Dark Destinations may be end times Night's creature. Why would a few more casualties
struggle me because of their blood? Will join yours a radio drama anthology.
You are wrong how you figure Every mark on Longo is hunting you down,
Not you, your partner, he said, I didn't have a ray gun.
Full cast performances set in the haunted corners of the globe. Darkness is
coming for you. That's the fear that taunts me. Dark Destinations by fatherm
Alone at Weirdingwaymedia dot com weird Way Media. Now, I'll check this one
if you will offer you the summer food of the scientist Fay. But there
are apparently some things that cannot be accomplished, and they are in lives and
tail man hangs, the picture Business. The Night Gallery. Welcome back,
ourt lovers to Midnight Viewing The Night Gallery podcast, where we discuss Night Gallery,
Rod Serling's follow up to the Twilight Zone. I'm Father Malone and with
me here in the gallery are the projection boots, Mike White, don't touch
that trunk, and the culture cast Chris Dashire. I'm in an airplane.
Sorry, I couldn't even take this shit seriously, So why should they tonight,
we're talking about two episodes from season three. Those are episodes seven and
eight, Fright Night and Fishin's Flight. Their taste, of course, must
have necessity run toward the slightly odd, or at the very least the bizarre.
That's what we deal with here, the bizarre, the expected unexpected,
if you will, as in the case of this painting here it's called Fright
Night, featuring that beloved star of stage and screen. The name eludes me,
but there is you'll note a familiarity about it. Actually, this fiery
operation is the sort of thing that appears in strange houses, because that's what
this painting depicts, a very strange house, and you're welcome to share it
with us, because this is the night Gallery Fright Night. This is season
three, episode seven. It aired on December tenth, nineteen seventy two.
Written by Robert Malcolm Young from a story by Kurt Van Elting not a short
story. Directed by Jeff Corey. This one stars Stuart Whitman, Barbara Anderson,
Ellen Corby, and Alan Napier. This is his third appearance, so
I'm giving him a little bit of spotlight. Allan Napier born in nineteen O
three in Worcestershire, England. He was the cousin of Neville Chamberlain. He
married Charles Dickens's great granddaughter. He was best friends with Michael Goff, who
eventually took over the role of Alfred Penniworth. I have a little quote of
his I'd like to read. He said, I had never read comics before
I was hired. My agent rang up and said, I think you were
going to play on Batman. I said, what is Batman? And he
said, don't you read the comics? I said no, never. He
said, I think you're going to be Batman's butler. And I said,
I don't know if I want to be Batman's butler. It was the most
ridiculous thing I had ever heard of. And then he said it may be
worth over one hundred thousand dollars, and I said, I am Batman's butler.
There are way too many of the name, but the one I'm going
to mention is he was in a pirate farce from called Double Crossbones from nineteen
fifty one with Donald O'Connor, where Alan Napier plays Captain Kid. That's a
fun movie. You should check him out in that if your only vision of
him is in Gotham City. You won't go wrong with Alan. This was
a weird episode for me because it has a lot of Hitchcock connections because he
was a Marnie and then that cantankerous old woman she was in Vertigo. She
ran the hotel that what's her name was staying at. I can't remember which
incarnation she was at that point, but yeah, so I was like,
oh, this is kind of a neat thing here. And that's all thanks
to Jeff Corey putting all the best actors where you can get them. This
one is about a writer who inherits a house from his eccentric uncle, whose
trunk must be kept in a must be kept unopened in the attic. What
do you think of this one, Mike? You're given simple instructions. Trunk's
got to stay here, So what do you do? You move the trunk.
I don't get it. I don't get it. And yeah, I
it's kind of the same thing from the last episode that we discussed on our
previous discussion. It just goes on for a long time. It really felt
like it was taking forever, and I think had they been able to shorten
it down, it would have just been a lot more impactful the way that
their personalities are changing. I think the best moment of the entire thing is
that fight that they have where there's the boiling when does that have milk or
something on the stove? The white liquid? That was really nice. I
was very happy with that scene, but it took a long time to get
there. I think to Mike's point, one hundred percent, it goes on.
