WEBVTT

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<v Speaker 1>Wait wait, same.

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<v Speaker 2>Welcome back to Midnight Viewing, the Horror Anthology podcast. With

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<v Speaker 2>this season, we're taking a look at Georgia A. Ramero's

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<v Speaker 2>nineteen eighties series Tales from the Dark Side. Sharing the

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<v Speaker 2>Midnight view with me are the Culture Cast Chris Statue.

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<v Speaker 3>I asked you last time, We'll ask you once again.

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<v Speaker 3>My name is Isha, Candisha, and that's where that's If

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<v Speaker 3>you don't refer, I'll leave, I'll go possess Phyllis Diller

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<v Speaker 3>and leave.

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<v Speaker 2>And also joining us is the projection boos Mike White.

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<v Speaker 4>You can refer to me as the Old Soft Shoe.

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<v Speaker 2>Yeah, yeah, that's because tonight we're taking a look at

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<v Speaker 2>two episodes from season two. Those are The Shrine and

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<v Speaker 2>the Old Soft Shoe. The Shrine is season two episode seventeen,

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<v Speaker 2>originally aired on February the ninth, nineteen eighty six. This

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<v Speaker 2>was written by Julie Silbo from a sworrri by Pamela

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<v Speaker 2>Sargeant and directed by Christopher T. Welch, starring Lorna Luft,

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<v Speaker 2>Colleen Gray, Virginia Keene, and Janet Wood. This is a

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<v Speaker 2>story of Christine returning home after years of suffering a

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<v Speaker 2>mental breakdown to discover her mother has a younger, better,

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<v Speaker 2>less disappointing version version of herself already living there. What

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<v Speaker 2>do you think about this one, Chris.

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<v Speaker 3>Man, I'm living this episode, not just it's a given

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<v Speaker 3>my personal life situation, living in my parents house right now,

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<v Speaker 3>house sitting for them, watching this episode. It was a

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<v Speaker 3>little odd. I don't think my parents wish they had

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<v Speaker 3>a say that. I think that this is. I think

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<v Speaker 3>that this episode is an interesting idea. I don't know

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<v Speaker 3>how well executed the ending is. I think the ending is.

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<v Speaker 3>I think we will probably talk a fair about a

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<v Speaker 3>fair bit about the ending ultimately, but I will say

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<v Speaker 3>I think for me, I understand what they were getting at.

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<v Speaker 3>But this kind of smacks of a little bit of

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<v Speaker 3>Twilight Zone eighty five. One might say, oh, the wistful

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<v Speaker 3>days of when things weren't fucked up, and what if

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<v Speaker 3>I could start again? And it's like, what if you

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<v Speaker 3>fuck it? Have to deal with the hand you've been

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<v Speaker 3>dealt and you can't start again, because that's reality, and

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<v Speaker 3>that's what this episode kind of gets at. Right at

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<v Speaker 3>the end, the runway is about to disappear and the

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<v Speaker 3>plane just barely lifts off at the end, sort of

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<v Speaker 3>I don't know. I think it's a it's all over

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<v Speaker 3>the place. I like what they were going for. I

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<v Speaker 3>think they somewhat get there, but I don't think they

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<v Speaker 3>nail it the way they think thing. What about you,

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<v Speaker 3>mister Mike White.

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<v Speaker 4>Yeah, very similar feel this. It's so weird. This actually

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<v Speaker 4>happened to me. So, yeah, I came home and my

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<v Speaker 4>mom had a younger version of me that she liked

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<v Speaker 4>a lot more. The name was Richard, not Richard had

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<v Speaker 4>him and Richard Seltzer. He was a foreign exchange student.

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<v Speaker 4>She really liked him a lot more than me.

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<v Speaker 3>So I was d was Richard had him.

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<v Speaker 4>That would be something, especially since he's a little older

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<v Speaker 4>than I am. But yeah, yeah, no this, Yeah, I

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<v Speaker 4>wanted just a little bit more, just a little bit

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<v Speaker 4>something more. I don't know if it was a voiceover

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<v Speaker 4>or that this new child was some sort of malevolent

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<v Speaker 4>spirit that could tell that the mom was disappointed and

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<v Speaker 4>glombed onto her somehow or something like that. But the

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<v Speaker 4>idea is interesting. The idea, of course, of the whole

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<v Speaker 4>I screwed up. My mom wants to do over with

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<v Speaker 4>this other girl who's way better than I am, and

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<v Speaker 4>fulfills all of her needs. But yeah, it just felt

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<v Speaker 4>like it wasn't coalescing exactly the way they wanted it to.

