 00:14:07.639 like see the errors of your ways, because it's very Christmas carol Um, 171 00:14:07.720 --> 00:14:11.159 the way that you know you're seeing the errors. It's very ghost of Christmas 172 00:14:11.240 --> 00:14:15.519 yet to come type of thing with you know, the people with the horror 173 00:14:15.559 --> 00:14:18.679 makeup on and you know, oh you remember me, and or he was 174 00:14:18.720 --> 00:14:22.720 actually doing that to them. It'd be like, oh you're you're dead and 175 00:14:22.799 --> 00:14:24.039 you did this and you did this, and so I was just like, 176 00:14:24.039 --> 00:14:28.240 oh, great, Ross Martin's gonna show up. He's gonna you know, 177 00:14:28.399 --> 00:14:31.279 show him the error of his ways and then maybe he'll let him live and 178 00:14:31.720 --> 00:14:35.000 you know, say you forget about the bill or whatever, I'll help you 179 00:14:35.039 --> 00:14:39.080 out or something. But didn't get any of that stuff. I mean, 180 00:14:41.000 --> 00:14:43.759 I like Ross Martin as well, you know, one of my favorite Colombo 181 00:14:43.840 --> 00:14:50.559 villains from the suitable for framing. But yeah, I don't don't think he 182 00:14:50.559 --> 00:14:58.440 had enough to do in this one. And no, yeah, yeah that's 183 00:14:58.480 --> 00:15:05.000 still stick. Yeah that stands out still. You've touched those paintings. I 184 00:15:05.080 --> 00:15:09.039 do like when you Were Gone, I did mention Ross Martin's hilarious fake facial 185 00:15:09.519 --> 00:15:15.600 that's just like old fucking Yosemite Sam, Like, oh, just give him 186 00:15:15.600 --> 00:15:18.519 the fakest of fake mustaches that he could not twirl, but he could if 187 00:15:18.519 --> 00:15:24.840 he wanted. He looked like that skull that walked onto an elevator last episode. 188 00:15:26.480 --> 00:15:31.039 I'm just so used to Ross Martin as Artemis Gordon being a Master of 189 00:15:31.039 --> 00:15:35.320 Disguise. It was just that that vein, so I didn't question it that 190 00:15:35.440 --> 00:15:39.159 much. But I'm glad I didn't, because had I thought gone down the 191 00:15:39.279 --> 00:15:41.799 path that you did, Mike, I would have been very upset at the 192 00:15:41.879 --> 00:15:46.480 end of this episode when he didn't reappear somehow in this nightmare realm that he's 193 00:15:46.559 --> 00:15:56.600 cast. He just pulls off the mustache. It was this segment. There's 194 00:15:56.639 --> 00:16:00.399 a new cinematographer on Night Gallery. His name is Jay South, and I 195 00:16:00.440 --> 00:16:04.720 think this episode actually looks really good considering it's on the back lot. Leonard 196 00:16:04.759 --> 00:16:10.159 South was the DP on Family Plot, Hitchcock's last film. He also did 197 00:16:10.279 --> 00:16:12.000 Herbie Goes to Monte Carlo. I don't know how that keeps coming up on 198 00:16:12.039 --> 00:16:18.000 this gun, and he did North Avenue Irregulars, one of my favorites. 199 00:16:18.639 --> 00:16:23.879 This was shot on the back lot. Shut up every time it's I mean, 200 00:16:23.919 --> 00:16:26.279 at this point, it's got to be a running gag on this show 201 00:16:26.320 --> 00:16:32.000 because they're not even trying up anymore, Like, Hey, what do we 202 00:16:32.000 --> 00:16:34.240 got on the back lot? What what can we do around these like four 203 00:16:34.360 --> 00:16:37.440 fucking locations that we've got, And if it's not New York, how can 204 00:16:37.559 --> 00:16:41.759 we make it look like in the last episode we talked about Pickman's Model, 205 00:16:41.759 --> 00:16:45.799 which takes place in Boston during the nineteen twenties, and it looks a lot 206 00:16:45.840 --> 00:16:49.559 like Victoria Green's