Speaker 1: Wait wait, same.
Speaker 2: Welcome back to Midnight Viewing, the Horror Anthology podcast. With
Speaker 2: this season, we're taking a look at Georgia A. Ramero's
Speaker 2: nineteen eighties series Tales from the Dark Side. Sharing the
Speaker 2: Midnight view with me are the Culture Cast Chris Statue.
Speaker 3: I asked you last time, We'll ask you once again.
Speaker 3: My name is Isha, Candisha, and that's where that's If
Speaker 3: you don't refer, I'll leave, I'll go possess Phyllis Diller
Speaker 3: and leave.
Speaker 2: And also joining us is the projection boos Mike White.
Speaker 4: You can refer to me as the Old Soft Shoe.
Speaker 2: Yeah, yeah, that's because tonight we're taking a look at
Speaker 2: two episodes from season two. Those are The Shrine and
Speaker 2: the Old Soft Shoe. The Shrine is season two episode seventeen,
Speaker 2: originally aired on February the ninth, nineteen eighty six. This
Speaker 2: was written by Julie Silbo from a sworrri by Pamela
Speaker 2: Sargeant and directed by Christopher T. Welch, starring Lorna Luft,
Speaker 2: Colleen Gray, Virginia Keene, and Janet Wood. This is a
Speaker 2: story of Christine returning home after years of suffering a
Speaker 2: mental breakdown to discover her mother has a younger, better,
Speaker 2: less disappointing version version of herself already living there. What
Speaker 2: do you think about this one, Chris.
Speaker 3: Man, I'm living this episode, not just it's a given
Speaker 3: my personal life situation, living in my parents house right now,
Speaker 3: house sitting for them, watching this episode. It was a
Speaker 3: little odd. I don't think my parents wish they had
Speaker 3: a say that. I think that this is. I think
Speaker 3: that this episode is an interesting idea. I don't know
Speaker 3: how well executed the ending is. I think the ending is.
Speaker 3: I think we will probably talk a fair about a
Speaker 3: fair bit about the ending ultimately, but I will say
Speaker 3: I think for me, I understand what they were getting at.
Speaker 3: But this kind of smacks of a little bit of
Speaker 3: Twilight Zone eighty five. One might say, oh, the wistful
Speaker 3: days of when things weren't fucked up, and what if
Speaker 3: I could start again? And it's like, what if you
Speaker 3: fuck it? Have to deal with the hand you've been
Speaker 3: dealt and you can't start again, because that's reality, and
Speaker 3: that's what this episode kind of gets at. Right at
Speaker 3: the end, the runway is about to disappear and the
Speaker 3: plane just barely lifts off at the end, sort of
Speaker 3: I don't know. I think it's a it's all over
Speaker 3: the place. I like what they were going for. I
Speaker 3: think they somewhat get there, but I don't think they
Speaker 3: nail it the way they think thing. What about you,
Speaker 3: mister Mike White.
Speaker 4: Yeah, very similar feel this. It's so weird. This actually
Speaker 4: happened to me. So, yeah, I came home and my
Speaker 4: mom had a younger version of me that she liked
Speaker 4: a lot more. The name was Richard, not Richard had
Speaker 4: him and Richard Seltzer. He was a foreign exchange student.
Speaker 4: She really liked him a lot more than me.
Speaker 3: So I was d was Richard had him.
Speaker 4: That would be something, especially since he's a little older
Speaker 4: than I am. But yeah, yeah, no this, Yeah, I
Speaker 4: wanted just a little bit more, just a little bit
Speaker 4: something more. I don't know if it was a voiceover
Speaker 4: or that this new child was some sort of malevolent
Speaker 4: spirit that could tell that the mom was disappointed and
Speaker 4: glombed onto her somehow or something like that. But the
Speaker 4: idea is interesting. The idea, of course, of the whole
Speaker 4: I screwed up. My mom wants to do over with
Speaker 4: this other girl who's way better than I am, and
Speaker 4: fulfills all of her needs. But yeah, it just felt
Speaker 4: like it wasn't coalescing exactly the way they wanted it to.
Speaker 3: I will mention, by the way, before you go, Father
Speaker 3: blon frere is jaka freireras.
Speaker 4: Jakah jesus doorm.
Speaker 3: Vu doorm vu is as bad as for he's a
Speaker 3: jolly good fellow. As far as I'm concerned, it has
Speaker 3: now entered the pantheon of things that I will never
Speaker 3: be able to unhear in this context ever.
