You unlock this door with the key of imagination. Beyond it is another dimension,
a dimension of sound, and a dimension of sight, a dimension of
mind. You're moving into a land of both shadow and substance, of things
and ideas. You've just crossed over into the twilight zone. Not always,
but often, when we arrive in the fifth dimension, we are allowed,
as certain pause to acclimatize to our new surroundings, to meet at least one
or some of our characters before their world is turned upside down. But tonight
that is not the case. No sooner have the opening credits ended than Rod
Selling's urgent opening narration begins. Portrait of a nervous man, Oliver Pope by
name, office manager by profession, a man be set by life's problems,
his job, his salary, the competition to get ahead. Obviously, mister
Pope's mind is not on his driving. As you see from the surroundings,
this isn't a beautifully constructed studio backlot drenched by water cannons and artfully lit.
This isn't some mock up of an idealized white picket fence American street. This
is an American street, and the series of events that unfolds in front of
us is as stark and coldly violent as the Twilight Zone has ever been.
A businessman turned killer and a rainsoaked street in the early evening of Just Another
Day, during Just Another drive home from the office, the victim of Kit
on a bicycle lying injured, near death. But mister Pope hasn't time for
the victim. Is only concern is for himself. Oliver Pope hit and run
driver just arrived at a crossroad in his life, and he's chosen the wrong
turn. The hit occurred in the world he knows, but the run will
lead him straight into the Twilight Zone. First broadcast on January said, nineteen
sixty four, Written by Elhamner Junior and directed by John Brown. First,
let us address our Rod sailing in the scene moment when the episode begins.
Rod is speaking over the scene that is playing out in front of us,
very much in the same way as he used to with season one, just
pure voiceover. But by the time the camera whippans over to him, he's
clearly not standing in the street where we've just seen the car driving. He
stood in front of a very fake looking hedge. And I think this is
one where if they weren't going to commit to having him on the same street
as the car, then maybe we should have kept this one to a straight
voiceover. But that said, what I do love here is the seriousness with
which Rod's sailing meets this moment, because of course he knows that this isn't
some whimsical tale or real world thing wrapped in a fantasy. This is a
boy being injured in the street, injuries that will subsequently take his life,
and Rod's urgent and earnest narration treats that with the seriousness that it deserves.
Our writer tonight is of course ERL Hamner Junior, and we won't talk too
much about him in this episode because he is still very much in the middle
of his eight episode run, with three more episodes from him that are still
left to corn. But Tonight's director is a very notable one in the Twilight
Zone. But we won't talk too much about him either because this isn't quite
his swan song episode, so we'll give him as due when that time comes
as well. It is, of course the great John Brahm, a Twilight
Zone director who managed the feat of directing an episode in every season. Now,
when you look and his resume, he wasn't quite one of the Twilight
Zones moodiest directors like say Douglas Hayes, who directed things like The After Hours
and I of the Beholder. A John Brahm episode tended to be a bit
more straight ahead, but he could still direct quite atmospheric fare like Mirror Image
other New Exhibit, so it was in his skill set. This episode,
however, has quite a unique look for a Twilight Zone, and I would
say that it is almost a complete lack of moodiness and due to the outside
locations and the indoor ones that we subsequently see, it has a very clinical
look to it. And we'll come back to this later on. So we
have rather sped into this episode like our main character Oliver Pope. So just
to recap, we meet Pope driving his car fast along the street. He
hits a boy who is riding his bike, causing him to fall to the
floor. A woman sees this going on and comes to the boy's aid,
and although Oliver did briefly get out of the car, he doesn't stick around
to help. He gets in his car and drives away. So the look
of these scenes where Pope is speeding around do look very different for the Twilight's
Own episode. We are very used to these studio backlots, which have really
added a certain look to the show over the years, and I actually really
loved that look. But you can't really do a car scene like this one
on those kind of sets. So they went out on location, and Martin
Graham's junior right in unlocking the door to a television classic that the third day
of filming was in location in Culver City, and Cayuga Productions had to purchase