But I feel like this has been our critique at this point every single
one of these episodes since season three has started. This is going on too
long. Yeah, it is because all of these stories needed like a second
or third pass, because they all feel a little long in the tooth,
like they just, oh, we're going to see this thing not once,
not twice, but three times, Like I don't need to see it three
times, maybe twice, And then sometimes they don't even show you that one
time, like in the two episodes ago with the we can come up now,
missus Millican, they showed us one. So the show has this weird
thing where sometimes it doesn't make use of the time enough, but now it
seems to be they're just they've given twenty five minutes and they're just, oh
god, twenty five minutes to tell the story that maybe would only take twelve
and a half. This is another one. Yeah, don't move the fucking
trunk. Okay, don't move the fucking trunk. It's in the attic.
Don't fucking move it. The story's over, it's I don't know. This
is one of those stories where again the contrivances that are required to get the
story going feel really contrived. And hey, dude, if you want a
nice quiet place to work, don't work in the attic. You've got that
nice place where you're gonna lock up the trunk later on? Would a desk
out there? Fix that up? I know it's probably overridden with weeds and
stuff. You got this great new house, spend a little time doing some
work around the house as well. That'd probably be good. So fix that
up and there you go. You got your den. You can just right
in there all day long if you want. It'd be way cooler. Oh
and I'll tell you what then, I would buy the kids broke into the
house and use this type if his typewriter was out there. But this whole
thing of oh, must have been some kids coming by and writing this HP
lovecrafty and drivel on my machine. Oh okay, darting kids. Every horror
author is going to riff off Shirley Jackson at some point. Right here the
House played by Ellen Corby, who you mentioned. She is a direct lift
of Missus Dudley from Haunting of Hill House. She even has the same lines,
basically, no one from the village will come any closer than that o's
getting dark, No one, I must be getting home. It's not.
I'm not. Both meant to be on the property after dark. Well,
fucking god, the trope check mark check that box right off. We didn't
need her at all. Honestly, she doesn't give us anything other than the
uncle died and here's the trunk, and don't whatever that it could have been
a letter they read, for God's sake, it's maximizing their time, because
this is supposed to be a slow burn of an episode and it doesn't want
to be, and it seems to be rushing in some way. In fact,
the ending of it where it's a happy ending in a way and they
leave so it is happy, And that suggested to me that the whole thing
just should have been a gentler episode overall, which is not out of bounds
here on Night Gallery. You could take a gentle ghost story in the tradition
of Ray Bradberry or something like on Halloween night the uncle comes and gets the
trunk like that. That could have been fine. We didn't need all the
possession sort of nonsense. Although I thought that first sort of spectral encounter I
thought was shot really well and edited very well. When he's seeing the trunk
floating, although the wires were a bit much, they did everything they could
with the telesiny to stretch that image and solarize it seem like it isn't just
a trunk hanging on a couple of lines, you know what. And I
actually didn't mind the fake out of the trigger treaders. I actually kind of
liked that. I think that really works. Yeah, And in terms of,
like in a narrative sense, like to break up that moment, but
to kind of stall out the moment, because the moment does end up coming
that you're expecting to happen, But to give us that little fake out I
think was kind of we haven't really seen it a whole lot in this show.
And to your point, Father alone, it feels like a gentler episode
than most, I mean most of the ghost stories in this show are of
a piece, like all very samey at least in Night Gallery. They're all
like, you know, unfinished business, or the other side is coming back
to do something to hump you. In one of the episodes, like your
ghost lover is coming back, but this is like I murder your obnoxious wife.