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<v Speaker 3>I will mention, by the way, before you go, Father

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<v Speaker 3>blon frere is jaka freireras.

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<v Speaker 4>Jakah jesus doorm.

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<v Speaker 3>Vu doorm vu is as bad as for he's a

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<v Speaker 3>jolly good fellow. As far as I'm concerned, it has

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<v Speaker 3>now entered the pantheon of things that I will never

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<v Speaker 3>be able to unhear in this context ever.

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<v Speaker 2>Again, I have a special note here just about don't

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<v Speaker 2>use children's rhymes. Now, this is like nineteen eighty six.

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<v Speaker 2>You know, they haven't really pushed horror to the rhyming

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<v Speaker 2>children limit yet. You know, Freddie's just now doing it.

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<v Speaker 2>But by now, my god, revisiting it, it's not scary.

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<v Speaker 2>It kind of never has been. Honestly, this one gave

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<v Speaker 2>me a lot of hope when it began, because we

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<v Speaker 2>were getting a very convincing or rather interior exterior. They're

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<v Speaker 2>shooting from inside a set, and they've got an exterior

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<v Speaker 2>set outside with rain and such going on in lightning,

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<v Speaker 2>and the lightning was the only source of light in

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<v Speaker 2>the room where the mother has falling asleep at the

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<v Speaker 2>sort of kitchen table, and I thought, oh man, this

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<v Speaker 2>is pretty atmospheric. This is looking good. And then it starts.

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<v Speaker 2>It's a tale of a mother and a daughter, which

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<v Speaker 2>we don't get that often so on an anthology sort

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<v Speaker 2>in an anthology series, and galing head on with the

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<v Speaker 2>issues that mothers and daughters have with each other. So

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<v Speaker 2>I got very excited. And then it falls apart because

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<v Speaker 2>it is incredibly crazily poorly paced, and they go to

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<v Speaker 2>the lengths. They go to lengths to set up that

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<v Speaker 2>she's returning after six years and she had had a

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<v Speaker 2>complete mental breakdown. What they're trying to do here is

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<v Speaker 2>what they did on The Nightmare of twenty thousand Feet,

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<v Speaker 2>which is there a gremlin on the wing? Or is

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<v Speaker 2>this guy just losing it again? But they never really

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<v Speaker 2>traffic in that because they're showing us some ghostly things

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<v Speaker 2>happening without her on screen, so we know it's just

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<v Speaker 2>some sort of supernatural thing going on behind that door.

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<v Speaker 2>So there was like never really any tension. Having said that,

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<v Speaker 2>I did like how when she meets her younger self,

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<v Speaker 2>how mean her younger self was to her. That was nice.

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<v Speaker 3>The younger herself is her younger self is a real

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<v Speaker 3>piece of shit. Oh yeah, I kind of like get

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<v Speaker 3>away that. It does remind me of things we've seen

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<v Speaker 3>before where I'm like, is she like a demon? Is

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<v Speaker 3>this like a malevolent spirit? Is this an Isha Candisha

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<v Speaker 3>type thing? I mean, I made the joke. I mean

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<v Speaker 3>obviously because at this point it's just the most obnoxious thing,

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<v Speaker 3>one of the most obnoxious things we've seen on the show.

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<v Speaker 3>But it does have that same feeling of like, sheau

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<v Speaker 3>is this like an extra lies demon or is it

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<v Speaker 3>a like pross hole far or what is it?

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<v Speaker 2>The problem is the episode is structured as such to

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<v Speaker 2>be what I said it was, which is we're supposed

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<v Speaker 2>to question her sanity for a good at least half

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<v Speaker 2>of the episode before it's revealed that the little girl

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<v Speaker 2>is actually in that room, whereas it should have been

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<v Speaker 2>the fucking first scene. It should have been been dealing

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<v Speaker 2>with herself from beginning to end, and maybe not dealing

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<v Speaker 2>with the mother, but maybe not, you know, like somehow

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<v Speaker 2>disconnected or something. Because I do want to know what

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<v Speaker 2>this thing is, because it hints that it might be

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<v Speaker 2>a demon, it hints that it was called and it's

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<v Speaker 2>fulfilling a need that this broken person has one that

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<v Speaker 2>you couldn't like there's a really potent dynamic going on here.