Speaker 2: Again, I have a special note here just about don't
Speaker 2: use children's rhymes. Now, this is like nineteen eighty six.
Speaker 2: You know, they haven't really pushed horror to the rhyming
Speaker 2: children limit yet. You know, Freddie's just now doing it.
Speaker 2: But by now, my god, revisiting it, it's not scary.
Speaker 2: It kind of never has been. Honestly, this one gave
Speaker 2: me a lot of hope when it began, because we
Speaker 2: were getting a very convincing or rather interior exterior. They're
Speaker 2: shooting from inside a set, and they've got an exterior
Speaker 2: set outside with rain and such going on in lightning,
Speaker 2: and the lightning was the only source of light in
Speaker 2: the room where the mother has falling asleep at the
Speaker 2: sort of kitchen table, and I thought, oh man, this
Speaker 2: is pretty atmospheric. This is looking good. And then it starts.
Speaker 2: It's a tale of a mother and a daughter, which
Speaker 2: we don't get that often so on an anthology sort
Speaker 2: in an anthology series, and galing head on with the
Speaker 2: issues that mothers and daughters have with each other. So
Speaker 2: I got very excited. And then it falls apart because
Speaker 2: it is incredibly crazily poorly paced, and they go to
Speaker 2: the lengths. They go to lengths to set up that
Speaker 2: she's returning after six years and she had had a
Speaker 2: complete mental breakdown. What they're trying to do here is
Speaker 2: what they did on The Nightmare of twenty thousand Feet,
Speaker 2: which is there a gremlin on the wing? Or is
Speaker 2: this guy just losing it again? But they never really
Speaker 2: traffic in that because they're showing us some ghostly things
Speaker 2: happening without her on screen, so we know it's just
Speaker 2: some sort of supernatural thing going on behind that door.
Speaker 2: So there was like never really any tension. Having said that,
Speaker 2: I did like how when she meets her younger self,
Speaker 2: how mean her younger self was to her. That was nice.
Speaker 3: The younger herself is her younger self is a real
Speaker 3: piece of shit. Oh yeah, I kind of like get
Speaker 3: away that. It does remind me of things we've seen
Speaker 3: before where I'm like, is she like a demon? Is
Speaker 3: this like a malevolent spirit? Is this an Isha Candisha
Speaker 3: type thing? I mean, I made the joke. I mean
Speaker 3: obviously because at this point it's just the most obnoxious thing,
Speaker 3: one of the most obnoxious things we've seen on the show.
Speaker 3: But it does have that same feeling of like, sheau
Speaker 3: is this like an extra lies demon or is it
Speaker 3: a like pross hole far or what is it?
Speaker 2: The problem is the episode is structured as such to
Speaker 2: be what I said it was, which is we're supposed
Speaker 2: to question her sanity for a good at least half
Speaker 2: of the episode before it's revealed that the little girl
Speaker 2: is actually in that room, whereas it should have been
Speaker 2: the fucking first scene. It should have been been dealing
Speaker 2: with herself from beginning to end, and maybe not dealing
Speaker 2: with the mother, but maybe not, you know, like somehow
Speaker 2: disconnected or something. Because I do want to know what
Speaker 2: this thing is, because it hints that it might be
Speaker 2: a demon, it hints that it was called and it's
Speaker 2: fulfilling a need that this broken person has one that
Speaker 2: you couldn't like there's a really potent dynamic going on here.
Speaker 2: It's just so poorly shot and it's so set downd
Speaker 2: like this. Once the lights come on, all of my
Speaker 2: praise drains away because this just looks like a set
Speaker 2: that they threw up. And considering there's no real action
Speaker 2: or anything going on here, it ought to be crackingly
Speaker 2: good because it's basically a two hand or a threehander.
Speaker 2: But yeah, I don't know. It's just I love all
Speaker 2: the like you guys said, I love all the ideas
Speaker 2: going on here, but it just doesn't ever really click.
Speaker 2: I never get my teeth into any of these characters.
Speaker 3: And the other thing is and Father Malone. You've mentioned
Speaker 3: this before on other things. We talked about it a
Speaker 3: lot on Tales from the Crypt, and I think you've
Speaker 3: alluded to it here. God, it's so set bund Ooh,
Speaker 3: it's it is just the one of the more setbound
Speaker 3: things we've seen on this show. Like they never go anywhere.