London. Here, Baby, like they just went up those 207 00:16:49.559 --> 00:16:53.080 stairs, they'd run into Pickman and that little gremlin running around with its stick 208 00:16:53.159 --> 00:17:00.240 leg Bret for Dillman. Everybody goes Mike, you mentioned Christmas Carol, and 209 00:17:00.279 --> 00:17:03.400 I thought, this is the This is the Christmas Carol for me where Scrooge 210 00:17:03.440 --> 00:17:07.279 has to face all of his sins. Yes, like, this one makes 211 00:17:07.359 --> 00:17:11.160 more sense to me, and therefore I liked it a lot more. I 212 00:17:11.200 --> 00:17:17.480 do think it's over long by a lot. But the sequence where he's where 213 00:17:17.720 --> 00:17:22.680 Renee Abajoir just like saying it is running across the street and the horse and 214 00:17:22.839 --> 00:17:27.720 carriage is barreling down on him looks great. And I know it's just a 215 00:17:27.960 --> 00:17:32.799 quickly lopical effect there, but it's a very tense sequence. For a moment 216 00:17:32.880 --> 00:17:37.240 or two, I was actually fearing for Renee of Jonnoir's life. Yeah, 217 00:17:37.960 --> 00:17:45.000 I wanted to counter at this point. As it turns out, Jack Leard 218 00:17:45.000 --> 00:17:52.240 wouldn't give them the money to do that sequence, and John Battam tracked the 219 00:17:52.279 --> 00:17:53.880 producer down and said how much would it be? And they told him it 220 00:17:53.920 --> 00:17:59.480 was fifteen dollars and it was like, oh okay, yeah, like how 221 00:17:59.519 --> 00:18:03.759 can we know have fifteen dollars blackout sketches, baby, that's what we need 222 00:18:03.759 --> 00:18:08.200 that money for. That skeleton needs a good looking wig and a hat. 223 00:18:10.480 --> 00:18:14.200 That entire cost down. You know, I do like this one. I 224 00:18:14.200 --> 00:18:18.119 do think it's overlong, and then certainly can't help over explaining the ending. 225 00:18:18.200 --> 00:18:22.279 It can't just cut to Ross Martin like gleeful that he's done this thing and 226 00:18:22.359 --> 00:18:25.039 going, no, he has to tell us what happened there. You will 227 00:18:25.079 --> 00:18:33.720 be trapped whatever I've trapped you in my camera obscure scoff. That was pretty 228 00:18:33.759 --> 00:18:37.480 good. Yeah, that was a pretty good old man, Ross Martin with 229 00:18:37.519 --> 00:18:40.960 a big mustache. There's a lot of really close up shots of his face 230 00:18:41.039 --> 00:18:44.400 too, Like that's why the mustache. That's why I mentioned the mustache so 231 00:18:44.480 --> 00:18:48.279 much, because like it's like all I can think of is like, he's 232 00:18:48.319 --> 00:18:52.759 just this giant mustache and these two eyes. That's just Ross Martin. Yeah, 233 00:18:52.799 --> 00:18:56.960 you looked like Maverick from the Warner Brothers cart too. And where's that 234 00:18:56.599 --> 00:19:00.079 Manick, come here, help me out with this rabbit dart over here. 235 00:19:00.279 --> 00:19:04.519 Maver just says that big mustache and the big hat and all as I can 236 00:19:04.599 --> 00:19:07.359 barely see it. I don't even think you see his eyes. There's a 237 00:19:07.400 --> 00:19:11.319 moment where uh that there's a shop window gets broken and they cut to a 238 00:19:11.359 --> 00:19:17.079 gas lamp exploding. It was great. I like, I like when Renee 239 00:19:17.119 --> 00:19:21.440 Loss gets thrown back into the past and he uh he sees the guy up 240 00:19:21.480 --> 00:19:26.319 on the lamp and he's like, is that gash? Is that gas? 241 00:19:26.559 --> 00:19:30.400 By? Yes, my good man, it is gas. Oh lord, 242 00:19:30.880 --> 00:19:36.400 I know what I've been like, what year is this set in to begin 243 00:19:36.599 --> 00:19:41.839 with? I was so confused, like he went back in time like what 244 00:19:41.039 --> 00:19:47.240 thirty years at least? But didn't he go back in time at all? 245 00:19:47.400 --> 00:19:49.920 Really? Like that's what I'm asking, Like, wouldn't he have been like, 246 00:19:49.960 --> 00:19:52.759 well, it wouldn't have been like this is gas? Like yeah, 247 00:19:53.000 --> 00:19:56.680 like right. That's why I don't understand, like they didn't. I don't 248 00:19:56.720 --> 00:20:00.519 understand what the gimmick was when it, like you said, it didn't seem 249 00:20:00.519 --> 00:20:03.359 like he really went back in time that far. If that all said is 250 00:20:03.400 --> 00:20:07.119 that gas, and the guy could have said no, it runs on blood, 251 00:20:07.440 --> 00:20:15.240 because you're not wrong. It keeps clogging up their heads too. Yeah, 252 00:20:15.279 --> 00:20:18.240 I mean because yeah, when he goes, I considered it going back 253 00:20:18.240 --> 00:20:22.880 in time because it kept saying like this building isn't here anymore, and this 254 00:20:22.920 --> 00:20:26.559 building isn't here and dada. And then but he runs across people where he's 255 00:20:26.599 --> 00:20:29.799 just like, you know, oh yeah, well basically this is going to 256 00:20:29.880 --> 00:20:33.079 what's this is what is going to happen to you. But then he also 257 00:20:33.160 --> 00:20:38.079 runs into people where they're dead, so they've lived their lives and now they're 258 00:20:38.119 --> 00:20:44.720 dead, and like they might have died during his lifetime, but they weren't 259 00:20:44.759 --> 00:20:48.319 dead when he was a kid, you know what I mean. So that's 260 00:20:48.359 --> 00:20:52.559 one of those hazards of time travel they never talk about. If you go 261 00:20:52.640 --> 00:20:57.359 into the past, there will be ghostly zombies of the dead. Oh, 262 00:20:57.440 --> 00:21:00.680 it's just like if you go into the future, more locks, right right. 263 00:21:02.039 --> 00:21:07.160 Give it to Rod Sterling to over explain the most obvious of episode segments. 264 00:21:07.319 --> 00:21:11.160 You know, ultimately, if he's not telling me what happened, I 265 00:21:11.200 --> 00:21:15.839 just don't understand the twist. But Badham does a good job here. Yeah, 266 00:21:17.519 --> 00:21:21.279 I would agree. Bham's always been a solid director from the pen of 267 00:21:21.480 --> 00:21:26.680 Edgar Allen Poe of More or Less Quoth the raven Our final segment is called 268 00:21:26.759 --> 00:21:32.359 Quothe of the raven written by Jack Laird, directed by Jeff Corey. This 269 00:21:32.359 --> 00:21:37.599 one stars Marty Allen and a Matt painting from Roger Carman's Pitting the Pendulum and 270 00:21:37.720 --> 00:21:41.480 also stars mel Blank in an uncredited role. And also this this is a 271 00:21:41.559 --> 00:21:48.079 blackout that comes with a sterling introduction, which makes me I noticed that, 272 00:21:48.480 --> 00:21:52.240 I thought, is this from the syndicated package and it's now found its way 273 00:21:52.359 --> 00:21:59.000 to to the to the regular episodes because more of that? Please um this 274 00:21:59.200 --> 00:22:03.400 look it's it's you know, this is a Playboy cocktail party joke with Marty 275 00:22:03.440 --> 00:22:07.799 Allen. Marty Allen, Man, oh man, I missed the Marty Allen 276 00:22:07.839 --> 00:22:12.359 train. I mean, I don't know the origins of Hello, Dare. 277 00:22:14.279 --> 00:22:17.680 I kind of don't want to. I mean, maybe I should go back 278 00:22:17.720 --> 00:22:22.119 and buy some comedy albums from Martin and Rossi but or Allen and Rossie, 279 00:22:22.119 --> 00:22:26.640 I should say, but yeah, man oh man, that you just again. 