business paymits to be able to film there, and police officers were provided to
maintain local traffic, and the police also granted permission for them to film outside
the police station later on. And for this hit and run scene, they
filmed at the corner of Victory Park in Culver City. And if you were
lucky enough for your house to appear on screen, Cayugo would come knocking on
your door and pay you the princely sum of twenty five dollars for having your
house in the episode. So after the collision, when Oliver gets home,
does he break down with remorse? Does he tell his wife that this terrible
thing has happened? No, not quite the office, Sally, I know
that Pete al he's after my job. He didn't impress me. Is that
kind of fell at all? Please? Why do you have to disagree with
everything I say? Now, Allie, you're just tired and cross. So
Pope has done this thing, but all that he's concerned about when he gets
home is what's going on at the office. Now, he was clearly distracted
before when he was driving, and maybe these things at the office were the
things that were causing him distraction. But the fact is he's just hit a
boy with his car and that should be where his focus is. But as
we've just heard, it isn't. So it seems that mister Pope is an
extremely self obsessed man. But it doesn't take long from when he gets home
for things to take a very strange turn with his car. At first,
it manifests with light of the car blinking on and off by themselves, something
that could quite easily be an electrical fault, but through the episode we'll see
that that's not the case. There was an accident this evening at the corner
of Third and Park. Could you, well, I am a friend of
the fair Eyes, could you tell me how is the boy yes, terrible.
So we now know that this hit and run could tend fatal and Oliver
Pope turns in for the night. So while he lays there and contemplates what
he's done, let's meet the man who played them. Oliver Pope is played
by a With Andrews, and of course you will remember him from his superably
slimy and sinister tain as Carling in Theater from the Sun way back in season
one. And he was born in nineteen fourteen in Griffin, Georgia, the
son of a minister, and the acting bug hit early and by the age
of twelve he was already on the stage, and by the time he was
in his early twenties he was on Broadway, and then by nineteen thirty six
he was starting to hit the screen with small parts. But it was the
nineteen fifties where his career really began to gather steam in shows like suspense and
craft television theater. In fact, there really are too many appearances to mention,
because Andrews truly was a hard working actor of the day and very prolific,
and the late fifties saw him lean into big screen work as well as
on the small screen. He was one of those actors who would effortlessly straddle
those two worlds now I MDB describes him as someone who would often be cast
as jovial grandfather types or genial small town businessman. But I think, as
evidenced in his two Twilight Zone appearances, he had a great knack for villainy
too. His Season one performance as Carling is a masterclass in getting under your
skin, and in Stuart Stanyard's book Dimensions Behind the Twilight Zone, Stanyard asks
El Hamner, how did you feel about the casting on you Drive? And
Hamner says, I thought the casting was wonderful. The gentleman whose name is
Edward Andrews was perfect in the part. He was a little bit overly fastidious.
He put you off just a little bit to the degree you could hate
him for running over a small kid, and then you could sympathize with the
car. The car was the hero of the piece, and I think that's
the key with Andrews. He could just push his performance in the right way
to make himself unlikable in a way that was really quite uncomfortable. So Oliver
Pope's slumber that night was disturbed by his car flashing its lights and beeping its
horn in the garage, and the next day, when reading the paper,
his wife points out that the little boy who was hit by the car is
unlikely to live, but also that there was a witness to the incident,
all of which shakes Oliver up enough to make him stay home from work,
and the car, upon hearing this, starts to create a racket, which
then causes Oliver's wife Liz to say she's going to take it out to be
fixed, but when she goes out in it, it stops at a busy
intersection, leaving her stranded. Yes, yes, third in park. Well,
I don't know what's the matter. It just stopped and it will start
again. Look, could you please send a tofak right away. I'm in
the middle of the street. So while Lillian tries to get help, let's
meet the woman who played her. Lilian Pope is played by Helen Westcott and
she was born in nineteen twenty eight, and like her co star, she
took the show business at an early age as well, when she began performing
with her mother in a vaudeville act at the age of four years old.
