WEBVTT 1 00:00:00.240 --> 00:00:08.800 Weally hate pigment, light and ship realism, surrealism, impressionism and those stories. 2 00:00:09.640 --> 00:00:14.679 An interest in the odd quare a predilection towards the bisire. And this 3 00:00:14.720 --> 00:00:19.679 place is nothing if it isn't a bizarre There's no admission, no requirement of 4 00:00:19.719 --> 00:00:24.359 membership, only a strong and applighting belief in the dark at the top of 5 00:00:24.359 --> 00:00:29.039 the stairs or things that go a bomp at the night. The name of 6 00:00:29.039 --> 00:00:33.240 the place you you have committed your accidentally out of the ring is the night 7 00:00:33.320 --> 00:00:41.000 Gad. The Welcome back art Lovers to Midnight Viewing the Night Gallery podcast, 8 00:00:41.039 --> 00:00:45.320 where we discuss Night Gallery Rod Rod Serlings follow up to the Twilight Zone. 9 00:00:45.320 --> 00:00:48.960 I'm following alone and with me here in the gallery are the culture casts. 10 00:00:49.079 --> 00:00:53.719 Chris Stassue. Let me get this straight. Lady, your husband is killing 11 00:00:53.799 --> 00:01:00.719 you, Okay? I hate my wife and the projection booths. Mike White, 12 00:01:00.000 --> 00:01:03.400 Not that's it. Ornel Wilde is here with us right now. This 13 00:01:03.480 --> 00:01:08.359 is season two, episode nineteen. It aired on February ninth, nineteen seventy 14 00:01:08.439 --> 00:01:12.400 two, making it their Valentine's episode. This one is split into three segments. 15 00:01:12.480 --> 00:01:19.040 Those are deliveries in the rear Stop killing Me and Deadweight number one entry, 16 00:01:19.439 --> 00:01:25.319 a painting that suggests a story replete with gaslight, handsome cabs, and 17 00:01:25.480 --> 00:01:30.560 cadavers. An all star cast of corpses appearing in what we call Deliveries in 18 00:01:30.599 --> 00:01:38.159 the Rear, delivered to me now on night Gallery. Deliveries in the Rear 19 00:01:38.280 --> 00:01:42.040 was written by Rod Serling and directed by Jeff Corey. Stars Cornell Wilde, 20 00:01:42.120 --> 00:01:48.239 Rosemary ForSight, James Metropole, Human Chucky Cheese, Animatronic. If I've ever 21 00:01:48.280 --> 00:01:53.000 seen one, Peter Whitney and a young Gerald McCraney very briefly tell us the 22 00:01:53.000 --> 00:01:57.719 tale of a surgical professor who's procuring specimens for dissection from less than reputable sources. 23 00:01:57.519 --> 00:02:01.319 It's just the ory, birken hair, but from the perspective of doctor 24 00:02:01.400 --> 00:02:05.760 Knox or in this case Fletcher. And did you know that to a strangle 25 00:02:05.799 --> 00:02:08.080 someone while kneeling on their back, thus compressing their lungs, is known as 26 00:02:08.120 --> 00:02:12.400 burking? No, it did not, anyway, What do you think of 27 00:02:12.400 --> 00:02:15.599 this one, Mike, Yeah, boy, oh boy. Well, you 28 00:02:15.639 --> 00:02:19.159 know this is a common theme for this show. If anybody's listening to more 29 00:02:19.159 --> 00:02:23.599 than two episodes, this one was pretty long. Saw that ending, saw 30 00:02:23.639 --> 00:02:28.159 that twist coming quite a ways away. But I liked Cornell Wilde in this. 31 00:02:28.319 --> 00:02:31.919 I really liked the Grave robbers as well, especially that guy's teeth and 32 00:02:32.000 --> 00:02:37.759 the use of all of the wide angle the fish eye lenses throughout so much 33 00:02:37.800 --> 00:02:43.080 of this. I thought it was decent. But and I liked the twist 34 00:02:43.159 --> 00:02:46.599 at the end, even though it was telegraphed. But yeah, it just 35 00:02:46.759 --> 00:02:49.120 it went on for a little too long for me, how about you, 36 00:02:49.240 --> 00:02:54.960 Chris, everything Mike just said and then but in a Cockney accent. See, 37 00:02:54.960 --> 00:02:59.199 it's one of these things where again similarly to the last episode we talked 38 00:02:59.199 --> 00:03:02.960 about with the aiding Room, if you know the main character has a significant 39 00:03:02.960 --> 00:03:07.520 other in this kind of story, brother, that significant other ain't making it 40 00:03:07.560 --> 00:03:09.240 to the end of the story. The joke I wanted to say when you 41 00:03:09.360 --> 00:03:13.439 brought me on earlier was what's in the box? Because it's pretty much the 42 00:03:13.520 --> 00:03:17.080 same fucking gag the more what's in a coffin or what's under the sheet, 43 00:03:17.120 --> 00:03:21.800 it's the same thing of you're about to find out just what happens when you 44 00:03:21.879 --> 00:03:24.080 tempt fate. Buddy, you know, you work with disreputable types and your 45 00:03:24.120 --> 00:03:29.039 wife gets murdered because she's the only one wandering the streets of London at night, 46 00:03:29.479 --> 00:03:31.439 conveniently, as they would say. But in this kind of story, 47 00:03:31.560 --> 00:03:35.879 that twist makes sense because it's the Twilight Zone. It's just I don't need 48 00:03:36.080 --> 00:03:42.120 thirty minutes of it again, just like the waiting room. Just brevity is 49 00:03:42.120 --> 00:03:46.520 the soul of wit, is something a wise man once said. Rod Serling 50 00:03:46.560 --> 00:03:51.759 apparently don't give a singular fuck about William Shakespeare or whoever said that. It's 51 00:03:51.759 --> 00:03:55.120 probably Shakespeare, I'm assuming. Here are my first two notes, where are 52 00:03:55.159 --> 00:04:00.560 we? Everyone is English except the core protagonists, followed by are we in 53 00:04:00.680 --> 00:04:04.439 England? I don't get it, Mike. I'm sorry I have to disagree 54 00:04:04.439 --> 00:04:09.680 with you. But Cornell Wilde seemed to be not remembering his lines the entire 55 00:04:09.719 --> 00:04:13.919 episode. I've said still liked them. I still like them. I've said 56 00:04:13.919 --> 00:04:17.279 in the past Startling's pension for overwriting dialogue is an asset. In the period 57 00:04:17.319 --> 00:04:21.519 pieces I mentioned in the last episode, it's no truer than in this episode. 58 00:04:21.920 --> 00:04:25.360 I think this. I think the story is two on the nose, 59 00:04:25.480 --> 00:04:29.439 and it takes us way too goddamn long as usual to get there. But 60 00:04:30.600 --> 00:04:33.800 it didn't make the trip any less enjoyable. It's way more enjoyable than any 61 00:04:33.959 --> 00:04:39.680 Sterling's attempts at contemporary storytelling. What trips this one up for me is Cornell 62 00:04:39.759 --> 00:04:45.519 Wilde, and it's because he Embonnie's a contemporary acting style or straight out of 63 00:04:45.519 --> 00:04:50.560 fifties acting style that is so jarring that it shakes the episode apart for me. 64 00:04:51.160 --> 00:04:57.240 I do think it was beautifully shot. Jeff Corey. Every time each 65 00:04:57.399 --> 00:05:00.639 episode as the series progresses get better, earned better. The lighting is moody. 66 00:05:00.759 --> 00:05:04.040 There's so much shadow and silhouette, which takes time, which they had 67 00:05:04.160 --> 00:05:08.720 no time to make any of these episodes. He frames every room with a 68 00:05:08.800 --> 00:05:13.000 door or window, framing the performer. It starts with doors, ends with 69 00:05:13.040 --> 00:05:16.000 windows. It's subtle, but by the end it's like a creepshow comic book 70 00:05:16.040 --> 00:05:20.199 frame behind behind Cornell wild just thought that was incredible. If I could be 71 00:05:20.240 --> 00:05:25.079 a nitpicking asshole for a moment here, this is burkenhair. Basically that was 72 00:05:25.160 --> 00:05:29.600 eighteen thirty eight. Mannequins weren't created until the eighteen forties. I know they've 73 00:05:29.639 --> 00:05:32.560 been Milliner's statues since the fifteenth century and everything, but that's not what Rod 74 00:05:32.600 --> 00:05:39.600 meant anyway. It is a nitpick, I would say that rod Serling at 75 00:05:39.639 --> 00:05:45.879 this point only operates in pedantic storytelling, and I don't understand why at all, 76 00:05:45.959 --> 00:05:48.800 because again, we know if there's anything that rod Serling can do other 77 00:05:48.839 --> 00:05:55.079 than smoke cigarettes, drink alcohol, and look suave while doing those two other 78 00:05:55.120 --> 00:05:59.879 things, which is hard enough as it is, he can write stories that 79 00:06:00.199 --> 00:06:04.680 have an impact, that have longevity, that have a timelessness, and yet 80 00:06:04.720 --> 00:06:09.279 for some reason it seems like he left it in the sixties, and I 81 00:06:09.319 --> 00:06:14.800 just don't understand because for me, in a lot of ways, Night Gallery 82 00:06:15.199 --> 00:06:19.319 felt like a promise that has never been fulfilled, which is the twilight zone 83 00:06:19.319 --> 00:06:23.959 of the seventies. And in a lot of ways, everybody butt Rod Sterling 84 00:06:24.000 --> 00:06:27.079 has made good on it. Like the show Night Gallery. I've been really 85 00:06:27.160 --> 00:06:31.560 enjoying watching it, obviously, but rod Sterling's episodes keep coming up as the 86 00:06:31.560 --> 00:06:36.279 ones where we're like, rods Sterling, what's going on, man? And 87 00:06:36.399 --> 00:06:41.160 we know a lot of the backs, behind the scenes stuff. But we've 88 00:06:41.160 --> 00:06:44.480 had two episodes now back to back where it's been rod Sterling has told it 89 00:06:44.560 --> 00:06:48.879 half an hour story and it's it was a good story that went way too 90 00:06:48.879 --> 00:06:54.519 long. His complaints of being edited. I wish they had. Yeah, 91 00:06:55.079 --> 00:06:59.160 yeah, this went it clocked in like fifteen sixteen minutes, be really, 92 00:06:59.199 --> 00:07:01.680 really good. I'd have no complaints at all the fact that we're left another 93 00:07:01.720 --> 00:07:08.879 twelve minutes of people talking for no good goddamned reason, because we're stalling for 94 00:07:08.920 --> 00:07:12.519 the big twist, because that's what this episode is all predicated on, the 95 00:07:12.560 --> 00:07:16.240 big twist that it's the doctor's wife who he's ended up having murdered inadvertently. 