WEBVTT

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Astounding Tales of the Public Domain with
Father Malone. Enhanced audio performances from the

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Golden Age of science fiction, featuring
tales by Brave Radberry, Miriam Alan d

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Ford, Robert E. Howard,
Paul Anderson, H. P. Lovecraft,

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and Moore. Hear it twice monthly
at weirding Way Media. Astounding Tales

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of the public Domain with Father Malone. Weiring Way Media. We dealt page

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Pigny, light and shad, Realism, surrealism, impressionism, a story and

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interesting, the outblow a pot of
len shia towards the bisarre. And this

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place is nothing if it isn't bizarre. There's no admission, no requirement of

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membership, only a stroke of a
plighting belief in the dark at the top

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of the stairs, or things that
go bump at the night. The name

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of this place, you would committed
your action bentially out of the range.

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Just the night got Welcome back art
lovers to Midnight Viewing the Night Gallery Podcast.

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I'm vandom alone and with me here
in the gallery as always are the

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culture cast, Chris Statue, You
and other people you know may be werewolves

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more at nine and the projection booths
Mike White that snow is pretty secret,

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pretty silent. And this episode we're
gonna be talking about Night Gallleries Season two,

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episode five, which aired on October
the twentieth, nineteen seventy one,

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and was broken into two segments,
The Phantom Farmhouse and the Silent Snow,

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Secret Snow. Before we get into
it, I just want to say what

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an intro man that they had zoomed
in on that mirror and Rod is like

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walking around about the thanks. He
was the most dynamic opening of any Night

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Galler I've ever seen. Yeah,
it was like straight out of airplane.

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There's that scene an airplane where he
walks where Robert Stack walks out of the

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mirror. It's the reverse. They
should have done that. Oh my god,

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they really should have started going for
it. Like, Rod, you're

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not doing anything with the writing anymore
that you want to play around? Yeah,

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oh I don't. I want to
go home. They're holding me against

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my will. Let me alone,
please, but I love of God,

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just let me cash my checks and
go home. From this picture, one

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wouldn't necessarily conjure up the story of
love. But that's precisely what it tell

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us about the emotion as old as
men. But the object of the emotion.

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This is not quite as familiar.
It's title Phantom Farmhouse, offering number

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one in the Night Gallery. Now, the first segment is called the Phantom

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Farmhouse. This is by Halston Wells, based on a short story by Seabury

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Quinn and directed by janeau jouarc starts
David McCallum, David Karradee, Linda Marsh,

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Trina Parks, and Bill Quinn.
I just want to point him out

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because the entire are you guys at
all familiar with the ventriloquists by the name

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of Jeff Dunham. He's got this
old man character named Walter, who Bill

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Quinn just looks like the living embodiment
of it. Was very odd. Thanks

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for reminding me that Jeff Dunham exists. I know. Look, I didn't

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want to bring him up or promote
him anyway, but Las Vegas is,

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Oh, Jeff Dunham. You mean
that's right, the hometown boy. Now,

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this story concerns an unorthodox psychiatrist who
investigates the mysterious murders plaguing his patients,

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and there are wolves involved. What
do you think of this one,

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Mike? I felt this this segment
made me feel stupid because I could not

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figure out what the heck was going
on all these people in this tree and

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David Karrady. Maybe it's the Satanist. I don't know, like what,

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Please just please explain this one to
me, because I just was not getting

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this one at all. It's very
confused, but of itself is confused.

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But here's what happened. Bear with
me. I'm ready. I'm ready for

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those listeners. I didn't come up
with this all right, So now somebody

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by the name of Seabury Quinn did, and then somebody named Halsted Wells adapted

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it. Then somebody named Jane Swark
directed it. Those three names together should

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give you an idea of the well
where we're going with this. It's pretty

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all over the point. You know
what, though, if you beat the

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original short story Seabury Quinn, who
was not like he was a writer here,

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like all of his contemporaries were the
Weird Tales guy, so it's like

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Robert E. Howard and you know
he Lovecraft and yeah, like all all

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of the sort of the giants as
it were, and he created a character

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named like Jules de Granden, who
was like a paranormal investing and he's got

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a whole series of these stories that
they're all great. In addition to that,

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Seabury Quinn was like a mortuary like
law lawyer, like that was his

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primary function. Like he published a
magazine called Caskets and Sunshine or something.