Now, her father was an up and coming contract actor at Warner Brothers,
but unfortunately he died far too soon at the age of thirty one following a
horse polo accident. Helen, however, was able to secure work in a
couple of Warner Brothers pictures herself, but then took some time out to complete
her education, and the nineteen forties and early nineteen fifties saw her working non
stop in pictures and acting across from the like Sir Gregory, Peck and Abbott
and Costello. But like many of her generation, when television became a more
common household thing, she made that transition herself throughout the late fifties and became
a hard working actor of the day, up to a point in shows like
Playhouse ninety. But we actually catch her here quite late in her acting career,
and she only has six roles after this one. Her next role wasn't
actually for five years and took place in nineteen sixty nine. Then she had
a handful of roles in nineteen seventy and seventy one, and then finally her
last performance in nineteen seventy seven. And perhaps her absence from the screen was
because she did have a love for stage acting and was active on stage in
the late sixties and seventies, but sadly she passed away from cancer in nineteen
ninety eight at the age of seventy. So we find out that Lilian leaves
the car at the garage to be fixed and then comes home. I'll get
hello, yes, yes, speaking, No, I didn't pick it up
right, yes, yes, I know where it is. It's right here.
Didn't one of your men deliver it? No? No, no,
no, I don't understand it either, But I'd like you to understand one
thing. Don't bother to send me a bill. You didn't have the car
down there long enough to even look it over. Let me think about that.
Was that the mechanic they said they lost the car? Can imagine the
nerve of that guy. It's not lost, is right here. So will
you please explain to me how did it get here? They didn't deliver it,
They didn't drive itself on. Don't answer that? Why not? So
a car having a mind of its own or some sort of sentience is something
that was seen quite often in fiction at this point, in films like Christine
or the Hairby series, but then it wasn't actually so common before that faced
Hairbee movie. The Love bog in nineteen sixty eight. There were a few
films that featured cars with somewhat censuring characteristics, although not necessarily a fully independent
mind. One notable example is the nineteen sixty four film The Yellow Rolls Royce,
where a Rolls Royce car plays a central role in connecting the stories of
various characters, but it doesn't possess a mind of its own the way Harby
does in The Love Pug. And then in nineteen sixty three there is the
film The Great Race, which features a car named the Leslie Special that has
a distinct personality and plays a significant role in the story. But this too
doesn't really have an independent mind, So the Lovebug is often credited as the
face to depict a car with a fully developed independent mind and personality. But
television played its part in the two One notable example is a show called My
Mother the Car, a sitcom that airds between nineteen sixty five and nineteen sixty
six, amazingly only for one season, and in this series, a man
named Dave Crabtree discovers that his mother has been reincarnated as a talking nineteen twenty
eight Porter touring car. The car communicates with him through the car radio and
hilarity ensues. Everybody knows in the second life, we all come back sooner
or later as anything from as it can't do anything else where. You all
may think my story is more fiction than it's fast, but believe it or
not, my mother did she come back? I team that's what she helps
me through everything I do, and I'm bless. So the Twilight Zone actually
pre date that sitcom classic, so it's really quite ahead of the cave in
this type of story. So where did it all come from? Well,
in the Twilight Zone, companion El Hamner says, all mechanical things frustrate me.
I'm afraid of and inept with all mechanical devices. It's kind of a
love hate relationship. I drive a Corvette, which I love because it is
so at odds with the image of John Boy Walton as an old man,
and of course it's a stunning machine. But at the same time I do
not trust it. It seems to have a life of its own, and
sometimes when it will not start, I suspect it's because it has some personal
grudge against me. So back to our episodes, because all of that hasn't
gone into wake one of his colleagues comes to the house to see him.
Well, what brings you out here, Pete? Well, he didn't show
up at the office. I thought i'd clear up that in basket of years.
You keep your hands off of my desk. I've got some very important
correspondence in that basket. It's not anymore. I took care of it.
Your letters, sir, all answered and waiting for your signature. Oh answer,
Alli, I'm sorry, Ali. I only wanted to do you a
favorite. You can do me a favor. Quit bucking for my job.