96 00:07:16.279 --> 00:07:19.519 Though he gets his come upance right, but I don't know. Yeah, 97 00:07:19.560 --> 00:07:24.000 i'd like that whole little speech at the end where it's just people say that 98 00:07:24.079 --> 00:07:27.319 you could do well, that's not true, Bob, Bob Botton. It's 99 00:07:27.360 --> 00:07:30.279 like, Okay, you're laying it on way too thick, your buddy, 100 00:07:30.560 --> 00:07:35.879 so for sure that's going to be your wife in there. I the actor 101 00:07:35.959 --> 00:07:40.680 Ian Wolf that was in this. For a hot second, I thought he 102 00:07:40.800 --> 00:07:44.279 was ned Glass from the last episode, so I was like, oh, 103 00:07:44.279 --> 00:07:47.000 cool, he just shows up and sells weird stuff here, but then it's 104 00:07:47.040 --> 00:07:50.680 weird as I looked up both of them on IMDb, and both of their 105 00:07:50.720 --> 00:08:00.000 IMD p dB pictures are from episodes of Berniey Miller all roads converge. It's 106 00:08:00.040 --> 00:08:03.800 spooky, it isn't very spooky. Or maybe we're all just too focused on 107 00:08:03.839 --> 00:08:09.240 a particular time and place in American broadcast television history. Perhaps question why we're 108 00:08:09.279 --> 00:08:13.279 so focused on the seventies. But yet Barney Miller, Colchat Columbo Night Gallery 109 00:08:13.560 --> 00:08:15.959 Dreams for Sale doesn't count, but it is based on a show that took 110 00:08:16.000 --> 00:08:20.680 place before. So yeah, we love the seventies and not the VH one 111 00:08:20.720 --> 00:08:26.160 way. No, I don't have any quips. Where's Danny Bonaducci making funny 112 00:08:26.240 --> 00:08:31.920 laughs or some contemporary person who wasn't even around during the seventies and they're just 113 00:08:31.959 --> 00:08:37.080 shocked by things you had pet rocks. This is a thing, that's a 114 00:08:37.120 --> 00:08:43.440 thing, really Yeah. Painting at number two in the Night Gallery addressing itself 115 00:08:43.480 --> 00:08:48.559 to the strains and stresses of the married, having to do with the fact 116 00:08:48.559 --> 00:08:52.759 that there is more than one way to kill a cat and more than one 117 00:08:52.840 --> 00:08:56.799 way to dispose of a wife. Our painting is called Stop Killing Me. 118 00:09:01.679 --> 00:09:05.960 Stop Killing Me was written by Jack Laird from a short story by Hal Dresner 119 00:09:05.080 --> 00:09:09.919 cool Hand Luke's Hal Dresner Zorro the Gay Blades. Hal Dresner kind of a 120 00:09:09.919 --> 00:09:13.919 slide whistle situation there. This one was also directed by Jeno Zwark, starring 121 00:09:13.960 --> 00:09:20.240 Geraldine Page first of three appearances in The Night Gallery, and James Gregory only. 122 00:09:20.320 --> 00:09:22.919 This is about a wife enlisting the aid of a police officer because she 123 00:09:24.039 --> 00:09:28.240 believes her husband is slowly murdering her through worry. What'd you think of this 124 00:09:28.240 --> 00:09:31.399 one, Chris, Yeah, this is a lot of fun. I mean 125 00:09:31.440 --> 00:09:35.879 it does go on a little long too, but the length of this one 126 00:09:35.960 --> 00:09:39.120 is to sell. What's the length is selling what they're going for? And 127 00:09:39.240 --> 00:09:43.720 like it works here, so she is so harried with him that he is 128 00:09:43.759 --> 00:09:46.320 just fuck. Yeah, I see why this is late. It is like 129 00:09:46.639 --> 00:09:50.879 that works here, and I enjoyed this episode. But I'm gonna be biased 130 00:09:50.919 --> 00:09:54.200 because I love James Gregory. Now again, when we started the Barney Miller 131 00:09:54.240 --> 00:09:58.240 show, not so much the case, but his characterization has grown over time 132 00:09:58.240 --> 00:10:01.759 and grown on on me. But seeing him here is great. He's fun. 133 00:10:03.039 --> 00:10:05.639 She plays that character great. He plays that character great. And I 134 00:10:05.759 --> 00:10:11.200 love that they keep focusing on the photo of his wife on the fucking desk 135 00:10:11.240 --> 00:10:13.399 because it is the funniest thing. Reason. Yeah, you're right, I 136 00:10:13.559 --> 00:10:18.080 see, there's no one whatever think divorce. It's Oh my god, this 137 00:10:18.159 --> 00:10:22.000 guy is just so pent up and angry all day. Huh, he's just 138 00:10:22.039 --> 00:10:26.480 been waiting for someone like her to walk through his door. And I love 139 00:10:26.519 --> 00:10:28.559 that kind of storytelling where it's like these two people were faded to be in 140 00:10:28.600 --> 00:10:33.399 this room together for ten minutes and it totally works. I wish that they 141 00:10:33.720 --> 00:10:41.960 well. Janot's work does something interesting in this episode where Geraldine Page will basically 142 00:10:41.000 --> 00:10:46.480 imitate her husband and repeat the lines that he keeps saying to her. And 143 00:10:46.600 --> 00:10:52.799 when she does that, we get these interesting cuts to almost like from the 144 00:10:52.919 --> 00:10:56.200 side. All of a sudden, she will turn to the side and start 145 00:10:56.240 --> 00:11:01.120 doing her husband's voice, not