Speaker 3: They're in this house the whole time, they're almost in
Speaker 3: this room the whole time, and it's just how can
Speaker 3: you shoot one tiny twelve foot by twelve foot room,
Speaker 3: different ways. Let me show you. We'll put up in
Speaker 3: this corner, in this corner and down on the ground
Speaker 3: and behind the thing.
Speaker 2: And it's like they did it with the smoking episode.
Speaker 2: It can be done. You can do interesting stuff in
Speaker 2: a bottle episode. It's just that this isn't even a
Speaker 2: bottle episode.
Speaker 3: It is though it totally is. That's the problem.
Speaker 2: But they've got different rooms to move around in and stuff.
Speaker 2: They've got different locations to go to the scene with
Speaker 2: the best friend who shows up, who, by the way,
Speaker 2: speaking of the acting across the board in this episode
Speaker 2: is fucking terrible, and including best friend who shows up
Speaker 2: like she's some soap opera best friend, like she's just
Speaker 2: going for the fucking back of the auditorium.
Speaker 4: Yeah. I well, first off, I recognized the name Lorna Luft,
Speaker 4: but I had no idea who she was. I didn't
Speaker 4: know she was what Judy Garland's one of her daughters.
Speaker 4: I always thought that Lorna Luft was a born star
Speaker 4: because just that name sounds like a horn star name
Speaker 4: to me, Lorna Luft, So it's like, but yeah, and
Speaker 4: then I thought she was the old woman, So I
Speaker 4: don't look her up again. But yeah, no, nobody's really
Speaker 4: nailing it. And yet the little girl acting is up there.
Speaker 4: The demon possessed girl gruel and all was way better
Speaker 4: at an actress than this one.
Speaker 2: Great, Yeah, it's just that she was disgusting. This girl
Speaker 2: is just a poor actress. And you know what, if
Speaker 2: I came downstairs and no matter who I was in
Speaker 2: a fight with, if they made me breakfast, I'm gonna
Speaker 2: eat that breakfast juice. You're just gonna drink juice. This
Speaker 2: character she doesn't deserve to live there. I'm glad she's
Speaker 2: been replaced.
Speaker 4: She doesn't deserve to live period.
Speaker 3: According to that little girl in this episode.
Speaker 2: My god, this felt a bit like honestly, it felt
Speaker 2: like another slice of boomer bullshit.
Speaker 3: That's what I'm saying.
Speaker 2: Yeah, not as clumsy as Twilight Zone eighty five, not
Speaker 2: as wistful as Amazing Stories, but still kind of in
Speaker 2: there and not really suited for the dark side.
Speaker 3: No, this feels like Twilight Zone nineteen eighty five in
Speaker 3: the worst way. The worst impulses of that show are
Speaker 3: being repeated here in a way that I am shocked
Speaker 3: because for me, this is we have never held that
Speaker 3: against this show as hard as we held it against
Speaker 3: Twilight Zone for he's a jolly good fellow for fucking example,
Speaker 3: And now here we are once again. Thankfully it's only
Speaker 3: this like, it's only this one so far. But this
Speaker 3: is a pretty poor episode of this show, to the
Speaker 3: point where it almost feels like if you ask me
Speaker 3: what show this was, I would say it's Twilight Zone
Speaker 3: eighty five.
Speaker 4: I genuinely I completely.
Speaker 2: That they like shot on tape in a sound stage
Speaker 2: instead of using that back.
Speaker 3: In Canada ending or maybe even Tails from the Crip.
Speaker 3: Now this isn't Tails from the Crypt. Nothing is tailed.
Speaker 3: This is Tails to the Crypt. Season seven is such
Speaker 3: an atrocious entry into media it's not even worth mentioning.
Speaker 4: Yeah, and to your point five, this show is called
Speaker 4: Tales from the Dark Side, so we're not questioning her, Sam,
Speaker 4: i'd be at the beginning. We know weird shit's gonna
Speaker 4: happen in this so why are you setting it up
Speaker 4: like we don't know the name of the show. We
Speaker 4: didn't just hear the ominous voiceover.
Speaker 2: Yeah, get to it. What's this thing all about? I
Speaker 2: want to know if they throw up so much interest
Speaker 2: and then just squander away with mystery.
Speaker 1: I don't know.