Huh. I'm sure that most of you will recognize that Pete is played by
Kevin Hagen, who, after appearing in the fair season episode Elegy Buck,
ends his Twilight Zone appearances by now appearing in season five. And what we're
seeing here is that even with all this going on, against the backdrop of
having fatally hurt this child, Oliver Pope is really just not a good man
at all. He chooses this moment to reprimand a colleague who was trying to
help him. And if you thought you couldn't dislike Oliver Pope anymore, he
has even more nastiness up his sleeve, because when Pete leaves his house.
The witness who saw the collision mistakenly points Pete out as the perpetrator, and
he's arrested. So is this the thing that forces all of a pope to
come clean? No, it isn't. Now there isn't a great deal of
trivia about this episode, so we will begin to take the road to its
conclusion. After a couple more incidents with the car, Oliver all but dismantles
some parts of it, and he thinks he's put an end to its problems.
Now, don't you stay down there work and if you get tired to
come out home? All right? Bill? All right, aren't you going
to drive? Well? I thought I would take the bus. Why well,
I don't trust that car. I mean it's falling apart. Were you
just going to leave it in the garage? No? No, I thought
I'd put an ad in the paper. Somebody will take it off our hands.
Hi buy them bye Alli. So, walking to work the next day,
Oliver believes that his problems are over, but the car starts to follow
him, and this is quite impressively On and in the Twilight Zone, companion
William Frug explains to Mark Zickrey we had a man under the dashboard with a
tiny periscope that stuck up through the hood of the car, and he drove
with special controls. I remember watching it because I was on location when it
first filmed, and I was astonished this car would come driving by, and
it was spooky because you couldn't see this little periscope sticking up. Now,
eventually, at the end of the episode, Oliver falls to the floor,
but instead of killing him, the car drives right up to his face,
but then pulls back. And they achieved this by simple reverse photography. And
it's after this happens that Oliver is forced to hand himself in to the police.
Bad people or people who have done bad things getting there come up once.
Is the Twilight Zone stock in trade. Not every episode is like that,
but it is a common trope in the show. Consider Walter Bedecker in
Escape Clause, doomed to live an eternity in jail as an immortal for killing
his wife until he decides to use his escape clause and promptly dies in his
cell. You could argue that he's quite deserving of his fate, but then
we see Franklin Gibbs in the fever being terrorized by a slot machine for the
crime of, I guess, just not being a terribly nice guy. The
justice of the Twilight Zone can at times seems somewhat imbalanced and prone to being
fatal. Even when that feels a little bit over the top, cosmic justice
is meted out on a regular basis. The Twilight Zone will take an eye
for an eye when it sees fit to do so. Now, Mark Zickre
in The Twilight Zone Companion says that he doesn't think this is a particularly effective
episode, and I don't really disagree with that, But if I like something
about it, it's that it could have quite easily been as simple as the
man kills the boy with the car, so the car kills the man.
But that's not quite what it is. In the closing narration, Rod Sailing
refers to the conscience of the car, and that's exactly what it has.
The vehicle has the conscience that Pope should have. It's saying to him,
look what you made me. Do you have to own up to this?
It plays a news report to Pope over the radio, not to drive him
mad, but to make him take responsibility. And at the end, when
the car could have quite easily killed him. It doesn't. It just gives
them a warning shot if you don't know, this is what's going to happen
to you. So Pope owns up. Now. This episode is often talked
about in the same breath as a thing about machines because of the sentient car
aspect, and when you stack them up against each other, you see just
how imbalanced the twilight done can be. In that episode, Bartler Finchley isn't
a very nice man, but does he deserve death by car? Probably not.
But here Pope kills a child then not only tries to get away with
it, but will quite happily see another man take the fall for it.