like literally saying what he's saying, and then 146 00:11:01.480 --> 00:11:05.440 cut back and she'll move back. And they did that a few times, 147 00:11:05.480 --> 00:11:09.759 but then they just started doing it kind of willy nilly as far as where 148 00:11:09.759 --> 00:11:11.960 she was going to turn to the left, to the right, to the 149 00:11:13.039 --> 00:11:16.639 strait to wherever. I wish she had been a little bit more consistent with 150 00:11:16.679 --> 00:11:20.600 that, because I thought it was a good device the way it ended up 151 00:11:20.639 --> 00:11:22.919 overall, I still liked it, but it just I thought it could have 152 00:11:22.919 --> 00:11:26.799 been a little bit more powerful as far as that went, but I thought 153 00:11:26.799 --> 00:11:31.120 that was nice and I also like that to your point, Chris, we 154 00:11:31.200 --> 00:11:35.120 have to spend this time. We have to take this time to hear the 155 00:11:35.679 --> 00:11:43.000 basically psychological warfare that this guy has been waging on his wife, letting her 156 00:11:43.120 --> 00:11:48.679 know that she has very little time to live, and when the payoff happens. 157 00:11:50.039 --> 00:11:52.799 I complain a lot about, Oh, we know where this is going 158 00:11:52.840 --> 00:11:56.639 to go. I was really looking forward to this going where it went to. 159 00:11:56.399 --> 00:12:01.159 This one is a flip side not of Satan but of late mister Pettington 160 00:12:01.360 --> 00:12:03.879 from two episodes ago, except here, instead of a woman talking herself into 161 00:12:03.919 --> 00:12:09.039 murder, she convinces another of the ease of which he can dispatch his own 162 00:12:09.080 --> 00:12:15.039 spouse starts with a great b roll of the New York City skyline, dingy 163 00:12:15.320 --> 00:12:20.240 kind of nineteen seventies. Look at the show, which always love I think. 164 00:12:20.480 --> 00:12:24.840 I think Geraldine Page is so electric here in that scene that those moments 165 00:12:24.879 --> 00:12:28.799 in particular Mike, where she's pantomiming her husband and we keep cutting to this 166 00:12:28.919 --> 00:12:31.720 unknown point of view. It's ultimately the viewer's point of view, or her 167 00:12:31.759 --> 00:12:35.639 point of view, because it's the husband talking to her and being servered. 168 00:12:35.840 --> 00:12:41.279 The cuts are so jarring, but she's so funny. This is a horrible 169 00:12:41.320 --> 00:12:46.000 situation, and the things that this husband is doing to her is really beyond 170 00:12:46.000 --> 00:12:50.399 the pale when you really think about it, and the way her performance just 171 00:12:50.600 --> 00:12:54.039 I don't know. I thought it was hilarious if only he could stop with 172 00:12:54.080 --> 00:13:00.639 the killing me, killing me, killing me. When I really I knew 173 00:13:00.679 --> 00:13:05.080 what way this episode was going to go with that title, I thought that 174 00:13:05.759 --> 00:13:07.039 she was going to come in and it was going to be a d O 175 00:13:07.120 --> 00:13:11.320 A situation. I want to report a murder who's mind? But then I 176 00:13:11.360 --> 00:13:16.159 actually thought that she was dead and was coming in. When she said my 177 00:13:16.240 --> 00:13:20.720 husband's killing me right now, I was like, oh, okay, that's 178 00:13:20.840 --> 00:13:24.840 interesting, like she's astral projecting or something. So I took this in a 179 00:13:24.879 --> 00:13:31.919 whole different way, but I ended up liking where it went, which was 180 00:13:31.960 --> 00:13:35.519 not supernatural whatsoever. I thought that too. I thought that too when she 181 00:13:35.559 --> 00:13:37.519 said that, because it's like, oh, like because again, like that's 182 00:13:37.519 --> 00:13:41.320 what it seems like, there's some angle here and it's just no, he's 183 00:13:41.399 --> 00:13:48.279 just he's almost like Pusher from the X Files. That's so really in blue. 184 00:13:48.440 --> 00:13:52.879 Yeah, Yeah, it's this weird like just suggesting over and over again 185 00:13:52.919 --> 00:13:56.320 that it's putting her on edge constantly. I can't even imagine what that would 186 00:13:56.320 --> 00:13:58.919 be like. But good lord, I don't think we needed the sound effect 187 00:14:00.000 --> 00:14:03.759 of her getting run over in traffic. That wasn't necessary. Like the plot, 188 00:14:03.799 --> 00:14:09.679 the plan of it was obviously working. She left that police station feeling 189 00:14:09.720 --> 00:14:13.200 really no better than when she came in. There's certainly no less safe, 190 00:14:13.480 --> 00:14:16.879 So just having the police officer talking to his wife would have been sufficient. 191 00:14:18.000 --> 00:14:20.279 I do think we hold a little too long at the end, a little 192 00:14:20.279 --> 00:14:24.120 too long on the picture of his wife, a little like a minute. 