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Wow. And if you read the
original story, it's much more simplified.

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I'll give you the short story version
and that'll and you'll understand exactly what it

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is. This guy checks into a
checks himself into an asylum in Maine in

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this case right, which is right
across the border from Canada, which is

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why there are French speaking characters in
the story. I had a lot of

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questions, why the hell everybody's speaking
FRENCHI thank you, thank you. That

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helps hold over for no good reason. Wow, He's allowed to walk the

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grounds, and he walks and finds
a house and with a family, a

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mother and a father, and a
beautiful girl who seems dressed from another age,

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and they have an instant connection.
But she's very odd and like kind

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of keeps him at a distance.
Nevertheless, when he comes back to the

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asylum and tells the people about it, they're like, you must really be

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crazy, because there's no house out
there, just a ruin. And then

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he continues going visiting with the girl
and her family, and then there's this

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business with people being attacked by wolves
in the thing, like talk of it,

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but none of that is sort of
put together forthrightly. It's basically is

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he insane or not? Is the
is the thing? Back and forth because

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he going to the asylum and they're
crazy, but they're telling him he's crazy,

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but he's actually seeing the people.
So they are a family of werewolves

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and they are dead, so they're
ghost wolves or were ghosts or something.

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It ends basically the same way.
So there's no there's no character like feeding

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these people or like luring them,
or there's no warlocks and all this other

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shit. It's they kind of like
let him know that that family who lived

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there were sort of renowned as potential
werewolves. Stay away from there, and

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they are, and she's it's so
it's more of a like Romeo and Juliet

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with the two war factions where her
parents want to eat him and the rest

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of them think he's crazy and trying
to keep them apart, and then she

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makes the sacrifice just exercise me and
my family will go away and the countryside

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will be fine, but I'll lose
you. But if I stay with you,

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I'm going to murder you because I'm
a wolf. They at now how

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that turned into tree pads and groovy
talk and moccasins and thumper from goddamn you

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only live twice? I don't know, but I did enjoy it. I'm

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glad you did. The only note
I have is crow noises and two random

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French dudes. I mean that there
are crow noises up the wazoo in this

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episode. Perfect segue there, Chris, Mike already knows where we're going with

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this. Another thing I like to
point out in these episodes of the second

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season to our performers who probably don't
have the spotlight shine on them enough in

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this case, featured only once in
this episode, but I think we all

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know it. It's it's it's about
twenty five years old at this point.

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Here. It is, ladies,
gentlemen, you probably know that from everything.

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Uh most most of these sound effects
ended up being used on Sesame Street

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a lot. That's a count von
count if I've ever I've heard one.

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Its actual name is Single Classic Wolf, although sometimes it's called single Coyote,

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which I think is racist. The
first appearance of it. This was created

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by the Disney Sound folks. This
it appeared in a segment called Bongo,

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which was part of a fun in
Fancy Free in nineteen forty six. So

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there you go. We love you
single, Classic Wolf. You're you're joining

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Castle Thunder in the pantheon of sound
effects here. Um. I like this

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episode a little bit. I like
I did like how off off kilter it

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seems and I don't know what's going
on for so long like it. It

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had the feeling of the sort of
abstract a set at the beginning when they're

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all on these pads, you we
find ourselves in an asylum kind of,

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but everyone's outside and they're all groovy, and they're on these pads that are

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wrapped around these trees, and it's
really weird. All that stuff was disconcerting

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and I was like really enjoying it. And then when we go meet the

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girl who in this one, David
Karradine is telling everyone that they have to

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go there. He's like trying to
lure them out there to be killed,

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and he tells everyone who sees this
girl is gonna fall in love with her.

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And when we see her. It's
like this Lauretta Lynne wig that's been

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bottle blonded and like, oh,
her bangs are great. The bangs on

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that wig are just chef's kiss spectagua. And the dress itself this like voluminous,

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like ball gown looking. I don't
understand it. Where you people are

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from? What time and place?
That's all David McCallum needs to say.