280 00:22:26.720 --> 00:22:33.119 You see that fucking joke coming from a mile away and him with that 281 00:22:33.640 --> 00:22:40.359 crazy hair just doesn't They're not going for very similitude with how Poe looked. 282 00:22:41.200 --> 00:22:45.400 Ladies and gentlemen. Imagine, if you will, I have to have my 283 00:22:45.480 --> 00:22:49.640 time wasted to introduce a blackout segment. That's all I'll say. Rod Sertling 284 00:22:49.720 --> 00:22:53.640 look look like like he was being held at gunpoint to have to do the 285 00:22:53.759 --> 00:22:59.000 intro for this segment. I mean, that's that was my takeaway was it 286 00:22:59.039 --> 00:23:02.279 was? That was the stray just saying about this, was that he was 287 00:23:02.319 --> 00:23:04.240 doing an intro for the like this is the only time he's done an intro 288 00:23:04.319 --> 00:23:07.880 for a blackout segment, I believe right. I assume it's because it's Edgar 289 00:23:07.880 --> 00:23:14.559 Allan Poe. Maybe he tends to gravitate towards the classier ones like this in 290 00:23:14.680 --> 00:23:18.720 Ron's serials, estimation is a fine horror joke to make, not pulling your 291 00:23:18.720 --> 00:23:22.759 head off to be chivalrous. Here's what I have to say about this segment. 292 00:23:22.839 --> 00:23:26.559 I saw this young enough that and knew the raven as a poem, 293 00:23:26.680 --> 00:23:30.559 but didn't quite work out some of the imagery in my mind. So this 294 00:23:30.640 --> 00:23:36.519 was the first time I realized what a palid bust of palace above the chamber 295 00:23:36.599 --> 00:23:41.359 door actually was. Oh, it's a statue of I got you, so 296 00:23:41.519 --> 00:23:45.839 thank you Jack Blaird for that. He signs his name Edgar Allan Poe. 297 00:23:45.839 --> 00:23:48.799 He spells it all N, which always gets my goat. It's a real 298 00:23:48.839 --> 00:23:52.880 pet peeve of mine. But this is Marty Allen doing it, so we're 299 00:23:52.920 --> 00:23:55.720 gonna. I'm gonna give it a pass. It only works, I mean, 300 00:23:55.720 --> 00:23:59.519 it works if it's him, only him, Yes, because you know 301 00:24:00.000 --> 00:24:03.440 Allan could pull that off. You know Edgar Allen Poe. His name is 302 00:24:03.559 --> 00:24:06.839 Edgar Allen. He was adopted by the Poe family. His name is actually 303 00:24:06.880 --> 00:24:11.279 all An, so it just makes me nuts when people think it's his middle 304 00:24:11.359 --> 00:24:15.559 name, like Alan, like Alan Quartermain or something. Anyway, you and 305 00:24:15.640 --> 00:24:18.279 Allen, you, you and you and Edgar Allen Poe fan father Malone. 306 00:24:18.440 --> 00:24:22.960 You strike the scoche a little bit. Are we gonna get? Have we 307 00:24:22.000 --> 00:24:26.599 gotten an actual Poe story in Nike Gallery? Is that a thing that happens 308 00:24:26.640 --> 00:24:29.640 at any point? Or is this the h Is this the closest we get 309 00:24:29.680 --> 00:24:33.839 to touching, to touching that level of Gothic? Well? I think this 310 00:24:33.920 --> 00:24:37.519 is its closes. I don't think they adapt anything of his directly. We've 311 00:24:37.519 --> 00:24:41.279 gotten some hints of his work prior, but It's good to know that Edgar 312 00:24:41.279 --> 00:24:47.759 Allan Poe has now entered the the Universal Monsters a Lexicon as a touchdown to 313 00:24:47.799 --> 00:24:52.279 bar sitting right next to Dracula and Frankenstein and the Phantom of the Opic. 314 00:24:52.400 --> 00:24:56.599 I mean, I guess they did the cask of Amontiado rights, which they 315 00:24:56.640 --> 00:25:00.359 claim in that one with the the I who bought the Ghost House. It 316 00:25:00.440 --> 00:25:06.720 was kind of the pit and the pendulum type of thing. And the case 317 00:25:06.759 --> 00:25:11.440 can be made that HP Lovecraft's cool air is a tank on pose facts. 