Whether you agree with capital punishment or not, I think we can all see
that if death is to be meeted out here in balance, it's probably not
Bartlet Finchley who should be on the receiving end. So I kind of admire
that al Hamner has gone for a slightly more sophisticated, nuanced story here than
simply killing Pope with the car. So when we stand back and look at
the episode, it's one that feels quite cold. We have the brightness of
these outdoor shots and then we have Oliver Pope's very clinical looking house. It's
not a warm place to be at all, and while that does save a
papers because he's not a very warm human being, it does make the episode
quite uninteresting visually, but also the subject matter is quite grim and in a
sense quite realistic. We see the collision for the most part at the beginning
of the episode, and this isn't dressed up in fantasy. When I first
saw it, I was reminded of British public information films from the seventies that
have become quite infamous now. They were designed to scare kids away from doing
things like going on building sites or playing near water where they could drown,
and these videos didn't pull their punches. You had actors like Donald Pleasant narrating
films where kids were being killed over and over by drowning, and sometimes these
films showed this subject in very graphic detail, so there was a kind of
stark reality to them, which I'm reminded of. Here, I am the
spirit of dark and lonely water, ready to trap the unwary, the show
off, the fool, and this is the kind of place you'd expect to
find me, But no one expects to find me here. It seems toward
me, but that call is deep. The boy is showing off. The
bank is slippery. The show offs are easy, but the unwary ones are
easiest too. This branch is weak, rotten. It will never take his
way. Only a fool would ignore this. But there's one born every minute.
Under the water. There are traps, old cars, bedsteads, weeds,
hidden depths. It's the perfect place for an accident. Oh wait,
Simpson, children, I have no power over them. Cast your mind back
to the second episode One for the Angels, in which a little girl is
hit by a car as well and hair life hangs in the balance, and
then compare the presentation. In you Drive, we see the violence of the
incident itself, and we also see that it happens on very real streets.
And then as we go through the episode, we are accompanied by Oliver Pope,
a man without remorse or conscience or warmth. Then in One for the
Angels, the incident happened off screen. We're on this beautiful studio backlot set
where even the streets where poor people live have a kind of warmth to them
and a beautiful sense of Americana and mister Death himself, the one who has
come to take away lou Buckman and possibly the little girl. Business like as
he is, is still quite a likable fellow. So One for the Angels
is wrapped up in whimsy and fantasy from the outset, and even given the
backdrop of death, it's quite comforting. But there's nothing at all comforting about
this one. So is this why while there are some things I admire about
this one, I don't find it that enjoyable to watch. As well as
Rod Sailing's well documented method of putting social justice through a filter of science fiction
or fantasy, maybe we've become accustomed to the harsh, unfair realities of life
being put through that fantasy filter as well. I think everyone's mileage on that
will be different, So we'll put that thought in the box marked considerations rather
than one marked judgment. Because as I watched this episode more and more in
preparation for this I did begin to appreciate it a little bit more to some
degree, but it's hard to imagine that it will be an episode that I
would have a hankering to watch one day and put it on my television,
Perhaps because of the harsh realities that we see here. Oliver Pope just isn't
someone who we want to invite into our homes. Too often, all persons
attempting to conceal criminal acts involving their cars are hereby widely check first to see
that underneath that chrome there does not like a conscience, especially if you're driving
along a rain soaked highway in the twilights on you. So there we go.
You drive definitely not one that I think features in many people's top fives
or top tens or even top twenties. But are the things to appreciate.
Well, let's go over to our friends in the after hours club to see
what they think. So I put it out for vote, and surprisingly,
thirteen percent put it in the top tier. So it just goes to show
that every episode is good for someone. Two percent said it was middle tier,
and then bottom tier is thirty five percent. So then we open up
the floor to the members of the after hours club and see what they think.
And my good friend uncommon Nasa says, this is one of my least
favorite episodes of the entire series. It just feels off in tone and is
just too dark. Thank you, NASA. You know I get that that's
exactly what I was talking about with the kind of public information type of darkness
to it. Good friend Jason Schwartz says this one, this one used to
be lower my list, but it's just so odd compared to other teasy episodes
that I couldn't stop thinking about it and started to like it. Not top
tier, but it's moved out of my lower into the mid I agree with
uncommon NASA though it's very dark, a realistic kind of dark. Thank you,
Jason. Jordan Dollar says a lot of the fifth season seems to have
counterparts earlier in the series. I think this is a counterpart to a thing
about machines. Something doesn't seem normal with this episode, and I can't quite
put my finger on it. The episode feels slow to me. One thing
that does stick out and makes things a little more lively is the amount of
outdoor filming this episode has for the show. With so much work done on
the soundstage, it's nice to get the value of work done on location.