193 00:14:24.159 --> 00:14:26.960 Feels like I was gonna say, I mean to your point. With the 194 00:14:28.000 --> 00:14:30.960 sound effect, it almost seems like it was added after the fact, and 195 00:14:31.159 --> 00:14:35.039 I know it obviously was, but more like they didn't ask James Gregory to 196 00:14:35.120 --> 00:14:37.039 react to anything, because I watched it a couple of times and he doesn't 197 00:14:37.080 --> 00:14:39.559 react at all, but we hear it as the audience. It's like he 198 00:14:39.639 --> 00:14:43.559 would have heard it. He should have reacted. There should have been like 199 00:14:43.600 --> 00:14:46.120 a sly little smirk or a grin or something, and there's nothing. So 200 00:14:46.480 --> 00:14:50.039 it almost it feels like they gilded the lily just a little. I'm not 201 00:14:50.080 --> 00:14:54.480 saying it's perfect, but it's a pretty good segment that is just too on 202 00:14:54.559 --> 00:14:58.279 the nose. I think it's twice as long as it probably should have been. 203 00:14:58.360 --> 00:15:01.080 But I'm not in any way read it because I would watch Geraldine Payne 204 00:15:01.159 --> 00:15:05.840 do just about anything. I think she's great here anything else about this one, 205 00:15:05.879 --> 00:15:09.039 though, I think it's just really solid, and I'm glad we're getting 206 00:15:09.039 --> 00:15:11.639 them, Yeah, peaks and valleys with this show, Gentlemen, Peaks and 207 00:15:11.679 --> 00:15:15.240 vale all right. I like the idea that James Gregory is. At one 208 00:15:15.240 --> 00:15:18.200 point, he's like, she asked him, is your wife still as beautiful 209 00:15:18.200 --> 00:15:20.960 as the day you married her? And he just like stares at that photo 210 00:15:20.159 --> 00:15:26.360 just a moment too long, just a no, you're right, Like it's 211 00:15:26.399 --> 00:15:30.600 just again, like James Gregory was the perfect person for this role, you 212 00:15:30.639 --> 00:15:33.120 know. It's funny perfect. While watching and I was like, I know 213 00:15:33.200 --> 00:15:35.759 this guy from somewhere. He's so good. I'm like, I'm gonna look 214 00:15:35.799 --> 00:15:37.279 him up and so we can discuss him on the show. And then I 215 00:15:37.279 --> 00:15:41.080 saw the credits of Barney Miller and I'm not gonna just close my notebook like 216 00:15:41.120 --> 00:15:45.759 that. These guys can supply all the information we need to know by James 217 00:15:45.759 --> 00:15:50.960 Gregory. Oh yeah, yeah, yeah, this is almost a prequel. 218 00:15:50.039 --> 00:15:54.559 But I don't think Luger took this career path. Plus, I don't think 219 00:15:54.559 --> 00:15:58.360 he would be married according to Chris's theory, I am my theory hashtag Lugar 220 00:15:58.480 --> 00:16:03.399 big gay. Well that's why he's got to kill the wife. He's come 221 00:16:03.399 --> 00:16:07.679 out, you know. Yeah, botom alone. Just two highlights off of 222 00:16:07.720 --> 00:16:12.759 mister Gregory's career. Won the role that he played in Manchurian Candidate. He 223 00:16:12.919 --> 00:16:21.759 was the husband what's her name, Angela Lansberry? Really good role. Yes. 224 00:16:21.960 --> 00:16:26.639 And then the other one is General Ursus I believe is his name from 225 00:16:26.799 --> 00:16:29.960 Plane of the Apes, Planet of the Apes. Yes, yeah, that 226 00:16:30.159 --> 00:16:33.000 voice, man, he's so he's so good. He's great in this. 227 00:16:33.360 --> 00:16:37.120 As a two person segment, the bottle thing we got here for fourteen straight 228 00:16:37.120 --> 00:16:41.399 menuts. These two could have taken another fourteen. Honestly, if they could 229 00:16:41.440 --> 00:16:45.559 have had some machinations added to this would have been perfectly satisfied. Here we 230 00:16:45.639 --> 00:16:52.360 have a cameo dandy problem. How to flee the coupe, how to make 231 00:16:52.399 --> 00:16:59.000 tracks away from the police and unhappy peers ship out two. Safer claims the 232 00:16:59.039 --> 00:17:00.639 story of a chap who, if he'd had it to do over again, 233 00:17:02.120 --> 00:17:06.119 would have remained where he was. He finds out that he is precisely what 234 00:17:06.240 --> 00:17:12.000 is the title of the picture, dead Weight. Our last segment here is 235 00:17:12.000 --> 00:17:15.680 called dead Weight. This was written by Jack Laird from a short story by 236 00:17:15.720 --> 00:17:21.720 Jeffrey Scott and directed by Timothy Galphus. This one stars Jack Albertson, Bobby 237 00:17:21.839 --> 00:17:33.720 Darren, and Foghorn. Foghorn, that's right, one name like Vampiro or 238 00:17:33.799 --> 00:17:37.559 Mishu. At first I thought this was from Treg Brown's Warner Brothers Sound effects 239 00:17:37.599 --> 00:17:42.359 library. Turns out Hannah Barbera. Although I could have chosen a dozen different 240 00:17:42.680 --> 00:17:48.119 sounds of horns here from a dozen different libraries, because they are layered non 241 00:17:48.400 --> 00:17:51.880 stop in the background of this episode. If you're listening with headphones, all 242 00:17:51.880 --> 00:17:56.400 you were hearing was was foghorns an occasional bubbling, which turned out to be 243 00:17:56.440 --> 00:17:59.559 a water cooler, and that was actually a really good payoff. But oh, 244 00:17:59.559 --> 00:18:02.920 by the way, because I have to I'm a monomaniac and I have 245 00:18:02.960 --> 00:18:07.640 to research everything. Foghorns are actually called diaphones. They were invented by Robert 246 00:18:07.720 --> 00:18:12.759 Hope Jones in eighteen ninety four. He was the creator of the Wurlitzer organ. 