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<v Speaker 2>It's just so poorly shot and it's so set downd

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<v Speaker 2>like this. Once the lights come on, all of my

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<v Speaker 2>praise drains away because this just looks like a set

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<v Speaker 2>that they threw up. And considering there's no real action

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<v Speaker 2>or anything going on here, it ought to be crackingly

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<v Speaker 2>good because it's basically a two hand or a threehander.

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<v Speaker 2>But yeah, I don't know. It's just I love all

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<v Speaker 2>the like you guys said, I love all the ideas

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<v Speaker 2>going on here, but it just doesn't ever really click.

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<v Speaker 2>I never get my teeth into any of these characters.

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<v Speaker 3>And the other thing is and Father Malone. You've mentioned

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<v Speaker 3>this before on other things. We talked about it a

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<v Speaker 3>lot on Tales from the Crypt, and I think you've

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<v Speaker 3>alluded to it here. God, it's so set bund Ooh,

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<v Speaker 3>it's it is just the one of the more setbound

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<v Speaker 3>things we've seen on this show. Like they never go anywhere.

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<v Speaker 3>They're in this house the whole time, they're almost in

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<v Speaker 3>this room the whole time, and it's just how can

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<v Speaker 3>you shoot one tiny twelve foot by twelve foot room,

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<v Speaker 3>different ways. Let me show you. We'll put up in

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<v Speaker 3>this corner, in this corner and down on the ground

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<v Speaker 3>and behind the thing.

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<v Speaker 2>And it's like they did it with the smoking episode.

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<v Speaker 2>It can be done. You can do interesting stuff in

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<v Speaker 2>a bottle episode. It's just that this isn't even a

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<v Speaker 2>bottle episode.

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<v Speaker 3>It is though it totally is. That's the problem.

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<v Speaker 2>But they've got different rooms to move around in and stuff.

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<v Speaker 2>They've got different locations to go to the scene with

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<v Speaker 2>the best friend who shows up, who, by the way,

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<v Speaker 2>speaking of the acting across the board in this episode

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<v Speaker 2>is fucking terrible, and including best friend who shows up

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<v Speaker 2>like she's some soap opera best friend, like she's just

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<v Speaker 2>going for the fucking back of the auditorium.

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<v Speaker 4>Yeah. I well, first off, I recognized the name Lorna Luft,

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<v Speaker 4>but I had no idea who she was. I didn't

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<v Speaker 4>know she was what Judy Garland's one of her daughters.

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<v Speaker 4>I always thought that Lorna Luft was a born star

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<v Speaker 4>because just that name sounds like a horn star name

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<v Speaker 4>to me, Lorna Luft, So it's like, but yeah, and

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<v Speaker 4>then I thought she was the old woman, So I

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<v Speaker 4>don't look her up again. But yeah, no, nobody's really

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<v Speaker 4>nailing it. And yet the little girl acting is up there.

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<v Speaker 4>The demon possessed girl gruel and all was way better

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<v Speaker 4>at an actress than this one.

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<v Speaker 2>Great, Yeah, it's just that she was disgusting. This girl

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<v Speaker 2>is just a poor actress. And you know what, if

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<v Speaker 2>I came downstairs and no matter who I was in

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<v Speaker 2>a fight with, if they made me breakfast, I'm gonna

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<v Speaker 2>eat that breakfast juice. You're just gonna drink juice. This

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<v Speaker 2>character she doesn't deserve to live there. I'm glad she's

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<v Speaker 2>been replaced.

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<v Speaker 4>She doesn't deserve to live period.

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<v Speaker 3>According to that little girl in this episode.

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<v Speaker 2>My god, this felt a bit like honestly, it felt

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<v Speaker 2>like another slice of boomer bullshit.

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<v Speaker 3>That's what I'm saying.

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<v Speaker 2>Yeah, not as clumsy as Twilight Zone eighty five, not

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<v Speaker 2>as wistful as Amazing Stories, but still kind of in

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<v Speaker 2>there and not really suited for the dark side.

