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<v Speaker 1>You unlock this door with the key of imagination. Beyond

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<v Speaker 1>it is another dimension, a dimension of sign, a dimension

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<v Speaker 1>of sight, a dimension of mind. You're moving into a

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<v Speaker 1>land of both shadow and substance of things and ideas.

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<v Speaker 1>You just crossed over into the twilight Zone.

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<v Speaker 2>Last time on the twilight Zone podcast, I had my

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<v Speaker 2>say on the twilight Zone that wasn't a twilight Zone.

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<v Speaker 2>But now it's time for you to have your say

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<v Speaker 2>on an occurrence at owl Creek Bridge. So as usual,

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<v Speaker 2>the first thing we'll do is head over to the

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<v Speaker 2>after hours club to see what the patrons there thought

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<v Speaker 2>of it. Okay, so quite a divided result on this one.

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<v Speaker 2>Eight percent said it was a bottom tier twilight Zone,

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<v Speaker 2>fifty four percent said it was a middle tier, and

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<v Speaker 2>thirty eight percent said it was a top tier. So

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<v Speaker 2>so still leaning more towards the positives. So that's good.

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<v Speaker 2>And a few people chimed in with thoughts. John Hayes says,

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<v Speaker 2>it's not Twilight Zone. I'd be very interested in hearing

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<v Speaker 2>how it came about that. They even aid her on

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<v Speaker 2>the show, but I cannot place a show not shot

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<v Speaker 2>by TZ as anything but bottom tier.

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<v Speaker 3>Thank you.

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<v Speaker 2>John Emma says middle tier. I enjoyed the powerful closing

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<v Speaker 2>message about the absurdity of war, as well as the

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<v Speaker 2>artistic way this was filmed. The music and general composition

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<v Speaker 2>were quite researched making this equality outing. I was genuinely

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<v Speaker 2>captivated wanting to see where this was all going. But

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<v Speaker 2>watching this also felt tedious at times, and I have

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<v Speaker 2>no inclination to revisit it. At the end of the day.

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<v Speaker 2>This felt shoehorned into the anthology, and my preference goes

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<v Speaker 2>to true Rod Sailing fair every time, perhaps objectively superior,

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<v Speaker 2>but ultimately joyless. Thank you, Emma, and we'll actually be

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<v Speaker 2>hearing from Emma later on again. Our old friend Whitney

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<v Speaker 2>Beeler says, it's an episode with a little different history

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<v Speaker 2>than other tzs, but Rod was cool with it, so

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<v Speaker 2>who am I to argue? This is top tier for me.

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<v Speaker 2>Thanks Tom, Thank you, Whitney. My friend Chad Boykin says, suspense,

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<v Speaker 2>other worldliness, trauma, pathos, the folly of war, black and

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<v Speaker 2>white cinematography, and in the depths of the fourth season

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<v Speaker 2>it gave exhausted showrunner Rod Sailing a much needed day off.

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<v Speaker 2>Top tier. Thank you, Chad, Our old friend Cerebral p says,

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<v Speaker 2>an amazing cultural text, a gift from France, perhaps as

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<v Speaker 2>precious as the Statue of Liberty itself. Not often enough

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<v Speaker 2>are we reminded of the atrocities of war, the physical

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<v Speaker 2>and psychological agony, the ambiguity of a conflict with your

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<v Speaker 2>own brethren, and the tolls it takes on the human heart.

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<v Speaker 2>And a carence at al Creek Bridge reminds us that

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<v Speaker 2>we will never sidestep or ultimate demise, and that looking

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<v Speaker 2>back at our life in all its worth, will be

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<v Speaker 2>our only escape. A true treasure of American literature, French cinema,

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<v Speaker 2>and of great importance to me, as I'm sure it

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<v Speaker 2>was to Sailing himself. I've always placed this as being

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<v Speaker 2>the best installment of the Twilight Tone for its artistry

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<v Speaker 2>and timeless relevance, but it bears a heavy asterisk for

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<v Speaker 2>not being an episode itself. Top of all tears, Thank you, sir, Rebrope.

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<v Speaker 2>Appreciate that our friend Todd Trexler says middle tier because

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<v Speaker 2>it's a great short film, but I don't like that

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<v Speaker 2>it isn't a proper Twilight Zone episode, almost bottom tier

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<v Speaker 2>for me. As a resort, there's no proper Sailing intro

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<v Speaker 2>or outro narration, just a note about where it came from.