247 00:18:14.400 --> 00:18:17.640 Wow, I'm disappointed leghorn wasn't mentioned in any form. I know, 248 00:18:18.039 --> 00:18:23.960 like first she heard foghorns and letting heard leghorns. Yeah, anyway, I 249 00:18:23.960 --> 00:18:30.920 don't want to correct you anything, but James Metropole also makes an appearance in 250 00:18:30.039 --> 00:18:37.000 here as delivery Boy, one of the worst performances of an extra art war. 251 00:18:37.200 --> 00:18:40.960 While he's not an ex ray, he's got a few lines. He's 252 00:18:41.079 --> 00:18:45.039 terrible. He's absolutely awful, just the reaction shots that they let him do. 253 00:18:45.759 --> 00:18:49.039 And I personally I blame the editor because you get off of that guy 254 00:18:49.160 --> 00:18:55.319 as soon as possible and get right back over to Jack Albertson because he's putting 255 00:18:55.359 --> 00:19:00.400 on a show even when he's not even saying anything. Just that face is 256 00:19:00.440 --> 00:19:04.240 fantastic. James Metropole, shame on you, man. Remember I remember in 257 00:19:04.319 --> 00:19:07.400 Cool Air. The worst part of that episode, which was a pretty good 258 00:19:07.400 --> 00:19:11.640 episode ultimately, was the fucking delivery guy. He shows up for a two 259 00:19:11.720 --> 00:19:15.079 scene one scene, just says a few lines of awfulness and then I'm out. 260 00:19:15.279 --> 00:19:19.839 Just came to ruin this moment. By this one's the tale of a 261 00:19:19.880 --> 00:19:25.559 gangster on the Lamb and the exporter who he approaches to help ship him out 262 00:19:25.559 --> 00:19:30.160 of the country. Continue, fellas, I know we're all gonna say the 263 00:19:30.200 --> 00:19:33.559 whole thing. Bobby Darren looks like Kevin Spacey he played in YadA, YadA, 264 00:19:33.599 --> 00:19:37.279 YadA. I would actually put out a piece of information that I couldn't 265 00:19:37.279 --> 00:19:41.680 get out of my mind as I was watching it. Bobby Darren in this 266 00:19:41.759 --> 00:19:45.400 episode segment looks like Jeff Bezos with hair and a mustache. And it freaked 267 00:19:45.440 --> 00:19:49.480 me out the whole time I was watching it because he just looked like Jeff 268 00:19:49.519 --> 00:19:52.359 Bezos with hair and a mustache, and I couldn't get it out of my 269 00:19:52.400 --> 00:19:56.240 mind. Obviously, we know Kevin Spacey played Bobby Darren. Whatnot Bobby Darren 270 00:19:56.480 --> 00:20:02.720 the least convincing gangster possible as far as I'm concerned, Because yeah, that 271 00:20:02.799 --> 00:20:07.960 that elephant waits three. Can I just say that as first of all, 272 00:20:07.000 --> 00:20:11.480 Okay, just wait till season three and it's glorious anyway, go ahead. 273 00:20:11.759 --> 00:20:14.839 This is pretty glorious in and of itself, though, because Bobby Darren. 274 00:20:15.119 --> 00:20:19.000 Someone was like, what are the most trophy stereotype things you could say as 275 00:20:19.039 --> 00:20:22.359 a gangster, like all the things that they have him say, and then 276 00:20:22.440 --> 00:20:29.039 so I think he died like the next year. If memory serves, this 277 00:20:29.160 --> 00:20:33.160 was like one of his last performances. Man. Yeah, that mustache was 278 00:20:33.279 --> 00:20:41.440 just hilarious to me. And I know that Johnny Fontaine was based on Frank 279 00:20:41.480 --> 00:20:45.039 Sinatra, but I just kept thinking of Johnny Fontaine while I was watching this, 280 00:20:45.079 --> 00:20:48.240 and I just kept waiting for somebody to grab them be like like a 281 00:20:48.359 --> 00:20:55.279 man, you know, such a weasel. Oh he was such a weasel. 282 00:20:55.480 --> 00:21:00.359 Yeah, just that everything that went on. But he does a good 283 00:21:00.359 --> 00:21:03.920 turn, especially when he talks about shooting that little kid and the clothes up 284 00:21:04.000 --> 00:21:08.160 they give him. I was like, oh, that's really good. I 285 00:21:08.279 --> 00:21:12.160 kind of like this, but was it as good as the fish eye on 286 00:21:12.240 --> 00:21:18.079 Jack Albertson's face. He's okay, everything okay with you, You're right, 287 00:21:18.359 --> 00:21:22.880 everything okay. He tells that story to Jack Hamerston. Jack Hammerston replies, 288 00:21:22.200 --> 00:21:27.200 that'll teach the little rascal not to play hoockey, right, so good, 289 00:21:27.640 --> 00:21:30.240 But he actually, he says, I guess. He even goes as far 290 00:21:30.240 --> 00:21:33.599 as saying like, I guess that'll teach you. Like he's like, are 291 00:21:33.640 --> 00:21:34.759 you playing a game with me, like, no, I'm just being a 292 00:21:34.799 --> 00:21:40.640 dick to you, because like Bobby Darrenson deliver every line like he's out of 293 00:21:40.680 --> 00:21:44.240 breath. Did you notice that? All right? He's really worked up, 294 00:21:44.720 --> 00:21:48.279 like like he just ran up to the to deliver these lines very quickly. 