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It's like, who the fuck are
you? Like, I don't understand how

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anyone in the right mind would be
like, oh, you clearly belong here.

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You are so out of time and
out of place, it's beyond obvious.

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They don't even try. What's the
weird thing about that is it's like

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they could have you know, her
parents are dressed. It could have been

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faked. It could be nineteen seventy
one. They're dressed basically in coveralls.

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They just look like poor farmers.
Why if that's what they were wearing in

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like eighteen seventy one, why was
she dressed not like them? Like she's

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not she's not at a cotillion or
anything. She's like, they're poor like

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her parents, and she's a were
wolf. Why does she even have the

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dress? It doesn't make sense.
She a werewolf or she a dog.

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Well, they couldn't afford dog wolves. They could afford dogs. Though.

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I was wondering about that too,
because when they showed the dog, I

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was like, Oh, the dog
must be running away from the wolf,

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because I kept hearing the wolf and
I was just like, why is this

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dog running away? That's not a
problem. You know, this is like

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a two day shoot and yeah,
and according session have swarked like the dogs

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were like the nicest dogs in the
world. They wouldn't even want to chase

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anything anyway, So it's kind of
impressive that they've got any shots at all.

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But obviously they're where dog ghosts.
I guess they're Wolvey ghost tens.

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I don't know where dog ghosts are. You asking us a question? You

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know what? It's you know what? It reminds me of the there's a

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quote from Big Trouble Little China.
Eggshan is like talking about all the different

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disciplines that they're all drawing from,
and he's like, you know, Buddhism

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and Confucianism, and we take what
we want and leave the rest like a

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salad bar. That's what this felt
like. To me. It's like,

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well, they are where wolves,
so we'll put you know, you got

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to have the pentagram on the hand. But they're also ghosts. But like

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it is titled the Phantom Farmhouse,
so there must be phantoms involved, the

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phantom reasoning, the phantom logic.
Like it felt like a really somehow poorly

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done. It feels like a poorly
done episode of Tales from the Crypt,

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like an ec comics story. That's
what it feels like. When they had

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all those people in the tree,
I kept thinking, these are aspects of

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his personality and they are fighting within
his mind. That would have been good.

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And then it just when David Kardeen
came out of the tree, I

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was like, well, there goes
that theory. You were you were doing

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the episode's job for it, trying
to make it more interesting than it ended

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up being. Did you notice that
when David Krtey hops down off of the

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thing, he tries to and then
they kind of curtail he does he not

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say cocaine anyone, I swear to
god. He says it twice like he

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said it, And I was like, you couldn't have heard that. They

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wouldn't have put that on television.
And then at the end of the scene,

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He's like cocaine anyone and then leaves. Maybe I'm wrong, I should

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read the script, but that's what
I heard. Maybe that's what I wanted

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there, that's what you wanted David
carradeen to say. It feels like he

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would share. Yeah, I mean
he seemed like a groovy guy. By

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the way, hippie slang seems so
natural coming out of David Karrety, and

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like all of that dialogue could have
been the worst if it weren't him,

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and like he it was effortless,
and I was like, oh, so

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that's how people talk instead of the
awkward way people try to reproduce it.

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Well, because David Carradey is a
great actor. Yeah, was still sorry,

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damn it. And speaking of damn
it, stopped doing Day for Night.

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Everybody stop. You can't do a
were wolf story and do Day for

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Night. Just don't even do it. Yeah, well, how long did

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you say they had for this?
Five days? I don't know why they

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even tried two days? Two days? Jesus, Yeah, no, wonder

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it looks so bad. Yeah,
I mean they're not going to get a

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big lighting package out there, like
you know, I think it's more impressive

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that it only took two days and
that it's not a complete mess. I

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think it's well shot. I think
there's there's some poetical looking shots in there,

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like that, it's a nice looking
it's a nice looking episode. When

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McCallum's first like venturing into the forest, like there's a there's a scene of

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this lamb like running through the forest
being pursued by the wolves, and it

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all looks gorgeous. It looks like
a fairy tale. And then unfortunately we're

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right back to like you know,
the reversal lot with most obvious lighting in

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the world, the sun, just
because they needed needed for speed. But

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like he managed to get a couple
of like cool shots. There's another one

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sort of at at the mid point
where they're on top of a hill where

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all the sheep, where McCallum walks
down and sort of scares the sheep,

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which another gorgeous shot. That there
are little moments of beauty in these episodes,

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and at least this one did not
in any way feel set bound.