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<v Speaker 2>Maybe if they managed to get a monologue in there,

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<v Speaker 2>I'd feel differently about it. Also forgot to mention that

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<v Speaker 2>the first time I saw this it was not on

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<v Speaker 2>The Twilight Zone, but instead in the cafeteria at my

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<v Speaker 2>grade school as a film.

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<v Speaker 3>Thank you, Todd.

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<v Speaker 2>Jordan Dollock says, I seem to be in the same

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<v Speaker 2>category as many others here. It's a good short, but

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<v Speaker 2>it's not TZ. If I'm in the mood to watch TZ.

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<v Speaker 2>This isn't an episode I consider Champagne Drum says conflicted.

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<v Speaker 2>Having read about us in the Twilight Zone Companion gave

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<v Speaker 2>me an appreciation and understanding for it. Without that, I'm

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<v Speaker 2>not sure I would have much to say about the episode.

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<v Speaker 2>Good but not not really a true episode. Not often

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<v Speaker 2>seen either, so casual fans who saw Teazing in the

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<v Speaker 2>eighties reruns don't seem to know about it. My friend

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<v Speaker 2>Killian says fine adaptation, tsiasque story, a very different style

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<v Speaker 2>and not of a piece with the rest of the show,

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<v Speaker 2>but it wakes Michael Fainback says, top tier, but with

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<v Speaker 2>a huge asterisk, because as you will no doubt, discussing

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<v Speaker 2>your analysis, its production and filming was never intended for

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<v Speaker 2>the Twilight Zone, even though the story is a good fit.

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<v Speaker 2>Thank you, Michael. My old friend Al Shadsmer says, this

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<v Speaker 2>story has been dramatized several times, including on Alfred Hitchcock Presents,

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<v Speaker 2>but this is the best of the law lyrical and

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<v Speaker 2>dream like, with sound and image so stylized, it's not

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<v Speaker 2>surprising to learn that it isn't real, except somehow still

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<v Speaker 2>is surprising with an ending that's beautiful, sudden, and breathtaking.

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<v Speaker 2>This was one of a handful of Zones that was

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<v Speaker 2>not syndicated, so I didn't see it until I was

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<v Speaker 2>an adult. I'm glad of that. I wouldn't have appreciated

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<v Speaker 2>it half as much as a kid. Top tier, Thank

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<v Speaker 2>you all. Judge Stephens says, was it good?

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<v Speaker 3>Was it bad?

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<v Speaker 2>It was Artie definitely. Artie would be interested what audiences

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<v Speaker 2>at the time made of it. And then David Trimbouli says,

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<v Speaker 2>the story is in the spirits of the Twilight Zone,

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<v Speaker 2>but the film has elements that would have never been

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<v Speaker 2>considered had it been an actual Twilight Zone adaptation. The

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<v Speaker 2>soundtrack featuring the frantic drum solo as Farquhar runs through

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<v Speaker 2>the forest and the song a living man playing as

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<v Speaker 2>we see the beautiful close ups of the world around

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<v Speaker 2>him are a perfect fit, and in a very unteasy moment,

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<v Speaker 2>the viewer is jarred back to reality when confronted with

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<v Speaker 2>the starkness of the hanging body in the final scene.

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<v Speaker 2>Twilight Zone certainly had episodes that dealt with hanging, but

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<v Speaker 2>they all shied away from actually showing the reality of

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<v Speaker 2>the final moment. This is aware the addition to the series,

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<v Speaker 2>an adaptation of a classic American short story with a

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<v Speaker 2>production above and beyond what would have been delivered as

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<v Speaker 2>a standard episode Top tier, Thank you, David. And then,

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<v Speaker 2>last but not least, Lisa says mid tier for me.

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<v Speaker 2>Beautifully shot and captured the story, but didn't seem to

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<v Speaker 2>fit in the actual Twilight Zone universe for me personally.

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<v Speaker 2>Thank you, Lisa. So very interesting cross section of thoughts

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<v Speaker 2>there some people putting it as top tier as some

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<v Speaker 2>people finding it difficult to accept as an actual Twilight Zone.

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<v Speaker 2>So let's check out some more feedback about an occurrence

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<v Speaker 2>at our creek bridge and see whether that trend continues.

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<v Speaker 2>So our friend Max sent me an email, an email

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<v Speaker 2>that he says he's been meaning to send for eight years.