295 00:21:48.319 --> 00:21:52.559 Every time he's not on not on screens, he's running in place or something 296 00:21:52.599 --> 00:21:56.319 like that. Couldn't quite figure it out. I do think Kevin Spacey is 297 00:21:56.359 --> 00:22:00.720 a better Bobby Darren than Bobby Darren. Actually, oh, I get what 298 00:22:00.759 --> 00:22:03.599 you're saying, Chris about the resemblance to a later thing, but Jesus Christ 299 00:22:03.599 --> 00:22:06.960 couldn't get that out of my mind the entire time. Is Kevin Spacey right? 300 00:22:07.319 --> 00:22:10.000 And it was like, luckily I have been here, he would have 301 00:22:10.039 --> 00:22:11.359 been I mean, he's problematic. I don't want to see him anymore, 302 00:22:11.359 --> 00:22:15.759 but like his performance would have been better than Bobby Terence. I am so 303 00:22:15.799 --> 00:22:19.400 glad I avoided all of that. Like when Kevin Spacey announced that he was 304 00:22:19.440 --> 00:22:22.920 going to do that when he was like what fifty sixty years old, and 305 00:22:23.000 --> 00:22:26.519 Bobby Darren died when he was thirty seven, I'm like, yeah, no, 306 00:22:26.920 --> 00:22:30.160 I don't want anything to do with this movie. And then then he 307 00:22:30.359 --> 00:22:34.880 himself a residency here in Las Vegas as Bobby Darren. That's the best part. 308 00:22:36.279 --> 00:22:41.640 Okay, if you're gonna take the joke one step too far, wasn't 309 00:22:41.680 --> 00:22:45.119 a joke? Jokes us for paying to go see it? If we did. 310 00:22:45.240 --> 00:22:48.680 You know, Kevin Spacey does like to take the joke one step too 311 00:22:48.720 --> 00:22:52.440 far. That's what he's still doing barbecue videos. Yeah. I do think 312 00:22:52.480 --> 00:22:56.640 though, as fun as the segment is, I think y'all would both agree 313 00:22:56.680 --> 00:23:02.599 with me. It is a bit of a black sketch. Yeah, it 314 00:23:02.640 --> 00:23:06.279 works only because again, like they have six and six and a half minutes, 315 00:23:06.319 --> 00:23:08.799 eight minutes to tell this, but it is even. It might be 316 00:23:08.839 --> 00:23:14.240 a little he goes around the bend twice Bobby Darren does with the story, 317 00:23:14.279 --> 00:23:17.400 and it's I don't think, maybe you need to tell it again, even 318 00:23:17.440 --> 00:23:21.640 more exasperated than before. I found that very odd, the way that he 319 00:23:21.680 --> 00:23:25.559 reinvents his crimes for a second time. I'm like, we heard you the 320 00:23:25.640 --> 00:23:29.480 first time. He's a dastardly guy, don't you get it? He's talking 321 00:23:29.519 --> 00:23:32.720 about it. I think the idea is that he starts to feel guilt for 322 00:23:32.759 --> 00:23:36.720 it the second time he spills the story but ultimately he's going to be dog 323 00:23:36.759 --> 00:23:40.519 food either way. That I kept expecting this is going to be some sort 324 00:23:40.559 --> 00:23:42.480 of supernatural thing, This is going to be some sort of soul thing, 325 00:23:42.480 --> 00:23:47.240 a thing to care to get his soul or get him a body or something. 326 00:23:47.440 --> 00:23:49.880 And when it just turned out to be like as simple as a glass 327 00:23:49.920 --> 00:23:55.559 of poison right right, and he just falls over dead, I was like, 328 00:23:55.759 --> 00:24:00.039 wow, right on well, And then I kept thinking, in this 329 00:24:00.079 --> 00:24:03.240 is something that we've thought about on here before two what year is it? 330 00:24:03.319 --> 00:24:11.160 And I was thinking was way earlier than that dog food container led me then 331 00:24:11.240 --> 00:24:15.359 to believe. I was like, oh, okay, this is nineteen seventy 332 00:24:15.440 --> 00:24:18.480 three. I thought we were in nineteen twenty six. Might as well have 333 00:24:18.519 --> 00:24:22.319 been this export or import exporter, are you? Yeah? The out of 334 00:24:22.359 --> 00:24:27.839 placedness, out of timeness of the story was strange. I like the gag 335 00:24:27.880 --> 00:24:30.920 of he's a dog, he's dog food now. But I love in a 336 00:24:30.960 --> 00:24:33.920 movie or a TV show where somebody offers somebody else to drink and the other 337 00:24:33.960 --> 00:24:40.559 person ain't paying attention because Jack Albertson does not drink even pretend to. He 338 00:24:40.720 --> 00:24:44.880 just like and Bobby Darren just chugs the fuck it knocks it back and he's 339 00:24:44.920 --> 00:24:48.359 just okay, like all right, you have fun with that. I just 340 00:24:48.480 --> 00:24:52.240 love that because you know he's with settling on a toast. We'll have a 341 00:24:52.279 --> 00:24:56.279 toast to your health. That'll teach a little rascal not to play hockey. 