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If they had just turned the camera
around, they probably would have seen the

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Bates Motel like behind them. That's
what it looked like to me. It

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looked like where they like the older
pictures of the Universal back a lot tour,

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That's what it looked like. The
set like the set that they were

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on. It looked like just out
there and the Universal like where they shoot

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stuff like this. It's I mean, you know, it's like where you

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guys gonna shoot over there. Look, this is not the best part of

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this one. It's it's it's okay. You know, it didn't. It

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didn't insult me. I was more
confused, and then by the end I

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didn't care. Well, it just
it kind of just ends. Yeah,

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it just kind of ends, and
that's fine. But this is now I

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think. I want to say there
was an episode segment in the last episode

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that just kind of ended too,
but it worked better than it just kind

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of ended. This one just goes
and that's it. It's like, okay,

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all right, I guess it's over
now, moving on. Why even

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use wolves? Just make it her
ghost and eats people, you know what

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I mean? How about we're all
vampire. Let's do vampires there. That's

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a ghost and a wolf together.
Stop and vampires are what like five cents.

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You just get a little teeth.
That's yeah. If you if you

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even need the teeth. I mean, you just cover up the face or

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you know, Catherine Deneuve and the
Hunger. We didn't mention the Finger's that

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the finger, the index finger that
we got to see one hundred thousand times.

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That was a bit of a failure. I didn't like that at all.

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She is a really long finger.
Does a really long finger? Only

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were wolves have long fingers. It's
the index fingers as long or longer than

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the rest of the fingers, is
the traditional lore. But like, guys,

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we get it. We're not going
to get a transformation sequencing. We

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only have dogs instead of wolves.
But like, we don't need to feature

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the one thing you could a fart
stop. They did it better on Cole

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Shack with Tom Scarrett. Yeah,
it's very similar. Like they couldn't do

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wear wolves in that episode. So
he's a dog, so they're dogs here,

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all right? Sure, much more
what it works, way better episode

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though, the Coal Chack episode.
Oh yeah, I've been just for scares

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alone. We're allowed to offer in
the Night Gallery a painting that brings to

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life a literary classic from the pen
of Conrad, A fragile, lovely pointing.

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It's titled Silent Snow, Secret Snow. All right, our next segment

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is called Silent Snow, Secret Snow. This was written by Gene R.

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Kearney, based on a short story
by Conrad Aiken, and directed by Gene

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R. Kearney, starring Ours starring
Orson Wells, Elizabeth Hush, Lonnie Chapman,

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and Rodimus Para, who would go
on to play a young David Kardean

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on Kung Fu. This is a
short film. It is a young man

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00:17:12.839 --> 00:17:18.640
effectively retreating from reality into a wintry
world. What did you think of this

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one, Chris? Before watching this
segment, I did not know who Conrad

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Aiken is was, but Rod Serling
really made a big deal out of him.

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I'll tell you that much. We'd
like to travel now to the magical

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world of Conrad Aiken. I was
like, Oh, Michael, what is

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this? This must be this must
be something special. It's pretty good.

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I think the gimmick of having Orson
Wells narrated was the smartest thing about this

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00:17:45.079 --> 00:17:51.599
segment. Clearly, I don't know
sure it works in this show, but

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I think the story and what they're
getting at maybe a little too heady for

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this show. That's probably my concern
is that the story is a little it's

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not it's not what you expect it
to be if you don't know the source

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material. And then when it ends, I know for a fact it works

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better in the source material because I
did read the short story, and it

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works way better in the short story. Like the short story makes the short

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story makes this look bad by comparison, like very undercooked and undercooked adaptation.