Yeah, but in this it's like he just he's just like a ghost
and he just comes back for his trunk. Evidently what was in the trunk
was going to try and fuck up those that young couple, so he was
doing them a favor in doing it. But what the episode ends up doing
is treading in what so many couples horror movies like Amityville Horror tends to be,
which is it's all monetary in nature. This is a story about people
who can't afford their life, and they're at each other's throats about it.
But it's all dressed up in the in the serrements of the grave. Did
Zachary die recently? That's made clear right the housekeeper knew him. This isn't
some house he died. He didn't die in the sixteenth century or anything,
right, Because I can't why he would write a note resembling a passage from
some like Italian poet or HP Lovecraft. It was just that didn't make any
sense to me. Also, once, once physical violence starts with ghosts,
you gotta go. Yes. The answer is when your fucking glass lifts off
the table throws itself ten feet across the house, you leave. You get
the fuck out of there. Like Dane A. Barrett didn't Ghostbusters and you
don't come back. What happens if your little girl goes into a television set?
Though, yep, he hires Zelda Rubinstein. Baby, that's a great
to stay around your haunted house. It's because you gotta stay around for the
kid, like every other person doesn't have a reason. Okay, Stuart Whitman,
pacing on creaking floorboards is a fucking dick move. Matter what part of
the house you're in, including the room you're in, just stop doing.
It's terrible. He never discusses the trunk with her. He's seeing visions of
it all the time, not even in a God I feel like I'm losing
my mind. I thought I saw that she sees the trunk vibrating, doesn't
say anything about it. It's he's right there. You can just point,
they say, look at the trunk. It's moving. Also, I can't
trust anyone who uses Coco as a staple in their house, who's so insistent
all else we need Coco six son of a bitch? Can I and now
that, now that we've opened this box, can I mention Stuart Whitman and
Barbara Anderson no chemistry whatsoever at all? And you know, you know Wikipedia,
it's a tool that we use. Sorry, teachers of high school.
I take a little bit of Umbridge with the fact that it says a young
couple is the description of the these two. Stuart Whitman not the shining facet
of youngness. He looks like he could be her dad straight up. Yeah,
definitely. He's a more believable, craggy old sailor like we saw him
the last time in love with a fish, and he had more chemistry with
than Barbara Anderson. And that's not her fault. This episode taught me dented
pillows do not lie. You were definitely in this bed and then you left.
I don't remember getting up. Yeah, that was really strange, and
I'm like, okay, like we had this conversation in my house all the
time, like, oh did you sleep last night? Oh? Yeah,
no I got up. No you didn't, what did I I don't know?
So yeah, Like that was a weird part of this one. The
best part of the episode, I think we can all agree is a character
named long Hair. He wanders in to take that trunk away and remind us
all we're in the nineteen seventies. Hey, everybody, do you like Blueboye
magazine? We've got the guy for what is the Delivery Boys and this series?
Because every delivery boy has given the worst for months except Mark Hamill?
Remember Mark Hamill? Except for Mark Hamill. Yeah, you're right, You're
right. I knew there was one good one. The exception to the rule
is always Luke Skywalker. Did the guy who did the paintings for the show,
also do those masks that those kids are wearing at the end, because
they look sure looks like that, It sure looks like it. Yeah,
they those were horrifying. Yeah, those masks were real good, real real
good. And obviously you always talk about the paintings on the show, but
man, I was like, if they're not, I'm surprised. That was
my favorite part, Like the shock of it, the opening of the door,
and that the monsters just being kids was great episode. Usually that would
be a stunt kind of a thing, and the look of them was fantastic.
And I love that in the credits, so called goblins. I think
it's really it's for me. It's the one on the right with the kind
of the downturned eyelids that it really evokes some of those really interesting paintings that
Night Gallery has used to introduce the episodes. They seem Is it just me
or do they seem better this season? The paintings seem more effective to me.