342 00:24:59.240 --> 00:25:03.240 His death, it was pretty fantastic. The way he just like keels over 343 00:25:03.319 --> 00:25:06.240 and dies. It reminded me of something like out of a Saturday Night Live 344 00:25:06.319 --> 00:25:11.799 skit, yeah, or a Monty Python just like right that with the fish 345 00:25:11.839 --> 00:25:15.400 eye lens right before that, right on Jack Albertson's face. Right, it's 346 00:25:17.039 --> 00:25:19.240 hey, they got a lot of milets out of the fishy lens this episode 347 00:25:21.160 --> 00:25:22.599 and the seven minutes. I didn't mind it. I know it's just a 348 00:25:22.640 --> 00:25:26.200 blackout sketch, but like I like the length of your blackout sketches. If 349 00:25:26.200 --> 00:25:32.279 they're entertaining, fill the episodes with seven minutes at black Eyes, it would 350 00:25:32.279 --> 00:25:34.440 be fun. I thought the twist was going to be he like sent him 351 00:25:34.480 --> 00:25:37.440 to like Papua New Guinea or something, because in the seventies it would have 352 00:25:37.480 --> 00:25:41.599 been like, oh, we'll send him to the Bermuda Triangle or something like 353 00:25:41.079 --> 00:25:44.880 buck this guy, you know what I mean, That's what I was expecting. 354 00:25:44.960 --> 00:25:48.440 I was not expecting him to make it out alive because they paint his 355 00:25:48.519 --> 00:25:53.279 character into such a disgusting corner. It's like Jack Albertson's jack Albertson is not 356 00:25:53.359 --> 00:25:59.039 going to not do something, because it's clear that he's very much like on 357 00:25:59.119 --> 00:26:03.839 the up and up. But dog food it was unexpected. Yeah, dog 358 00:26:03.920 --> 00:26:07.279 food, but not a been where. I guess that's gave him everything he 359 00:26:07.359 --> 00:26:11.079 promised. He was shipping them off to South America. Yeah, they're gonna 360 00:26:11.119 --> 00:26:14.960 enjoy him down there. Say he was gonna get there alive or not as 361 00:26:15.000 --> 00:26:18.599 dog food. I'll get there like fifteen years before. The contrast, always 362 00:26:18.680 --> 00:26:25.400 ask your exporter, Am I going to be dog food? It's those are 363 00:26:25.440 --> 00:26:30.839 words to live by. All right on that We're gonna play the next episode 364 00:26:30.920 --> 00:26:34.200 and we'll be right back to wrap things up. Our opening kickoff is deep 365 00:26:34.240 --> 00:26:40.400 into the end zone of the words We're hounds Bay and which is fly brooms 366 00:26:41.039 --> 00:26:45.519 and the belief in the supernatural is as natural as breathing or not breathing. 367 00:26:45.079 --> 00:26:56.359 We call this item I'll never leave you Ever. Our next painting tell us 368 00:26:56.400 --> 00:27:02.960 the story of a young man whose major in school philosophy. But whose extracurriculum 369 00:27:03.039 --> 00:27:07.240 labor has taken into the area of black magic. And for this you don't 370 00:27:07.279 --> 00:27:11.960 get a degree, but the commencement ceremony is a guess see for yourself as 371 00:27:11.960 --> 00:27:18.119 we offer you, there aren't any more McBain's. That's right on the next 372 00:27:18.119 --> 00:27:22.000 midnight view and we'll be taking a look at season two, episode twenty that's 373 00:27:22.039 --> 00:27:26.759 broken into two segments. I'll never leave you ever, and there aren't any 374 00:27:26.759 --> 00:27:30.279 more McBain's until next time. What are you working on and where can people 375 00:27:30.319 --> 00:27:36.480 find it? Mike White, You can always find everything that I do over 376 00:27:36.680 --> 00:27:41.079 at weird Ingwaymedia dot com. That includes my show The Projection Booth, as 377 00:27:41.079 --> 00:27:45.319 well as a lot of other things that we work on, including what is 378 00:27:45.359 --> 00:27:48.519 that Dreams for Sale? That's still going on right I think we got a 379 00:27:48.559 --> 00:27:52.599 little bit of time until the clock finally runs out on that, although by 380 00:27:52.599 --> 00:27:53.960 the time they hear this, it'll be already out. I think, oh, 381 00:27:53.960 --> 00:27:57.440 okay, Well, you can hear the whole series over at Weirdingwaymedia dot 382 00:27:57.480 --> 00:28:02.720 com. How about you, Chris Ash Weirdingwaymedia dot Com. Same place, 383 00:28:02.839 --> 00:28:04.640 all the same, similar things, not all the same things, but a 384 00:28:04.720 --> 00:28:07.920 lot of the collaborative stuff, and then the Culture Cast, where like Mike 385 00:28:08.000 --> 00:28:11.559 does on the Projection Booth, I talk about movies once a week, So 386 00:28:11.599 --> 00:28:14.160 if that's something you're interested in, that's where you can go to find it. 387 00:28:14.559 --> 00:28:17.160 I got a lot of visual stuff over at fondamalone dot com, but 388 00:28:17.240 --> 00:28:19.240 all of my audio content, all of the podcasts I work on, Dark 389 00:28:19.279 --> 00:28:25.640 Destinations and astounding tales of the public Domain and noise Junkies, those can all 390 00:28:25.680 --> 00:28:30.000 be found at weird ingwaymedia dot com. Thank you all for joining us here 391 00:28:30.039 --> 00:28:33.119 at midnight viewing. The gallery is now closed.