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That's what this makes it look like. But it still works, I think

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for the most part. I mean, you of mine, I probably should

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have read the short story, because
I just wasn't following this one. I

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mean I was following the story,
but I just wasn't invested in this one.

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I almost wish that it would have
just been Orson Welles narrating the whole

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thing, get rid of all dialogue, just have him say, you know,

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his mother didn't understand, and his
father was eerily familiar, like he

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had been in a thousand different movie, and you can't quite put your finger

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on which one it is. But
it's like, I just I wasn't getting

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the vibe of this one. So
I was just kind of like, all

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right, yeah, the kids were
treating, and he keeps thinking about snow.

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I was pretty nonplussed that Dad that
we all sort of recognized from something

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or other. Lonnie Chapman, I
know him because he's in the Benecheck Pipe.

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He was a bartender in the in
Benecheck. I understand that the heart

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was in the right place when they
made this, and I think at the

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time it was probably revelatory. I
mean, you weren't certainly not expecting this

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from Night Gallery. And I agree
with you, Chris. If it's Orson

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Welles and his voiceover, and you
could have peeled that off and I could

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just listen to it now and I
would have a better effect than I got

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from the episode, which is not
in any way a slam on any of

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00:19:52.200 --> 00:19:56.680
the performers. I think they were
all really good actually, But it was

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00:19:56.839 --> 00:20:00.799
a stock footage festival as what it
was. It was a backlot covered in

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fake snow and then a thousand shots
of real snow from a million different sources

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00:20:06.599 --> 00:20:11.839
and not all that skillfully montaged.
And I do like what they were going

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00:20:11.920 --> 00:20:14.759
for, and I do like a
story of you know, sort of ferreting

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00:20:14.799 --> 00:20:18.759
out alienation and sort of you know, lack of you know, or a

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dissociative sort of disorder like this,
you know, it's it's worth discussing,

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and they are handling it. Well, it's just it's not boring. It's

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just it's what you said, Mike, Like, I couldn't connect to anyone

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or anything else because there's just too
much going on. We're listening to Orison

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Wells and we're looking at these things, and we're listening to dialogue and none

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of us, none of this is
clued in on the kid. Really,

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00:20:41.400 --> 00:20:45.799
like we have to connect with this
kid in order to follow along and understand

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00:20:47.319 --> 00:20:49.200
that this is a this is actually
a nightmare for him. Well, we

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keep seeing everyone's reaction to him.
The kid seems perfectly happy disappearing into his

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00:20:53.240 --> 00:20:57.960
own skull, and like maybe some
stakes for him would have would have would

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00:20:57.960 --> 00:21:02.039
have done it or released this as
an audio. Well, and it's weird

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that the director had done this before. This is like his second shot at

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this. At first, I was
thinking it was like a Currence at Owl

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00:21:08.839 --> 00:21:15.039
Creek Bridge where they took the short
and just kind of you know Twilight Zona

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00:21:15.079 --> 00:21:18.200
fight it. I was like,
oh, they took silent Snow, secret

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00:21:18.240 --> 00:21:22.039
Snow and they night galllerized it.
But no, that was from like sixty

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00:21:22.119 --> 00:21:25.000
four, and I don't think that
Wells was involved at all. And I

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00:21:25.079 --> 00:21:29.359
watched part of it on archive dot
org and yeah, it's it's not the

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00:21:29.440 --> 00:21:33.920
same thing. It's black and white, it's totally different. But it's like,

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00:21:33.039 --> 00:21:37.119
oh, okay, I guess you
just really like this, Gene r.

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00:21:37.240 --> 00:21:40.160
Kearney, you want to do it
again? Well, and it was

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00:21:40.200 --> 00:21:41.480
something he'd already done, so like, you know, hey, I'll do

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00:21:41.559 --> 00:21:44.880
it with a budget now. And
I can't get Wells, but like,

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00:21:45.400 --> 00:21:48.240
where was the progression? Where was
the evolution? It's like, seven years

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00:21:48.319 --> 00:21:51.240
later, you get to remake your
thing, make it awesome, right.