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<v Speaker 3>No, this feels like Twilight Zone nineteen eighty five in

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<v Speaker 3>the worst way. The worst impulses of that show are

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<v Speaker 3>being repeated here in a way that I am shocked

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<v Speaker 3>because for me, this is we have never held that

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<v Speaker 3>against this show as hard as we held it against

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<v Speaker 3>Twilight Zone for he's a jolly good fellow for fucking example,

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<v Speaker 3>And now here we are once again. Thankfully it's only

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<v Speaker 3>this like, it's only this one so far. But this

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<v Speaker 3>is a pretty poor episode of this show, to the

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<v Speaker 3>point where it almost feels like if you ask me

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<v Speaker 3>what show this was, I would say it's Twilight Zone

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<v Speaker 3>eighty five.

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<v Speaker 4>I genuinely I completely.

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<v Speaker 2>That they like shot on tape in a sound stage

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<v Speaker 2>instead of using that back.

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<v Speaker 3>In Canada ending or maybe even Tails from the Crip.

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<v Speaker 3>Now this isn't Tails from the Crypt. Nothing is tailed.

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<v Speaker 3>This is Tails to the Crypt. Season seven is such

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<v Speaker 3>an atrocious entry into media it's not even worth mentioning.

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<v Speaker 4>Yeah, and to your point five, this show is called

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<v Speaker 4>Tales from the Dark Side, so we're not questioning her, Sam,

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<v Speaker 4>i'd be at the beginning. We know weird shit's gonna

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<v Speaker 4>happen in this so why are you setting it up

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<v Speaker 4>like we don't know the name of the show. We

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<v Speaker 4>didn't just hear the ominous voiceover.

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<v Speaker 2>Yeah, get to it. What's this thing all about? I

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<v Speaker 2>want to know if they throw up so much interest

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<v Speaker 2>and then just squander away with mystery.

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<v Speaker 1>I don't know.

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<v Speaker 3>It doesn't work for me, and I don't and I

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<v Speaker 3>think it could have, and I think it should have,

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<v Speaker 3>because again I think the story has an interesting idea

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<v Speaker 3>that it's getting at, but it for me, just it

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<v Speaker 3>unfortunately never gets there.

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<v Speaker 2>All right, Hopefully the next one will probably not.

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<v Speaker 4>If it's spoilers, it's.

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<v Speaker 3>Like you're a liar, sir, don't buy to your audience.

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<v Speaker 3>See no better?

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<v Speaker 2>Well said? Hopefully I qualified it, all right. This is

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<v Speaker 2>the Old Soft Shoe season two, episode eighteen. This aired

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<v Speaker 2>originally on February the sixteenth, nineteen eighty six. Written by

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<v Speaker 2>Art Montrostelly, written by Art Montastelli, and directed by Richard Friedman.

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<v Speaker 2>This one stars Paul Dooley, John Fiedler, Kathy MacLean, and

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<v Speaker 2>Dorothy Park. This is about a traveling lingerie salesman who

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<v Speaker 2>rents the wrong room in a hotel or is it

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<v Speaker 2>the right one. He's befriended by Glinda, a ghost of

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<v Speaker 2>a former occupant who just so happens to love lingerie. Anyway,

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<v Speaker 2>that's the rom com version that I'm selling to Sony

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<v Speaker 2>and pitching it to them next week. Anyway. Anyway, what

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<v Speaker 2>do you think of this one, Mike.

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<v Speaker 4>You know, I went to a Art Montrostelli school when

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<v Speaker 4>I was just a little kid.

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<v Speaker 3>A whole little early learning joke for all you parents out.

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<v Speaker 4>There, and go Paul Dooley and John Fieldler in the

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<v Speaker 4>same episode. I thought I was gonna be a pig

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<v Speaker 4>in slop. Here I am with two of my favorite

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<v Speaker 4>character actors and fucking John Fiedler. That the outfits he's.

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<v Speaker 1>Wearing in this.

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<v Speaker 2>Little early booty shirt things.

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<v Speaker 3>Hell, where where John Fiedler ever been sexier?

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<v Speaker 2>That's oh never, never, Oh my gosh, house coat over

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<v Speaker 2>a dressing at a nightgown like a sleeping Ebenezer Scrooge style,

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<v Speaker 2>and then an overcoat over that with a hunting cap

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<v Speaker 2>and a shotgun. That's a look.