Speaker 3: It doesn't work for me, and I don't and I
Speaker 3: think it could have, and I think it should have,
Speaker 3: because again I think the story has an interesting idea
Speaker 3: that it's getting at, but it for me, just it
Speaker 3: unfortunately never gets there.
Speaker 2: All right, Hopefully the next one will probably not.
Speaker 4: If it's spoilers, it's.
Speaker 3: Like you're a liar, sir, don't buy to your audience.
Speaker 3: See no better?
Speaker 2: Well said? Hopefully I qualified it, all right. This is
Speaker 2: the Old Soft Shoe season two, episode eighteen. This aired
Speaker 2: originally on February the sixteenth, nineteen eighty six. Written by
Speaker 2: Art Montrostelly, written by Art Montastelli, and directed by Richard Friedman.
Speaker 2: This one stars Paul Dooley, John Fiedler, Kathy MacLean, and
Speaker 2: Dorothy Park. This is about a traveling lingerie salesman who
Speaker 2: rents the wrong room in a hotel or is it
Speaker 2: the right one. He's befriended by Glinda, a ghost of
Speaker 2: a former occupant who just so happens to love lingerie. Anyway,
Speaker 2: that's the rom com version that I'm selling to Sony
Speaker 2: and pitching it to them next week. Anyway. Anyway, what
Speaker 2: do you think of this one, Mike.
Speaker 4: You know, I went to a Art Montrostelli school when
Speaker 4: I was just a little kid.
Speaker 3: A whole little early learning joke for all you parents out.
Speaker 4: There, and go Paul Dooley and John Fieldler in the
Speaker 4: same episode. I thought I was gonna be a pig
Speaker 4: in slop. Here I am with two of my favorite
Speaker 4: character actors and fucking John Fiedler. That the outfits he's.
Speaker 1: Wearing in this.
Speaker 2: Little early booty shirt things.
Speaker 3: Hell, where where John Fiedler ever been sexier?
Speaker 2: That's oh never, never, Oh my gosh, house coat over
Speaker 2: a dressing at a nightgown like a sleeping Ebenezer Scrooge style,
Speaker 2: and then an overcoat over that with a hunting cap
Speaker 2: and a shotgun. That's a look.
Speaker 3: He's the sexy version of not since Colchak has John
Speaker 3: Fieedler been so sexy.
Speaker 4: Like the Elmer Fudd pin up, you know? Yeah, And
Speaker 4: then there's the whole thing of how Chester Caruso, the
Speaker 4: Paul Dooley character is hitting on this woman that he
Speaker 4: meets and she keeps thinking that he's coming on tour.
Speaker 4: There's a fucking people in the bathroom. What am I
Speaker 4: watching here?
Speaker 2: Is this?
Speaker 3: It's really put in there.
Speaker 2: It's just yeah, you know what, sometimes there's gonna be peoples.
Speaker 2: Are you gonna look through it?
Speaker 3: What are you gonna do?
Speaker 4: And he never gets caught. There's no real comeupance for
Speaker 4: that other than if this ghost is the come uppance?
Speaker 2: Yeah? Was that? It was it the fact that he
Speaker 2: was married and was hitting on the girl and then
Speaker 2: immediately falls into the arms of the ghosts. That occurred
Speaker 2: to me halfway through, I.
Speaker 4: Know, I was like, what is the karma deficit that
Speaker 4: is causing this ghost to plague him? And no one
Speaker 4: believes him or anything? And then the sheriff at the
Speaker 4: ends this all ties into a story about a person
Speaker 4: that was murdered. I'm like, why didn't you what? The
Speaker 4: guy who runs the hotel doesn't know that, but the
Speaker 4: cop does. Chris, what did you think of this one?
Speaker 3: H fatherm alone. I think it's time we haven't talked.
Speaker 2: Oh, don't you blame the abe?
Speaker 3: Wait a second here, Wait a second here. I felt
Speaker 3: a certain level of responsibility for tales from the crypt
Speaker 3: and inviting you. I'm just kidding. I don't blame you.
Speaker 3: Wh what universe should blame me? Harvey, don't punish the
Speaker 3: boy I thought it was fine. I think it's another
Speaker 3: muddled attempt at telling a story that has no place
Speaker 3: in this show. This is another Twilight Zone eighty five.
Speaker 2: It's a night gallery. It's a night gallery.
Speaker 4: Yeah, I can see that. Maybe this remind me I
Speaker 4: thought there was going to be a fortune telling machine
Speaker 4: in the lobby of this hotel. That's what this one
Speaker 4: reminded me of.