The painting seem much more pointed this season. They and he's only having
to do one per episode instead of two or three, or four or five
in some cases. Yeah, I think they they're more demonstrative of the story
we're getting than his more sort of impressionistic ones from season two. I wonder
if that was a directive or not. In the last episode, the one
with Ross Martin, I really like that painting, the whole maze part of
that. Yeah, that's a gorgeous one. I would actually go as far
as to say that the painting is better than the entire episode. The painting
is so good. I wish I had a print of it on my wall,
because to your point, Mike, it is for what the painting is
evoking. The episode never gets there. But that's okay. I just wish
the episode was as good as the painting. The episode is fine on its
own. It's just long in the tooth man. I wish we could stop
saying that. But it feels like every one of these episodes now was just
I wish there was like one other thing, maybe two minutes long, just
something to break up the pace of this really long story that you're gonna tell
every time. I don't think this is a controversial statement, but the paintings
for Night Gallery are all better than every episode of Night Gald, even the
Boy who Could See the Future or whatever the hell the Boys could see earthquakes.
Yeah, oh okay, I think that that in particular, it's just
like evokes everything that it took the episode with actors and writers and musicians and
whatever in just one image that I'm always jealous of artists who can just go
here, I'm gonna tell you everything you need to know with my pen,
just a little skin. There you go. I don't think this is a
particularly bad segment the story's okay, and I liked the outcome, and I
liked even though they gave Allen Napier nothing to do but just stagger around and
clay looking makeup. Oh looks like a gargoyle. Yeah, he's pretty unrecognizable
for me. They were. They definitely had the paintbrush close and they were
flecking the black and white on him. It's I don't like what were they
going for because again, like you mentioned, he's not supposed to be that
dead, right, Like, I don't know what state of decomposition that's supposed
to be. Concrete night gallery. Oh okay, fair makes sense. Yeah,
moving on, I hear you have a study in penology man imprisoned by
his fellow men, caged in a barred cubicle, and left alone far too
long to contemplate both his sins and his sanity. This pinting is called Finnigan's
Flight. It touches upon prisons, hypnosis, and the soaring wings of imagination.
But as to the latter, a small winning imagination can be a double
edged thing. It can take you out of the humdrum realities, but it
can also fly you to a place much less pleasant. May I introduce to
you now, mister Finnigan in his first and last appearance in the Night Gallery
Finnigan's Flight. This is season three, episode eight. It aired on December
seventeenth, nineteen seventy. This one was written by Ron Serling and directed by
gene Kearney. Stars Burgess Meredith, Cameron Mitchell, Barry Sullivan, and Kenneth
Toby Jesus Christ and if this is about a short time prisoner attempting to help
a lifer escape by means of hypnosis, which I think of this one,
Chris. A scene with Burgess Meredith taking flight is without a doubt, the
best thing about this episode. It may be the best thing about this entire
show. It is fucking insane. It's just a what wild wait where it
goes? And then he explodes at one point. You know what. I
don't even have words other than this might be the first time I say I
was speechless at what this show was going for, because it's just it goes
into left field and just keep that. The offense is gone, folks.
They just went right through it. Yeah, I was. I mean,
I always love seeing Cameron Mitchell and anything in the last time he cut off
else Lancaster's fingers and she regrew from those. I was like, all right,
cool, yeah, let's see some more. I'm not sure exactly what
his motivation is other than he just likes to fuck with people, I guess,
But yeah, I loved seeing him. We're just Meredith. He's always
very close to my heart growing up with all the Rocky movies. And then
I don't think i've seen this. Is this the third Barry Sullivan on here?
Or am I mistaken? No? This is I believe the third episode
third apparents. Yeah, And I want to say Roger E. Moseley was
in that Headhunter episode and he plays a small part in here. Is a
prison guard or a prisoner? Sorry, can have African Americans. That's the
prison guards. They're the prisoners, so come on, guys. But yeah,
there was so yeah, so many returning faces. I the first thing
I wrote down was, what is Cameron Mitchell's play here? Thank you?