I can't say that I think the episode is bad. It's just a bit
dull. Perhaps in other hands, the story would have had more excitement to
offer. I think that's a very fair assessment, Jordan. Thank you.
Jay Howard says this episode has been in the pop lexicon since its premiere.
Everyone knows there's something on the wing of the plane. This is classic Shatner.
This is classic Shatner, classic Math, and of course classic Twilight Zone.
Thank you, Jay. I think I think maybe that was posted on
the wrong one, but I appreciate that. Thank you. Sean Bogg says,
I think this is an underrated and excellent episode as far as I'm aware.
It is the only episode that deals with the inner turmoil caused by guilt.
Ollie gets away with his crime, and it seems likely he would never
be found out, but his car, which I see as a metaphor for
his conscience, will not keep quiet. The more he tries to ignore and
avoid it, the more it haunts him, until he finally realizes the only
way forward is to come clean. I know it's not as visually memorable as
Nightmare of twenty thousand Feet and doesn't have Shattner's celebrity status, but with poles
open on both episodes right now, I can't help but compare the two and
actually find this story more compelling. I think you make a good comment there
Sean about it is like separating out the conscience into a separate entity, really,
and the entity makes sense it being the car that was involved in the
collision. So great stuff, thank you, Sean. Joe Brown says,
I like this episode a law Ed Andrews does a great job of playing his
character with an over the show the mentality he knows he shouldn't have left the
scene, and each day the guilt is rising, the car decides to take
matters into its own hands. One of the things I liked was filming outdoors,
and it made it seem like it wasn't in the back lot, but
on an actual street in any town, USA. It seemed more real that
way. I don't think this episode gets a lot of love, but I
enjoyed it absolutely. Joe, that reality gives a really different kind of flavor
for the Twilight Zone. My old friend al Shardsma says it's hard as in
the right place, and Edward Andrews does a convincing job as Oliver, but
it doesn't work for me. It is both too dark, as Nasa says,
and too silly with the car chase at the end, too reminiscent of
a thing about Machines. I like most of Eilhamner's episodes, but this one
is a clunker. Bottom tier, but not the bottom of the bottom tier,
so Jason Schwartz says with another comment, I rewatched this one when I
go home from work. I actually like this one a lot more than I
remembered. I'd still go mid tier, but it's at the top of the
mid tier for me. The direction is different and the lighting is so different
than other Twilight zones. And the best part about to think about Machines is
the car, and this episode is all car. Thank you, Jason.
I think I agree in that the more I watched it, the more actually
did like it a bit more. I would probably put it as mid tier
as well, but more bottom mid tier for me. Michael Fairnback says,
even though it's not a great episode, I'm inclined to just edge it into
the middle tier because there's something unsettling throughout it. Our good friend Roger Moore
says, I've tried watching this episode many times and I always fall asleep.
All you top tier voters, please don't hate me. I've managed to watch
it wide awake once or twice. Higher side of the bottom tier thank you.
Roger cerebral P says, this episode is trapped in the twilight zone of
the bottom tier. I appreciate the message, but it plays like a public
service announcement. I guess you and me had the same thought, and they
go on to say, especially in the final shot of Oliver entering the police
station, I keep trying to like this one, but always find myself turning
it off. Thank you, cerebral P. And then finally, our friend
Joe Mayer says, I've been trying to put my finger on why this episode
has always left me wanting, and I think the best I can come up
with is that it's all tension and very little drama, if that makes sense.
If we were going to draw the story on a vision board, it
would look like a fairly straight line. Even when the coworker gets arrested.