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<v Speaker 3>He's the sexy version of not since Colchak has John

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<v Speaker 3>Fieedler been so sexy.

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<v Speaker 4>Like the Elmer Fudd pin up, you know? Yeah, And

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<v Speaker 4>then there's the whole thing of how Chester Caruso, the

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<v Speaker 4>Paul Dooley character is hitting on this woman that he

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<v Speaker 4>meets and she keeps thinking that he's coming on tour.

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<v Speaker 4>There's a fucking people in the bathroom. What am I

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<v Speaker 4>watching here?

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<v Speaker 2>Is this?

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<v Speaker 3>It's really put in there.

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<v Speaker 2>It's just yeah, you know what, sometimes there's gonna be peoples.

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<v Speaker 2>Are you gonna look through it?

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<v Speaker 3>What are you gonna do?

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<v Speaker 4>And he never gets caught. There's no real comeupance for

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<v Speaker 4>that other than if this ghost is the come uppance?

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<v Speaker 2>Yeah? Was that? It was it the fact that he

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<v Speaker 2>was married and was hitting on the girl and then

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<v Speaker 2>immediately falls into the arms of the ghosts. That occurred

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<v Speaker 2>to me halfway through, I.

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<v Speaker 4>Know, I was like, what is the karma deficit that

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<v Speaker 4>is causing this ghost to plague him? And no one

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<v Speaker 4>believes him or anything? And then the sheriff at the

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<v Speaker 4>ends this all ties into a story about a person

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<v Speaker 4>that was murdered. I'm like, why didn't you what? The

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<v Speaker 4>guy who runs the hotel doesn't know that, but the

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<v Speaker 4>cop does. Chris, what did you think of this one?

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<v Speaker 3>H fatherm alone. I think it's time we haven't talked.

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<v Speaker 2>Oh, don't you blame the abe?

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<v Speaker 3>Wait a second here, Wait a second here. I felt

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<v Speaker 3>a certain level of responsibility for tales from the crypt

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<v Speaker 3>and inviting you. I'm just kidding. I don't blame you.

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<v Speaker 3>Wh what universe should blame me? Harvey, don't punish the

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<v Speaker 3>boy I thought it was fine. I think it's another

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<v Speaker 3>muddled attempt at telling a story that has no place

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<v Speaker 3>in this show. This is another Twilight Zone eighty five.

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<v Speaker 2>It's a night gallery. It's a night gallery.

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<v Speaker 4>Yeah, I can see that. Maybe this remind me I

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<v Speaker 4>thought there was going to be a fortune telling machine

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<v Speaker 4>in the lobby of this hotel. That's what this one

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<v Speaker 4>reminded me of.

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<v Speaker 3>Bat Yeah, yeah, is that what it needed? I just

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<v Speaker 3>think it needed a purpose. I think it needed a direction.

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<v Speaker 3>I don't think it had for me anyways. What I

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<v Speaker 3>was hoping for in an episode that this one is

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<v Speaker 3>where you've got this guy in this hotel room that's

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<v Speaker 3>seemingly haunted. I guess that's what we're being led to assume.

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<v Speaker 3>It's like a fourteen oh eight thing, because John Fiedler

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<v Speaker 3>doesn't John Fidler doesn't stop him really hard from going

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<v Speaker 3>into that room. He's bride don't want to go in there.

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<v Speaker 3>If I could do, John Fieeddler's vlaice me, you can't

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<v Speaker 3>go away, eh, and that I don't know what that

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<v Speaker 3>was not John Fiedler maybe like Jimmy Cagney, but he doesn't.

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<v Speaker 3>It's not like he stops him any harder than just

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<v Speaker 3>don't go in there. That room's not available, and he's like,

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<v Speaker 3>I'll give you an extra ten bucks. He's like, okay,

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<v Speaker 3>the easiest convincing possible. And then the way the episode

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<v Speaker 3>wraps up is just bizarre, to say the least. It

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<v Speaker 3>comes out of left field. It seems like the episode

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<v Speaker 3>missing a good ten minutes maybe or more. I don't know.

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<v Speaker 3>I don't think this episode would have benefited from having more.