Speaker 3: Bat Yeah, yeah, is that what it needed? I just
Speaker 3: think it needed a purpose. I think it needed a direction.
Speaker 3: I don't think it had for me anyways. What I
Speaker 3: was hoping for in an episode that this one is
Speaker 3: where you've got this guy in this hotel room that's
Speaker 3: seemingly haunted. I guess that's what we're being led to assume.
Speaker 3: It's like a fourteen oh eight thing, because John Fiedler
Speaker 3: doesn't John Fidler doesn't stop him really hard from going
Speaker 3: into that room. He's bride don't want to go in there.
Speaker 3: If I could do, John Fieeddler's vlaice me, you can't
Speaker 3: go away, eh, and that I don't know what that
Speaker 3: was not John Fiedler maybe like Jimmy Cagney, but he doesn't.
Speaker 3: It's not like he stops him any harder than just
Speaker 3: don't go in there. That room's not available, and he's like,
Speaker 3: I'll give you an extra ten bucks. He's like, okay,
Speaker 3: the easiest convincing possible. And then the way the episode
Speaker 3: wraps up is just bizarre, to say the least. It
Speaker 3: comes out of left field. It seems like the episode
Speaker 3: missing a good ten minutes maybe or more. I don't know.
Speaker 3: I don't think this episode would have benefited from having more.
Speaker 3: I think this episode would have benefited from having someone
Speaker 3: actually rewrite certain parts of the narrative to make more sense.
Speaker 3: Because him interacting with these ghosts in this room over
Speaker 3: and over again, it's just not entertaining.
Speaker 2: I do like the idea of a sitcom fourteen oh eight,
Speaker 2: because that's what this is.
Speaker 3: That's what it's trying to be.
Speaker 2: Right, Yeah, here's the talk. I don't think you should
Speaker 2: take this key. I want the gy Okay, you can
Speaker 2: have to get pretty much. That was not James Cagney.
Speaker 4: But no, no, no dirty rats or anything.
Speaker 2: We're mentioned this one. This one's tough because I like
Speaker 2: a simple ghost story. I will say it's if we're
Speaker 2: comparing this to the last one, this one is better
Speaker 2: shot it's better acted. I actually think the dialogue is
Speaker 2: written better here. It's just that they're telling a story
Speaker 2: that we've seen a thout. It's a campfire story. He
Speaker 2: checks it into the wrong room and a ghost is
Speaker 2: there and she's alluring and and it seals his doom.
Speaker 2: It's just that he acts like a fucking moron here. Okay,
Speaker 2: spectral woman shuts up in your room. Okay, you know
Speaker 2: it's a ghost. You gotta know it's a ghost, right,
Speaker 2: And if you would hope and if you don't, when
Speaker 2: she pulls the gun and shoots you and then nothing happens,
Speaker 2: you think you're actually shot. Go back and everyone convinces
Speaker 2: you that you're crazy. You go back to the room.
Speaker 2: Do you go back to the room. Okay, you go
Speaker 2: back to the room. She shows up again, and you
Speaker 2: just it's all casual, like there's no there. Never feel
Speaker 2: like there are any steaks in here.
Speaker 3: No.
Speaker 2: And THENL.
Speaker 3: Dooley's not afraid that there's a fucking ghost in his room.
Speaker 3: He's woh, this is making me horny, And it's like, bro,
Speaker 3: what the fuck is going on here? She shot you,
Speaker 3: She shot you, and he shot you three times?
Speaker 4: I mean, don't ink shame Chris.
Speaker 3: Oh my god, and here we go with the kink
Speaker 3: shaming again. Me a shot with guns is dangerous and
Speaker 3: if that's a hink, I'm sorry to tell you there ain't.
Speaker 4: Me and William s Burrows. There's certain things that we
Speaker 4: agree on, okayim.
Speaker 3: Bear ben Way, what injecting heroin into your scrotum's not enough?
Speaker 1: Yeah?
Speaker 4: That and shooting our wives. Oh, also, we're gonna do
Speaker 4: the old William tellat Come on, how many mugwumps can
Speaker 4: I get you?
Speaker 2: Is this potentially just a condemnation of like, how stupid
Speaker 2: men are that, no matter what the warning sign are,
Speaker 2: will just fucking keep going until they've drowned us in
Speaker 2: the baths?