Thank you? Yes? He asks us if he's anything everyone from Catastrophe.
He paints Burgess Meredith this life prisoner, as if he's on the verge of
snapping and he's gonna burn the place down and kill them all, which I
don't get from Burgess Meredith at all the nuclear level mind, What the fuck
does that mean? Dude, it's Burgess Meredith. What the fuck could Burgess
Meredith do to anybody? Grunt and make noises's being the penguin. You didn't
get my great penguin impersonation? Come on, man, Alan Napier and out
Burgess Meredith. Guys, come on, we gotta get it. And we
already had Adam Weston here we got the whole set. Oh yeah, bird
will not be appearing. Why are broad serving sad sacks always irish? Might
I ask? Oh? At least they didn't sing for he's a jelly Christine,
But Burgess Meredith is a jolly good fellow in this episode, One might
say, it's yeah, I don't understand he's supposed to be what like a
genius trapped in Like is what Cameron Mitchell is saying actually going on? Or
is he just full of shit? Like I wasn't believing it. I thought
he was one hundred percent full of shit And I don't think I'm supposed to
think that, but I assure did. But what does it mean if he's
full of shit? Is my question? Like? What does it mean,
if he's not full of shit, the episode never defines that. It's just
kind of seems like he's just being a fucking dick. Honestly, what it
seems like is he just wants to have a prison cell to himself, exactly.
That's the whole thing, getting rid of his roommate. Goodbye, Bunkie.
I literally caused you to explode. Yes, God to help him out
of this prison. So I told him that his hands were made of iron
and he could punch his way through. How is that helping him? And
if he can manifest all this stuff, why warrn't his fists made out of
iron? Hey? Logic of the own episode? How much medication is burgess
meredith on? By the way, he broke every bone in his hands and
then he manifested his fingers blistering and hot water. Yeah, he locks his
fingers together. They're all broken, but not a care in the world.
Why is a prisoner allowed to just consult with the people in the prison like
I just he's like, he's not shackled, he's across the desk from from
camer Mitchell is just like to fucking throw this guy in the cell and just
leave him alone. Just don't listen to him. He's in prison, And
I'm not saying people in prison shouldn't be listened to, but in night Gallery
they shouldn't. In a thematic fucking prison where a guy can convince another man
to cause himself to explode, then this guy should be locked up and they
should do like Magneto, throw a thing on his mouth so he can't talk.
Yeah, it's the power. The power of suggestion is a thing that's
used a lot in a lot of sci fi. I mean, what the
fuck is the character's name in the X Files that makes all those people kill
themselves, you know, kill yourself, take out a gun and blow your
brains out, Like that's what this is. But why is he the hero
of the piece. It's kind of a weird angle to take here, Rod
Serling. The end of the episode, I agree with you, shocking and
fantastic the fact that Bird's Meredith actually explodes as if he would were piloting an
aircraft into the ground. But I think it should have gone further, like
either they should have cratered that entire medical wing, killing everybody. That would
have felt even better, only because what we get is Mitchell going back to
his cell and he looks out and sees the body being taken away, and
then it just kind of ends. And I was hoping Mitchell just started like
yelling, hey, everyone who can hear me and started hypnotizing everyone around him,
like something like it should have either ended with the explosion or given us
another sting at the end. Yeah, what does the explosion mean? Is
my question? Like, what does it mean in the context of the episode
he got Burgess Meredith to explode? Could he do that to other people?
Or was it because Burgess Meredith had some special power? And because the episode
never answers that, I kind of don't understand what was the point to begin
with of asking the question. Yeah, I really think that he was supposed
to have power, but I totally agree with you that that was not communicated
effectively. It's just like, well, I'm guessing that he's not lying,
and I guess this is a very special case and that he can't do it
to everybody because it's so weird when it's the end of the episode and they're
like, oh, hey, hypnotists, do your trick burn, I'm like,
what, why is that a bird? Yeah? And like he can
do his thing and you might explode because of it. There are some good
things in the episode. Jeff Corey directing this one. Oh no, I'm
sorry, Gen Kearny directing this one who he directed to the Question of Fear
episode, which I also thought was effectively directed. I thought he's done some
good work here, including just the excellent b roll of the prison looking through
the honeycomb of chicken wire as prisoners was moving around. There's when there was
a transition between scenes where they underlying it was a an airplane sound very early.