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<v Speaker 3>I think this episode would have benefited from having someone

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<v Speaker 3>actually rewrite certain parts of the narrative to make more sense.

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<v Speaker 3>Because him interacting with these ghosts in this room over

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<v Speaker 3>and over again, it's just not entertaining.

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<v Speaker 2>I do like the idea of a sitcom fourteen oh eight,

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00:17:26.799 --> 00:17:27.799
<v Speaker 2>because that's what this is.

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<v Speaker 3>That's what it's trying to be.

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<v Speaker 2>Right, Yeah, here's the talk. I don't think you should

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<v Speaker 2>take this key. I want the gy Okay, you can

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<v Speaker 2>have to get pretty much. That was not James Cagney.

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<v Speaker 4>But no, no, no dirty rats or anything.

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<v Speaker 2>We're mentioned this one. This one's tough because I like

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<v Speaker 2>a simple ghost story. I will say it's if we're

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<v Speaker 2>comparing this to the last one, this one is better

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<v Speaker 2>shot it's better acted. I actually think the dialogue is

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<v Speaker 2>written better here. It's just that they're telling a story

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<v Speaker 2>that we've seen a thout. It's a campfire story. He

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<v Speaker 2>checks it into the wrong room and a ghost is

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<v Speaker 2>there and she's alluring and and it seals his doom.

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<v Speaker 2>It's just that he acts like a fucking moron here. Okay,

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<v Speaker 2>spectral woman shuts up in your room. Okay, you know

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00:18:14.160 --> 00:18:16.279
<v Speaker 2>it's a ghost. You gotta know it's a ghost, right,

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<v Speaker 2>And if you would hope and if you don't, when

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<v Speaker 2>she pulls the gun and shoots you and then nothing happens,

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00:18:23.079 --> 00:18:26.000
<v Speaker 2>you think you're actually shot. Go back and everyone convinces

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<v Speaker 2>you that you're crazy. You go back to the room.

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<v Speaker 2>Do you go back to the room. Okay, you go

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<v Speaker 2>back to the room. She shows up again, and you

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<v Speaker 2>just it's all casual, like there's no there. Never feel

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<v Speaker 2>like there are any steaks in here.

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<v Speaker 3>No.

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<v Speaker 2>And THENL.

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<v Speaker 3>Dooley's not afraid that there's a fucking ghost in his room.

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<v Speaker 3>He's woh, this is making me horny, And it's like, bro,

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<v Speaker 3>what the fuck is going on here? She shot you,

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00:18:49.279 --> 00:18:51.759
<v Speaker 3>She shot you, and he shot you three times?

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<v Speaker 4>I mean, don't ink shame Chris.

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<v Speaker 3>Oh my god, and here we go with the kink

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00:18:58.200 --> 00:19:02.880
<v Speaker 3>shaming again. Me a shot with guns is dangerous and

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<v Speaker 3>if that's a hink, I'm sorry to tell you there ain't.

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<v Speaker 4>Me and William s Burrows. There's certain things that we

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<v Speaker 4>agree on, okayim.

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<v Speaker 3>Bear ben Way, what injecting heroin into your scrotum's not enough?

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00:19:15.880 --> 00:19:16.079
<v Speaker 1>Yeah?

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<v Speaker 4>That and shooting our wives. Oh, also, we're gonna do

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<v Speaker 4>the old William tellat Come on, how many mugwumps can

359
00:19:25.519 --> 00:19:25.960
<v Speaker 4>I get you?

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<v Speaker 2>Is this potentially just a condemnation of like, how stupid

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<v Speaker 2>men are that, no matter what the warning sign are,

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<v Speaker 2>will just fucking keep going until they've drowned us in

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<v Speaker 2>the baths?

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<v Speaker 3>Up, Yes, men are stupid. First off, the answer to

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<v Speaker 3>your question is are men stupid? No?

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<v Speaker 2>I know that. I know that I'm saying it's not

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<v Speaker 2>what this episode is saying. Because if that's what they're

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<v Speaker 2>getting at, then okay, I like it a little better.