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<v Speaker 2>So Max, thank you for sticking with me for so long,

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<v Speaker 2>And he says, I've always felt season five is the

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<v Speaker 2>biggest mixed bag season of the Twilight Zone. To me,

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<v Speaker 2>this season, more than any other, gives you the biggest

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<v Speaker 2>whiplash from episode to episode in terms of quality, I think,

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<v Speaker 2>in praise of Pip Steel and Nightmare of twenty thousand

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<v Speaker 2>Feet is a stronger face three episode start out of

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<v Speaker 2>the gate as you'll find in any season, only to

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<v Speaker 2>of course follow them up with a kind of Stopwatch

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<v Speaker 2>and Last Night of a Jockey, which sets the precedent

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<v Speaker 2>of the roller coaster of good bad that season five

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<v Speaker 2>gives you. And occurrence at hal Creek Bridge and its

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<v Speaker 2>jump cut ending gave me more whiplash, perhaps than any

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<v Speaker 2>other episode of the series. I thought this was a

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<v Speaker 2>beautiful episode, wonderfully shot and tells a complete story in

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<v Speaker 2>its run time. You can see the existential dread use

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<v Speaker 2>through the screen from our protagonist as he's standing on

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<v Speaker 2>the plank awaiting his fate. A few minutes felt like ours.

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<v Speaker 2>The underwater shot is wonderfully lit. It's like I can

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<v Speaker 2>feel how cold and crisp the water is. The ending

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<v Speaker 2>was masterfully done, is seemingly never ending run to his wife.

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<v Speaker 2>The use of the same shot for the both of

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<v Speaker 2>them over and over only added to the tension and

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<v Speaker 2>feeling that a bubble was about to burst. I did

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<v Speaker 2>not expect such a striking jump cut to his hanging.

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<v Speaker 2>This was the perfect encapsulation to this poor man's final

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<v Speaker 2>moment and his inner mind escaping reality. One of my

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<v Speaker 2>favorites in season five, and I wholeheartedly believe it deserves

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<v Speaker 2>to be in the upper tier of teasy episodes. I

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<v Speaker 2>know this is a bit long winded, and if you

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<v Speaker 2>made it to the end, I sincerely appreciate all the

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<v Speaker 2>work you've put into the show. This s has given

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<v Speaker 2>me so much enjoyment over the years, and I could

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<v Speaker 2>never repay that debt. Thanks Tom Well, thank you Max,

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<v Speaker 2>And it wasn't long winded at all. I think you

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<v Speaker 2>made some great points there. And yeah, season five, I agree,

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<v Speaker 2>is probably the most uneven season out of them all,

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<v Speaker 2>but I'm thankful for the good stuff that's in there.

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<v Speaker 2>So thank you for your email.

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<v Speaker 1>Max.

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<v Speaker 2>My old friend Ben Keker, my fellow UK Twilight Zone

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<v Speaker 2>fan has sent me this email. He says, whether seen

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<v Speaker 2>as a legitimate episode of the Twilight Zone or not,

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<v Speaker 2>and accrernce at ol Creek Bridge is a brilliant piece

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<v Speaker 2>of film. The sound design, in particular, feels like a

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<v Speaker 2>sensory experience. The sound of the lapping water and the

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<v Speaker 2>Farquhar underwater sequence as he's desperately trying to reach the

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<v Speaker 2>surface is incredibly effective. When he finally reaches the surface

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<v Speaker 2>and he gasps for breath. I don't think I've ever

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<v Speaker 2>felt so intertwined with a character on screen, and that's

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<v Speaker 2>down to the myriad production choices which helped garner so

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<v Speaker 2>many awards. One final thought regarding the episode's legitimacy. If

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<v Speaker 2>a child is adopted, do you love it any less

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<v Speaker 2>than one of your own? I like to think of

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<v Speaker 2>an occurrence at Olkreek Bridge as the episode that Rod's

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<v Speaker 2>sailing adopted, and it occupies a deserved place in the

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<v Speaker 2>cannon kind regards Ben Ben. You know, I never would

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<v Speaker 2>have thought of that comparison myself, but I think it's

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<v Speaker 2>beautifully observed, and I thank you for making it. That's

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<v Speaker 2>a really lovely way to put it. So thank you

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<v Speaker 2>so much for your email. Ben Okay, So I have

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<v Speaker 2>some voice clips which are going to play for you

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<v Speaker 2>from listeners of the show, and I'm going to start

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<v Speaker 2>with our old friend Joe Brown. There's a few Sailing

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<v Speaker 2>Fest regulars here and Joe is one of them. So

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<v Speaker 2>Joe take it away, Hey, Tom.