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00:21:51.839 --> 00:21:56.400
I honestly think that the short story
is too good to adapt it like this.

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00:21:57.279 --> 00:22:02.319
It's it's I don't even again.
There are plenty of things out there

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00:22:02.839 --> 00:22:06.960
that are, you know, unadaptable. We've heard it with all kinds of

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00:22:07.000 --> 00:22:10.240
things. We hear it with stuff
like Dune and Watchmen, and they have

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00:22:10.319 --> 00:22:15.680
been adapted to varying degrees of success. Something that I really liked the book

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of and I think the movie does
a pretty good job, but I think

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it has the same problem as This
is No Country for Old Men. I

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00:22:21.039 --> 00:22:23.200
think works really well as a book
but when you watch the movie, there

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are parts of it that feel very
literary in what they're doing, and they

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don't work very well in a film
context. I think this is one of

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00:22:33.200 --> 00:22:36.920
those things where the short story is
really good. The short story is talking

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00:22:36.920 --> 00:22:40.240
about important stuff. It's talking about
mental illness, and it kind of gets

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00:22:40.279 --> 00:22:45.880
trivialized in this and in a weird
way that I know Conrad Aiken didn't intend.

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00:22:47.640 --> 00:22:49.480
I was thinking, you know,
this is fifty years ago, this

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00:22:51.000 --> 00:22:52.960
episode sort of thing, and like
the fifty years of knowledge that we have

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00:22:53.119 --> 00:22:56.000
now like it, you know,
everyone's sort of turning and looking at this

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00:22:56.079 --> 00:22:59.440
kid, like what the hell is
wrong with this kid? You know,

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00:22:59.640 --> 00:23:03.640
like it would be probably caught and
treated now right, you know, there

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00:23:03.640 --> 00:23:07.359
would be some segment of this kid
like losing his mind and has to retreat

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to the snow. I do feel
like, I gotta say, the initial

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00:23:11.359 --> 00:23:15.480
segments where we're getting into the kid's
head where he's like he's counting the steps

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00:23:15.519 --> 00:23:19.759
of the mailman coming down the street
and now he hasn't hearing it like that

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00:23:21.000 --> 00:23:23.960
did feel sort of manic and frenetic
early on, and then it just kind

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00:23:25.000 --> 00:23:29.759
of turns into this beautiful wintry wonderland
and like dispenses with all of what was

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00:23:29.839 --> 00:23:34.240
actually going on and what actually might
have been more beneficial as a viewer to

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00:23:34.400 --> 00:23:38.680
understand what this kid's going through,
because like it does trivialize it because it

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00:23:38.720 --> 00:23:41.880
makes it seem like what a wonderful
place to escape to, you know,

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it's like the end of Brazil.
Like at least he earned that. Yeah,

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00:23:45.160 --> 00:23:49.359
I didn't understand. I understood the
message in the short story, but

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00:23:49.480 --> 00:23:52.920
I did not. I didn't understand
the message that they were going for in

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00:23:53.279 --> 00:23:59.960
this segment, and I don't understand
how Jean Kearney didn't understand it this time.

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00:24:00.480 --> 00:24:03.240
This is it's odd to me,
that's it. It's just odd because

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00:24:03.279 --> 00:24:04.960
you would think, like we've already
mentioned, if this is your second crack

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00:24:06.039 --> 00:24:10.599
at it, you would have a
better grasp of what this is and what

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00:24:10.799 --> 00:24:14.000
it's and what it's going for and
what it's getting at and what the message

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00:24:14.039 --> 00:24:21.039
of the story is because this is
a story that is heavily was meta and

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00:24:21.119 --> 00:24:26.319
I'm metaphorical, but it's it symbolic, very symbolic. Yeah, I get,

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00:24:26.440 --> 00:24:30.119
I get, I guess, but
it's like it's it's it's light with

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00:24:30.440 --> 00:24:36.079
how symbolic it is. It's almost
the The adaptation is very light on the

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00:24:36.440 --> 00:24:41.400
mental illness. The story short story
isn't and I think that that is where

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00:24:41.480 --> 00:24:45.880
this weird disconnect happens, is they
they can't outright get at what they're getting

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00:24:45.920 --> 00:24:49.559
at in the short story in the
episode segment, and that is a problem.