318 00:25:11.480 --> 00:25:15.880 In the case of m Valdemar, it's very similar, so he's all over 319 00:25:15.960 --> 00:25:19.559 the series. It's just not in any direct way other than troll like Marty 320 00:25:19.640 --> 00:25:26.119 Allen playing with the look. The only redeeming thing for me here was hearing 321 00:25:26.200 --> 00:25:30.200 mel Blank's voice at the end, like, ah, that those are some 322 00:25:30.720 --> 00:25:33.880 tones. That was nice And I'm glad you pointed that out because I was 323 00:25:33.920 --> 00:25:36.880 like, I think that was him. I love a good blackout sketch, 324 00:25:36.960 --> 00:25:40.599 don't you uncredited? If it had been like if it had been ten years 325 00:25:40.640 --> 00:25:45.359 later, it would have been yeah, definitely right. All animal noises in 326 00:25:45.359 --> 00:25:49.000 this film were made by Frank Welker and nobody else again. I find it 327 00:25:49.039 --> 00:25:52.079 interesting. This is now the second episode in a row that we've had the 328 00:25:52.119 --> 00:25:56.279 blackout sketch end the episode. They've done that a few times now and again. 329 00:25:56.319 --> 00:26:02.720 But like, is it a tree, No, I don't mind it. 330 00:26:03.000 --> 00:26:06.119 I don't know. I don't know if there's better suited in between or 331 00:26:06.160 --> 00:26:10.279 at the end. I view it as kind of like an after dinner mint 332 00:26:10.319 --> 00:26:14.640 that you go out to the door with. It's it's the little spice mix 333 00:26:14.720 --> 00:26:17.799 at the end of the meal at the Indian restaurant as you walk out the 334 00:26:17.799 --> 00:26:22.000 door, Like it's just it doesn't need to be substantial. That's the point. 335 00:26:22.400 --> 00:26:25.839 Like, I guess you could also see it as similarly a palette cleanser 336 00:26:25.960 --> 00:26:30.079 in between the two segments. But I mean, I think it honestly works 337 00:26:30.160 --> 00:26:32.839 best to just lead you out the door, give you a little chuckle on 338 00:26:32.880 --> 00:26:34.240 the way out. Well, I think it. You know, it needs 339 00:26:34.279 --> 00:26:37.200 to go where it needs to go, because if you're going to begin the 340 00:26:37.240 --> 00:26:42.400 episode with the boy who predicted earthquakes, then you need a blackoutschtummediately following. 341 00:26:42.960 --> 00:26:48.680 Don't put it at the end. You need to recover a little bit and 342 00:26:48.680 --> 00:26:52.880 and you know, when the episodes are just sort of mediocre as they've been 343 00:26:52.920 --> 00:26:55.920 putting them. At the end is a nice little like, you know, 344 00:26:56.000 --> 00:26:59.039 pad on the back, like we're just kidding here, come back next time, 345 00:26:59.240 --> 00:27:04.640 right, Sorry for wasting your time. It's the treat that they send 346 00:27:04.640 --> 00:27:07.680 you out of the dentists office with. They drill your mouth for an hour. 347 00:27:08.240 --> 00:27:11.640 Enjoy. When you're a kid, it's something fun. When you're in 348 00:27:11.640 --> 00:27:15.200 an adult, it's a fucking it's a fucking toothbrush. It's the same thing. 