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<v Speaker 3>I mean, Paul Dooley's a piece of shit in this episode,

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<v Speaker 3>That's the thing. It's not. I'm not gonna say he

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<v Speaker 3>was asking for it. He was asking for it by

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<v Speaker 3>going back to that room where she was knowing that

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<v Speaker 3>she had shot him already and going hit let me

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<v Speaker 3>keep hit on you, and then he gets drowned in

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<v Speaker 3>a baptub. Deservedly is what it is. What deservedly is

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00:20:05.720 --> 00:20:08.200
<v Speaker 3>what the show makes it feel like. Whether or not

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00:20:08.279 --> 00:20:11.279
<v Speaker 3>that's the real my take or any of y'all's take,

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00:20:11.640 --> 00:20:14.759
<v Speaker 3>the show's inherent moral compass would lead us to believe

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00:20:14.839 --> 00:20:18.359
<v Speaker 3>that he got what he deserved. Per the narrative, you

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00:20:18.400 --> 00:20:20.799
<v Speaker 3>know what we needed one phone call with the wife,

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00:20:21.160 --> 00:20:22.240
<v Speaker 3>right well, we had one.

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00:20:23.039 --> 00:20:25.839
<v Speaker 4>We had one at the very beginning, remember when he's like, oh,

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00:20:25.920 --> 00:20:27.480
<v Speaker 4>hold on, the line's pricking up.

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<v Speaker 2>Yeah, it's true what we need, but we needed to

385
00:20:30.680 --> 00:20:32.519
<v Speaker 2>speak to her again. We needed to know that she's

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00:20:32.640 --> 00:20:35.200
<v Speaker 2>sweet and he's being a dick, because if it's what

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00:20:35.240 --> 00:20:37.920
<v Speaker 2>they're getting at that, like he deserved this, But is

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00:20:37.960 --> 00:20:40.160
<v Speaker 2>it that? I mean, is it? Or is it? Just

389
00:20:40.319 --> 00:20:41.359
<v Speaker 2>don't go in that room?

390
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<v Speaker 4>Right?

391
00:20:42.400 --> 00:20:42.720
<v Speaker 5>Yeah?

392
00:20:43.079 --> 00:20:45.599
<v Speaker 4>Again, think her as a presence probably would have been

393
00:20:45.680 --> 00:20:46.359
<v Speaker 4>nice at some.

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00:20:46.359 --> 00:20:49.119
<v Speaker 2>Point instead of having the other woman who he was

395
00:20:49.160 --> 00:20:51.799
<v Speaker 2>also hitting on. Maybe she's that, maybe it is, it's

396
00:20:51.880 --> 00:20:54.880
<v Speaker 2>just not it doesn't feel pointed in any way this episode.

397
00:20:54.920 --> 00:20:57.000
<v Speaker 2>It's just things are happening and we're watching them, and

398
00:20:57.039 --> 00:20:58.640
<v Speaker 2>then he's dead. That's pretty much.

399
00:20:59.519 --> 00:21:02.000
<v Speaker 3>It seems like there. Like I said, it seems like

400
00:21:02.039 --> 00:21:04.839
<v Speaker 3>there was a lot of missed opportunities to really get

401
00:21:04.920 --> 00:21:07.319
<v Speaker 3>us to the point where we can understand why the

402
00:21:07.359 --> 00:21:09.960
<v Speaker 3>things are happening, as opposed to the things happening in

403
00:21:10.000 --> 00:21:12.480
<v Speaker 3>the episode just going see he drowned and wait a

404
00:21:12.519 --> 00:21:16.480
<v Speaker 3>second here, Like I would like for it to feel inevitable,

405
00:21:16.640 --> 00:21:19.319
<v Speaker 3>the way the best versions of these shows do, where

406
00:21:19.319 --> 00:21:22.640
<v Speaker 3>it's like the inevitability is known from the moment we

407
00:21:22.680 --> 00:21:25.519
<v Speaker 3>see this kind of piece of shit husband acting the

408
00:21:25.519 --> 00:21:28.599
<v Speaker 3>way that he's acting. It's like sometimes they're redeemed in

409
00:21:28.640 --> 00:21:31.200
<v Speaker 3>the end. We have seen those episodes where there's a

410
00:21:31.319 --> 00:21:35.079
<v Speaker 3>you know, there's a nice redemptive moment, but in a

411
00:21:35.119 --> 00:21:37.640
<v Speaker 3>lot of these, especially this show, it's like, nah, fuck them,

412
00:21:37.720 --> 00:21:40.039
<v Speaker 3>fuck them in the ear, fuck them in both ears.