Speaker 3: Up, Yes, men are stupid. First off, the answer to
Speaker 3: your question is are men stupid? No?
Speaker 2: I know that. I know that I'm saying it's not
Speaker 2: what this episode is saying. Because if that's what they're
Speaker 2: getting at, then okay, I like it a little better.
Speaker 3: I mean, Paul Dooley's a piece of shit in this episode,
Speaker 3: That's the thing. It's not. I'm not gonna say he
Speaker 3: was asking for it. He was asking for it by
Speaker 3: going back to that room where she was knowing that
Speaker 3: she had shot him already and going hit let me
Speaker 3: keep hit on you, and then he gets drowned in
Speaker 3: a baptub. Deservedly is what it is. What deservedly is
Speaker 3: what the show makes it feel like. Whether or not
Speaker 3: that's the real my take or any of y'all's take,
Speaker 3: the show's inherent moral compass would lead us to believe
Speaker 3: that he got what he deserved. Per the narrative, you
Speaker 3: know what we needed one phone call with the wife,
Speaker 3: right well, we had one.
Speaker 4: We had one at the very beginning, remember when he's like, oh,
Speaker 4: hold on, the line's pricking up.
Speaker 2: Yeah, it's true what we need, but we needed to
Speaker 2: speak to her again. We needed to know that she's
Speaker 2: sweet and he's being a dick, because if it's what
Speaker 2: they're getting at that, like he deserved this, But is
Speaker 2: it that? I mean, is it? Or is it? Just
Speaker 2: don't go in that room?
Speaker 4: Right?
Speaker 5: Yeah?
Speaker 4: Again, think her as a presence probably would have been
Speaker 4: nice at some.
Speaker 2: Point instead of having the other woman who he was
Speaker 2: also hitting on. Maybe she's that, maybe it is, it's
Speaker 2: just not it doesn't feel pointed in any way this episode.
Speaker 2: It's just things are happening and we're watching them, and
Speaker 2: then he's dead. That's pretty much.
Speaker 3: It seems like there. Like I said, it seems like
Speaker 3: there was a lot of missed opportunities to really get
Speaker 3: us to the point where we can understand why the
Speaker 3: things are happening, as opposed to the things happening in
Speaker 3: the episode just going see he drowned and wait a
Speaker 3: second here, Like I would like for it to feel inevitable,
Speaker 3: the way the best versions of these shows do, where
Speaker 3: it's like the inevitability is known from the moment we
Speaker 3: see this kind of piece of shit husband acting the
Speaker 3: way that he's acting. It's like sometimes they're redeemed in
Speaker 3: the end. We have seen those episodes where there's a
Speaker 3: you know, there's a nice redemptive moment, but in a
Speaker 3: lot of these, especially this show, it's like, nah, fuck them,
Speaker 3: fuck them in the ear, fuck them in both ears.
Speaker 2: Somebody please make a Saturday Morning version of the way.
Speaker 2: I think that's what I took, quite just like a
Speaker 2: little bit cartoon version with no stakes, just everyone has
Speaker 2: a good time. But anyway, oh there you go. Yeah,
Speaker 2: all right. On the next episode, we are going to
Speaker 2: be taking a look at two new episodes from season
Speaker 2: two those are the last car and a choice of dream.
Speaker 2: Midnight Viewing is a proud member of the Weirdingway Media group.
Speaker 2: Our theme song was composed by HP with an assist
Speaker 2: by Donald Rubinstein. Until next time? What are you working on?
Speaker 2: Where can people find it? Mike White?
Speaker 4: Everything that I do, with the exception of one thing,
Speaker 4: one thing is available at Weirdingwaymedia dot com. That one
Speaker 4: thing is available at patreon dot com slash Projection Booth
Speaker 4: or patreon dot com slash Culturecast, and that is the
Speaker 4: podcast like Chris and I do with our friend Richard,
Speaker 4: the guy who replaced me with my own mother. Oh
Speaker 4: my god, it's slipped that is available at once a
Speaker 4: month over at our patreons and we talk about James
Speaker 4: Bond and have a good time.
Speaker 3: How about you, Chris, Weirdingwaymedia dot com. It's where you
Speaker 3: can find all the stuff that I work on. Like
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Speaker 4: young Christachio. Weird, almost like he's trying to replace you.
Speaker 3: I knew it, Fazaka Fresh. It's the doormt vu part
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Speaker 1: Sad In Da