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<v Speaker 4>Joe Brown here, just talking about a few things on

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<v Speaker 4>a currents Atle Creek Bridge. You know, anytime a person

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<v Speaker 4>that I encounter and we start talking about the Twilight Zone,

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<v Speaker 4>or if I bring it up, hey, you ever watched

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<v Speaker 4>it before? We always talk about what was the first

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<v Speaker 4>episode that we've ever seen, and then it's how the

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<v Speaker 4>conversation really takes off and goes in different directions. But

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<v Speaker 4>what's interesting in my relationship with the Twilight Zone and

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<v Speaker 4>how I learned about it is I couldn't really I

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<v Speaker 4>really don't know what the first episode that I saw was.

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<v Speaker 4>I know it was when I was younger. I think

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<v Speaker 4>it was on the local PBS station here, but I

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<v Speaker 4>can't pin it down. But what I can say is

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<v Speaker 4>that when I was in the eighth grade in nineteen eighty,

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<v Speaker 4>I was in American history class with a teacher named

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<v Speaker 4>Missus Webber, And I'll never forget and in America. What

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<v Speaker 4>they used to do during Great School in middle school

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<v Speaker 4>time was they would bring in projectors and they would

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<v Speaker 4>show movies in class and that would be the teaching

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<v Speaker 4>element for the day or for the week, and that

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<v Speaker 4>was the focus. Well, missus Weber brings in the projector

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<v Speaker 4>and she puts on an Occurrence at.

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<v Speaker 3>Al Creek Bridge.

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<v Speaker 4>And I find it interesting because, you know, as I

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<v Speaker 4>looked on Wikipedia and some other places, and I did

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<v Speaker 4>read some reviews about the show. Even though I've seen

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<v Speaker 4>it several times, I did notice that other people have

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<v Speaker 4>mentioned that they also saw the same episode in American

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<v Speaker 4>history class. And it just got me thinking, is there

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<v Speaker 4>a relationship between you know, is it just a super

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<v Speaker 4>not supernatural, but like a sci fi or a fantasy

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<v Speaker 4>element that we can apply to American history or things

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<v Speaker 4>that happened and kind of say, you know what we

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<v Speaker 4>know about wars and history, but here's something you don't see.

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<v Speaker 4>So I just thought it was a neat little antidote

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<v Speaker 4>to begin with. But you know, I know you probably

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<v Speaker 4>are going to talk about this on the podcast, but

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<v Speaker 4>there's two well known versions of this show at Occurrence

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<v Speaker 4>at ol Creek Bridge. One that's done on the Twilight

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<v Speaker 4>Zone that I'm going to specifically talk about obviously, and

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<v Speaker 4>then the one from Altro Hitchcock. Now, I did watch

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<v Speaker 4>both episodes because I wanted to compare and trast compare

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<v Speaker 4>and contrast in my mind what the differences were in

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<v Speaker 4>any similarities, and I know that I would have to

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<v Speaker 4>assume that you've probably done the same thing. So I'll

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<v Speaker 4>just quickly talk a little bit about the Alfred Hitchcock

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<v Speaker 4>one first and then focus my real thoughts on the

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<v Speaker 4>Twilight Zone episode and the Alfred Hitchcock one. One thing

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<v Speaker 4>I did notice is that there's a lot of dialogue.

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<v Speaker 4>There's a lot of setup that lets you understand why

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<v Speaker 4>is the protagonist being hung, mister Farquhar, And we get

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<v Speaker 4>the backstory on why he's going to get hung and his.

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<v Speaker 3>Plot to burn up the bridge.

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<v Speaker 4>And when we go to the Twilight Zone version, which

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<v Speaker 4>was the French production, what we get is a little

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<v Speaker 4>piece of paper that is affixed to one of the

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<v Speaker 4>stanchions that's holding the bridge up that basically says any

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<v Speaker 4>tampering with the bridge or the tunnels, you will be hanged.

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<v Speaker 4>And it's like an order of decree or something like that.