That was really nice. When Burgess Merita in Cameron Mitcheller talking just talking
about being free and flying in the sky, there's the sound of an airplane
there as well. I thought that was great. I don't know how many
pilots make the sound of the airplane as they're flying it, but that was
very humorous for me. When he started making those noises, I was like,
really, it's like a gag right out of airplane. I thought the
Zucker a Zucker folks wrote it like that's it reminded me of that scene where
they're like, you know with the oh god, who is it that shows
up and starts seeing Yeah, ethel Merman like it's I was expecting ethel Mermon
to show up like that is where it goes like, it's like the character
Ulvernacho Grande. I'll never be over Ancho Grande. I mean I was waiting
for the dude from Spaceball is there, Devin Birders to make airplane noises with
his mouth? For fuck's sake. Hey, this is the This ain't Twilight
Zone, folks, this is night Gallery. We have different expectations for this
show. Wouldn't have been cooler just to have the actual sound of an airplane
and then going like where is that coming? Right? Yes, yes,
it would have, and then we would Burgess Meredith could have just acted the
fact that he was burning alive and foaming at the mouth instead of having to
continue to make airplane noises as well. Come on, just the way that
Cameron Mitchell's he's going higher. Oh he's running out of oxygen. That's your
face blister when you're running out of oxygen. Well, I guess here,
yeah, I mean it could. I don't know you're in the nightgown.
I know that Tony didn't when he was flying his suit the first time,
he just kind of froze up and stuff. But I want to know why
no one in the room with Burgess Meredith died. That's what I'm at.
Big explode have marks on them. Yeah, well, Cameron Mitchell is like
looks like he was standing next to an explosion when it went off, and
yet he's just like, I'm next seeing I'm perfectly fine. Here's my new
outfit. My hair's perfectly cooffed. Once again, don't you know your hair
canna be perfectly cooffed in prison? Yeah, or you could look like Burgess
Meredith with what's either at terrible hairdo or a terrible wig. I couldn't figure
out which it was. But he also looks weird, like he looks overly
unkempt. I forget what The actor is, the one from Happy Days who
was always drunk when we would see him in the show, and he always
looked very sad. It's like, it's like, why why do we have
to go this far? It's too bad they didn't have a moment where he
broke his glasses. Oh boy, Yeah, that would have been too much
of a callback. Yeah, I guess it would have at least been something
of value. And again an episode where you Know what you met? We
mentioned the paintings. Right, the top half of the painting in this one
is a good one. The bottom half of the painting is real, real,
bad, real again, Like it speaks to the moments of this episode
that don't work, which is just it takes place into prison, but that
doesn't even factor into this. Ultimately, this could have been done anywhere these
mind over matter experiments. Ultimately more questions are asked because it's taking place in
prison, Because I have no idea why Cameron Ritch would want to do any
of this if his ultimate goal is not to, like we've said, just
have all the other inmates explode so that he can run away. He's got
four months left, we're told, so, like, why is he fucking
with anything? Just sit, do you and leave? Man. He's just
a six son of a bit who likes to watch people explode. I'd like
to just recommend quickly Burgess Meredith. Late in his life, he was in
a movie called State of Grace, Phil Juannu's film about the Irish Mob with
Gary Oldman and Sean Penn. He's in one scene as this old man being
like shaked down by Sean Penn. He's like, I'm just an old man
eating stewed tomatoes out of a can leave me alone. He's so frail and
terrified in it. It's a great performance. It's like I said, it's
only a couple of minutes in the movie, and the movie's not that great,
but it's worth saying just for that. Also, I did not recognize
Cameron Mitchell from the Green Fingers episode. It took a while for that to
sink, and then that was him. And then it also occurred to me
that I mainly know him from my favorite year as that gangster Carl Rojack.