There's just not enough movement in the feeling of the story to create an emotional
connection with the audience. Dear, I say, this episode might have benefited
from being an hour long episode. Thank you very much, Joe. So
that is our Patreon comments now over in the after hours club on Patreons,
things are going to change up a little bit as we head into our final
run. Now, I was considering winding it down, but I've been contacted
by a lot of people to say they enjoyed the programming on this so much.
They enjoy my interactions with my co hosts. I've got a couple of
great co hosts over there, Chris and Emmy, and they would just hate
to see it go away. So I am going to carry it on.
Boy, I'm going to evolve the content again. You know, you've got
to freshen things up every now and again. Now, Emmy and I have
been covering the twenty nineteen Twilight Zone again, going back to those episodes,
and we've only got a couple of episodes to go of that before we're at
the very end of it. So the kind of reevaluation of twenty nineteen and
twenty twenty is on there at the moment. But when we get to that,
we are going to do something called the twilight Zone Podcast after show.
Now, what that will entail is I will obviously do the twilight Zone podcast,
but then over on Patreon, Emmy and I will kind of carry on
the conversation if you like, you know, it won't be stepping through the
story beat by beat. It will be discussing the episode in a bit of
a different way. We will take some of these comments made by people on
the Patreon as talking point and pick those apart a bit more. So it's
going to be a bit extra about the episode that we've just talked about and
expand the conversation even fairther. So that's at the two dollars level over there,
but there's also going to be new ways to subscribe to that. If
you don't want to do it on Patreon, then you're going to be able
to subscribe to that on Apple Podcasts and Speaker as well. Now I haven't
got that completely figured out yet, so I will put links out when I
have, but there's going to be a few different ways to get it now.
Chris and I have been covering Night Gallery and we've actually completed Night Gallery
now. So what we've decided to do is there hasn't been a modern day
remake of Night Gallery or reboot, whatever you want to call it. But
Gmo del Toro, who is a big Night Gallery fan, created his show
on Netflix called The Cabinet of Curiosities, and really speaking, it's Night Gallery
and everything but name. It's definitely his love Letter to the Night Gallery.
Now, that is quite short, and it's only going to take Chris and
I four episodes to cover that. So after we've finished that, we're going
to move on to the show that Since the day I started the Twilight Zone
podcast, people have asked me, are you ever going to cover the Outer
Limits? Now, my good friend Victor Gamboa does a great job of covering
the Outer Limits over in the Outer Limits podcast, and I wouldn't do it
in that way because he's already got that covered, but in a more kind
of discussion format, something a bit different to differentiate itself from that. Chris
and I are going to do it in that more conversational way, the way
we've been covering the Night Gallery. So it's going to be Cabinets of curiosities
and then the Outer Limits that we're going to be covering over there on Patreon,
and that is at the three dollar level. Now the five dollar level
is more or less stained as it is, and that is commentaries of episodes
that I have already covered, but I'm going to throw in occasionally. I'm
going to change it up and not to a commentary because both Night Gallery and
the nineteen eighties Twilight Zone. A lot of those episodes were based on existing
short stories, and I've decided I'm going to dig into some of those short
stories and I'm going to read them on the Patreon so people have a bit
of compare and contrast for those so bit of a mixture at the five dollars
tier. So it's all change over there. You can go to Patreon dot
com slash twilight Zone podcast to become a member of the after hours club,
and I would appreciate your patronage very very much. Rod Serling, creator of
the twilights on, will tell you about next week's story after this message.
If you want to get your thoughts onto the show, send me a clip
of about five minutes or less to Tom at the twilight Zone podcast dot com
about an episode that we've covered or our next episode, and let's go over
to Rod Sailing to find out what that is. And now, mister Thirling
next time The Twilight Zone a rather probing study ice, irony and the ionosphere.
A short title The Longmorrow. It starts Robert Lansing and Marriette Hartley,
and it tells the story of an incredible trip into space with the sole occupant
of the craft living in to spend an animation. This one is for space
addicts and the romantically inclined, and the Twilight Zone, the Long Morrow