413
00:21:40.319 --> 00:21:43.200
<v Speaker 2>Somebody please make a Saturday Morning version of the way.

414
00:21:43.359 --> 00:21:45.599
<v Speaker 2>I think that's what I took, quite just like a

415
00:21:45.599 --> 00:21:48.839
<v Speaker 2>little bit cartoon version with no stakes, just everyone has

416
00:21:48.880 --> 00:21:52.000
<v Speaker 2>a good time. But anyway, oh there you go. Yeah,

417
00:21:52.039 --> 00:21:54.400
<v Speaker 2>all right. On the next episode, we are going to

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00:21:54.400 --> 00:21:56.880
<v Speaker 2>be taking a look at two new episodes from season

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00:21:56.960 --> 00:21:59.960
<v Speaker 2>two those are the last car and a choice of dream.

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<v Speaker 2>Midnight Viewing is a proud member of the Weirdingway Media group.

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<v Speaker 2>Our theme song was composed by HP with an assist

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<v Speaker 2>by Donald Rubinstein. Until next time? What are you working on?

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<v Speaker 2>Where can people find it? Mike White?

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<v Speaker 4>Everything that I do, with the exception of one thing,

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<v Speaker 4>one thing is available at Weirdingwaymedia dot com. That one

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00:22:18.079 --> 00:22:21.839
<v Speaker 4>thing is available at patreon dot com slash Projection Booth

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00:22:21.920 --> 00:22:24.559
<v Speaker 4>or patreon dot com slash Culturecast, and that is the

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<v Speaker 4>podcast like Chris and I do with our friend Richard,

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00:22:27.480 --> 00:22:30.079
<v Speaker 4>the guy who replaced me with my own mother. Oh

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<v Speaker 4>my god, it's slipped that is available at once a

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00:22:33.359 --> 00:22:36.359
<v Speaker 4>month over at our patreons and we talk about James

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<v Speaker 4>Bond and have a good time.

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<v Speaker 3>How about you, Chris, Weirdingwaymedia dot com. It's where you

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<v Speaker 3>can find all the stuff that I work on. Like

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<v Speaker 3>Mike said, Patreon as we can go to support us,

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00:22:44.839 --> 00:22:47.640
<v Speaker 3>but more importantly head over to patreon dot com slash

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00:22:47.680 --> 00:22:51.119
<v Speaker 3>Father alone to support this show, which is the show

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00:22:51.119 --> 00:22:53.640
<v Speaker 3>that you're listening to now. And he's doing this show

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00:22:53.880 --> 00:22:56.720
<v Speaker 3>twice a week with other people that aren't even know us.

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<v Speaker 3>Anymore all the time. This is a big undertake. Now,

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00:23:00.400 --> 00:23:02.440
<v Speaker 3>this is not just some This is not just some

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00:23:02.559 --> 00:23:05.319
<v Speaker 3>Mickey mounth. This is not my beautiful house. This is

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00:23:05.359 --> 00:23:07.839
<v Speaker 3>not my beautiful wife.

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<v Speaker 4>We met one of follow Alone's other co hosts last

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<v Speaker 4>night and it was weird. He looks exactly like a

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<v Speaker 4>young Christachio. Weird, almost like he's trying to replace you.

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00:23:18.279 --> 00:23:26.160
<v Speaker 3>I knew it, Fazaka Fresh. It's the doormt vu part

448
00:23:26.200 --> 00:23:28.920
<v Speaker 3>that really makes me mad. I'm saying forks fine, but

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00:23:29.000 --> 00:23:31.680
<v Speaker 3>doormay vu over and over his system, weirding way media,

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00:23:31.720 --> 00:23:34.039
<v Speaker 3>those where you can find my stuff, them alone, what.

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<v Speaker 2>They said and if money's tent. You can do us

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00:23:35.799 --> 00:23:38.400
<v Speaker 2>a solid by giving us a five star review, subscribe,

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00:23:38.640 --> 00:23:41.480
<v Speaker 2>like share, tell somebody else to listen. Thank you all

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<v Speaker 2>for joining us here at midnight viewing. Until next time,

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<v Speaker 2>try to enjoy the.

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<v Speaker 5>Daylight along.

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<v Speaker 1>Sad In Da