Wow, good call back. Great in that anyway, I just wanted to
shout those out to any potential viewers out there. Anything else in this one,
gents, We're just Meredith is good and he he is the best part
of this episode. But it is. It's it's funny, unintentionally funny.
It is a good laugh. If you want to see something's truly strange,
here's an episode of Night Gallery. But it is just I wanted to see
if we're going to go that far, I want to see him start hypnotizing
somebody else exactly. That's this is Night Gallery after all. Exactly. He
could be you know, Chris, I don't know if the X Files you
were talking about was the Cyrillium Blue one, but he could be the next
Cyrillian Blue guy. Pusher Pusher, Pusher, Pusher. Yeah, that's I
mean, that's I think we talked about something else where. We were bringing
this up, like the power of suggestion, Like it's an interesting thing,
but it kind of reminded me of the one with who was it Joe Perry
the Twilight Zone eighty five where he's the prisoner in jail and there's the piano
that takes him two different timelines. Yeah, I mean, just again,
if you're gonna set it in prison, there's gotta be a reason it's in
prison, and there there are things, there are directions they could have gone
here, we've kind of already laid them out. The fact that they don't
go there is just okay. So he's in prison. Yeah, and again
reminds me of the Dead Man. You hypnote, hypnotize this guy and then
give him cancer. Now he's got cancer. Now you don't, now he
doesn't have cancer. Same idea. Yeah, all right, we're gonna play
our next step. Oh you want some sorry Joe Penny not Joe Perry,
of course, Joe Perry, the singer of Jeremy Joe and did Joe Penny
and Joe Perry both have a Sopranos connection because Joe Penny is in the Rules,
Hey everybody, and Joe Perry sings the last song on that show.
I didn't realize that he was in there. We should probably do a podcast
about the Sopranos one of these days. All right, we're gonna pay prett
you of our next episode. I'll be right back to wrap things up now.
This canvas here, dark hallway, door, slightly ajar, a rather
disquieting red room at the end of the hall, and a very large cat.
We suggest to you that while felines may look cute and cuddly and playfully
mischievous, our suggestion is that you feed them a bit of milk and get
rid of them, because cats are and always have been, Satan's familiars.
Our painting title is She'll be Company for You, and it's hung in this
place we call the night Gallery. This item here a commentative on what aj
Leebling referred to as the sweet science, obviously having something to do with the
manly art of self defense boxing. But if the Marcus of Queensbury Mayhem doesn't
particularly turn you on, don't turn this off. This painting tells the story
infinitely more intriguing than a couple of fast boys mixing it up. It's called
The Ring with the Red Velvet Ropes, and it tells you that tale of
precisely who is the real heavyweight botching champion of the world. And I think
you'll be surprised. Surprised it happens to be our stocking trade. Because this
is The Night Gallery. That's right on the next midnight viewing, we'll be
taking a look at season three episodes nine and ten. Those are She'll Be
Company for You and The Ring with the Red Velvet Ropes Midnight Viewing. The
Night Gallery Podcast is a proud member of the weirding Way Media group and our
theme song was composed by HP Until next time, What are you working on?
Chris Stashue? Stuff on Weirdingwaymedia dot com. Like you just mentioned,
go there, Culture Cast, Colombo Colchak, Chronicles from the Crypt, Dreams
for Sale. I mean that's just like five things. There's like five more.
Just go weirding Way Media, just go go. Yeah, I'm going
all right, We're all going a weirding Way Media. Check out my shows
there too. Thank you all for joining us here at midnight viewing. The
gallery is now closed.