349 00:27:15.440 --> 00:27:17.960 All right, we're going to play a preview of the next episode and 350 00:27:18.160 --> 00:27:21.799 we'll be right back to wrap things up. Of course, you're all here 351 00:27:21.920 --> 00:27:26.440 by invitation, but don't let it disturb you if these paintings per se don't 352 00:27:26.440 --> 00:27:30.319 happen to be you a thing. These are rather special paintings, the kind 353 00:27:30.359 --> 00:27:34.480 of hanging generally put up with a noose. This painting, for example, 354 00:27:36.359 --> 00:27:41.119 is of a rather special world. What has become perpetuated in the language as 355 00:27:41.480 --> 00:27:47.079 the ghetto, that dismal realm of push kinds and poverty, where hopes are 356 00:27:47.119 --> 00:27:52.680 stamped down like dirty shoes on snow. Death is a commonplace visitor to these 357 00:27:52.720 --> 00:27:59.119 somber alleys, but occasionally someone else visits. Our painting is called The Messiah 358 00:27:59.119 --> 00:28:02.920 on Mutt Streets, and this place, should you not already know, it, 359 00:28:02.960 --> 00:28:08.079 is the Night Gallery. We all of us have a kind of fascination 360 00:28:08.160 --> 00:28:11.960 from mirrors. There's a most appealing mystery to what is on the other side 361 00:28:12.000 --> 00:28:17.920 of a looking glass, and occasionally we turn into Alice. Our last selection 362 00:28:17.960 --> 00:28:22.480 Tonight's gallery a very special looking glass, and it's called the Painted Mirror. 363 00:28:25.960 --> 00:28:27.640 That's right on the next midnight viewing, we'll be taking a look at season 364 00:28:27.640 --> 00:28:33.519 two, episode thirteen. That's broken into two segments, The Messiah on Mott 365 00:28:33.559 --> 00:28:37.519 Street and the Painted Mirror. Until next time. What are you working on? 366 00:28:37.640 --> 00:28:41.920 Where can people find it? Mike White oh Man, Everything that I'm 367 00:28:41.960 --> 00:28:45.880 working on that can be found over at Whirlingwemedia dot com. That's stuff like 368 00:28:45.960 --> 00:28:52.079 the Projection Booth, that stuff like well ranking on bass. You can find 369 00:28:52.119 --> 00:28:56.000 the old Cold Check tape series. There just all kinds of good things, 370 00:28:56.039 --> 00:29:03.240 so new and old. Oh gosh, six hundred and thirteen old episodes of 371 00:29:03.319 --> 00:29:07.279 the Projection Booths something like that just go nuts. You get a few hours 372 00:29:07.279 --> 00:29:11.119 of entertainment out of that. Apparently Father Malone listens to that while he's working 373 00:29:11.400 --> 00:29:14.960 I do, I do, and I encourage everyone to do so as well. 374 00:29:15.200 --> 00:29:17.680 Where can people find that? Oh, I'll just ask Chris, where 375 00:29:17.720 --> 00:29:21.799 can people find your stuff? Same place Weirdingwaymedia dot com where Father Malone, 376 00:29:21.880 --> 00:29:25.920 you and I went into the went into a vault of a different direction with 377 00:29:26.079 --> 00:29:30.200 some chronicles from the Crypt where we talked about tales from the Crypt all the 378 00:29:30.240 --> 00:29:33.519 way through. And we also do the three of us do Dreams for Sale, 379 00:29:33.519 --> 00:29:37.640 which was us talking about another anthal. We have a lot of we 380 00:29:37.640 --> 00:29:44.279 could do a anthology series podcast network at this point for Buck saying like we're 381 00:29:44.319 --> 00:29:48.160 putting in the effort in the work so that the good episodes are highlighted in 382 00:29:48.200 --> 00:29:53.000 the bad episodes are skipped. Because boy, yeah, that's where you can 383 00:29:53.000 --> 00:29:56.599 find a weird Away Media. There's a lot of other things there, you 384 00:29:56.640 --> 00:30:02.440 know, not anthology stuff. You can hear my anthology radio drama Dark Destinations 385 00:30:02.480 --> 00:30:07.039 over there, which you can find it Weirdingwaymedia dot com. That's uh, 386 00:30:07.079 --> 00:30:10.640 that's where all the stuff is. Gang. Thank you all for joining us 387 00:30:10.680 --> 00:30:12.599 here at midnight viewing. The gallery is now closed.