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00:24:49.720 --> 00:24:55.200
Kearney's coming at it from a romantic
sized sort of point view, which

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00:24:55.279 --> 00:24:59.240
is the fucking not the point,
Like you're you're missing the point of this.

349
00:24:59.480 --> 00:25:03.640
The snow is a neg gut everything
except the actual meaning. Right,

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00:25:04.400 --> 00:25:08.880
good job you missed it like you
did everything else, but except for making

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00:25:10.000 --> 00:25:12.480
us understand what the fuck the snow
is meant to stand for, right,

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00:25:12.880 --> 00:25:15.000
which is all he cared about.
I guess, you know, yeah,

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00:25:15.160 --> 00:25:18.359
I think he was just trying to
show off, maybe get a film career,

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00:25:18.799 --> 00:25:22.640
like it's a hell of a show
piece, you know. I think,

355
00:25:22.680 --> 00:25:26.599
particularly at that time that you know
it is allouded episode, people remember

356
00:25:26.640 --> 00:25:30.079
it very fond and people talk about
this episode and like, fine, it's

357
00:25:30.160 --> 00:25:33.759
there's nothing wrong with it. It's
just I don't necessarily subscribe to it.

358
00:25:33.839 --> 00:25:41.039
And I think it's a sort of
an archaic view of mental illness at best.

359
00:25:41.519 --> 00:25:44.440
Well, on the way Rod Sterling
plays it up at the beginning of

360
00:25:44.519 --> 00:25:48.799
the segment, it makes it sound
like it's going to be some grand musing

361
00:25:48.880 --> 00:25:52.000
on something and it ends up just
kind of spinning its wheels and having nothing

362
00:25:52.079 --> 00:25:57.359
to say when the source material is
rather clear as to what it's getting at.

363
00:25:57.559 --> 00:26:00.960
Well, we're gonna play a preview
of the next episode. We'll be

364
00:26:00.079 --> 00:26:04.359
right back to wrap up Painting number
one, about a man who spends a

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00:26:04.519 --> 00:26:08.720
night in a haunted house. An
unbeliever, if you will, who,

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00:26:08.839 --> 00:26:15.839
by don believes the name of the
painting is a question of Fear. The

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00:26:15.000 --> 00:26:25.079
name of this place is the Night
Gallery. Oscar Wilde said something to the

368
00:26:25.160 --> 00:26:27.960
effect that if there were not a
devil, we'd very likely invent him.

369
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He serves many a purpose, and
this grim visaged character here is proof of

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00:26:33.759 --> 00:26:38.799
that. Rather bitter Pudding, a
story that tells what happens when evil collides

371
00:26:38.839 --> 00:26:45.279
with the evil. The painting is
called The Devil is Not Mocked. That's

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00:26:45.400 --> 00:26:48.200
right. On the next midnight viewing, we'll be taking a look at season

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00:26:48.240 --> 00:26:52.680
two episode six that's broken into two
segments, A Question of Fear and The

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00:26:52.839 --> 00:26:56.759
Devil Is Not mocked. Until then, where can we all be found?

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00:26:56.839 --> 00:27:00.920
Gentlemen, let's hear Chris where ding
Way Media dot com, This show and

376
00:27:02.079 --> 00:27:04.200
many more. If you can't find
something to listen to on weirdingwaymedia dot com,

377
00:27:06.119 --> 00:27:11.599
well you didn't try hard enough.
It's you, not us. It's

378
00:27:11.680 --> 00:27:15.559
you. It's on you. It's
not our fault. You don't like to

379
00:27:15.640 --> 00:27:18.559
be entertained, it's your fault.
Right? Does that be the slogan?

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00:27:18.960 --> 00:27:22.880
That's on you? All right,
ladies and gentlemen, until next time the

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gallery is closed. I'm actually going
with I think it. I think it

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00:27:26.119 --> 00:27:26.559
works. Yeah, it works very
well