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<v Speaker 4>And in the Alfred Hitchcock version, we kind of see

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<v Speaker 4>the same path that's treaded that we're going to see

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<v Speaker 4>in the Twilight Zone version. However, there's a lot more

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<v Speaker 4>dialogue with the Farquhar character in Alfred Hitchcock, where in

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<v Speaker 4>the Twilight Zone one there's only the words Ebbie is spoken,

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<v Speaker 4>which is the protagonist's wife. And what I find is

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<v Speaker 4>that a lot of the screen shots and the filming

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<v Speaker 4>of the Alfred Hitchcock version are very set based. You

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<v Speaker 4>obviously can see the matte paintings in the background when

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<v Speaker 4>you see the soldiers on the bridge, Farquhar at his

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<v Speaker 4>plantation home, and the episode ends in the same way.

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<v Speaker 4>They both end in the same way as probably as design.

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<v Speaker 4>I've never read the book by Ambrose Beers, but I've

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<v Speaker 4>seen both episodes, and the one thing about the Twilight

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<v Speaker 4>Zone episode that really sets I think it apart is

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<v Speaker 4>that it is very atmospheric. I love how we're looking

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<v Speaker 4>at scenes and the camera is on site. Everything is outdoors.

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<v Speaker 4>Even when Farquhar is standing on the bridge. I like

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<v Speaker 4>how the camera pans up to his face, the sweat

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<v Speaker 4>beads on his forehead. He's about to get hung and

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<v Speaker 4>then you can see where it's like a point of

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<v Speaker 4>view camera pointing down at his feet and you can

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<v Speaker 4>see the water below, giving you this perspective all these

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<v Speaker 4>atmospheric conditions, the birds chirping, the water rushing. When he

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<v Speaker 4>ends up into the river and he's swimming away, we

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<v Speaker 4>see him going through the rapids. Like log we saw

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<v Speaker 4>earlier floating in the water. Well, now we see him

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<v Speaker 4>quote floating in the water, but going through the rapids.

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<v Speaker 4>But the point of view that the director gives us

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<v Speaker 4>as if we're there, And I just think that's a

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<v Speaker 4>really really cool effect because I feel like I'm standing

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<v Speaker 4>on the cliff watching this guy go through the water.

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<v Speaker 4>And then as the episode goes, the best thing about

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<v Speaker 4>it is it builds this tension the entire time. The

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<v Speaker 4>whole time you're like, okay, the rope broke, and back

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<v Speaker 4>to the offered hitchcock for a second, Farcore has to mention, oh,

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<v Speaker 4>the rope is freyed, it might break.

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<v Speaker 3>Well.

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<v Speaker 4>In the Twilight Zone version, we don't get that. What

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<v Speaker 4>we get is the guy follows the rope breaks and

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<v Speaker 4>we're like, we don't think about at least me as

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<v Speaker 4>the viewer, Well, the rope must have been freyed. It

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<v Speaker 4>just snapped. He got another chance. And it made me

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<v Speaker 4>think about the episode execution or not execution but Dust,

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<v Speaker 4>where the magic dust set the person free because the

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<v Speaker 4>rope broke, and I'm thinking this is going to kind

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<v Speaker 4>of be like of a remake, but it isn't. And

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<v Speaker 4>then again, the episode takes us all the way to

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<v Speaker 4>the end. He doesn't incur the soldiers anymore, but he

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<v Speaker 4>does run away from a bomb that explodes upstream, and

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<v Speaker 4>we see him do the racing, and I think the

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<v Speaker 4>sound effect of the snare drum kind of has a

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<v Speaker 4>double meaning. The snare drum is rattling away. Oh and

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<v Speaker 4>while he's running, which gives us the feeling that there's

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<v Speaker 4>speed happening here. There's a quickness, there's an urgency to

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<v Speaker 4>get where he's going. And I'm following along right with him. Okay,

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<v Speaker 4>he's gonna make it home, because you know, I have

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<v Speaker 4>to assume that's what he's gonna try to do.

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<v Speaker 3>I got to get home.

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<v Speaker 4>And then the other piece of the drum is exactly

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<v Speaker 4>what drum you would hear when you're setting up for

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<v Speaker 4>a big finale.

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<v Speaker 3>And the drum stops because he falls. You're like Oh,

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<v Speaker 3>but that's not it. It keeps you going.

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<v Speaker 4>He gets back up and he's running some more, and

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<v Speaker 4>the drum beats going, and the drumm rull's going, and

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<v Speaker 4>then when he finally gets to his wife, it comes

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<v Speaker 4>to the client and his head snaps back and it's over.

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<v Speaker 4>And I think in terms of the Twilight Zone having

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<v Speaker 4>the twist at the end, this is perfect for that

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00:19:13.640 --> 00:19:17.880
<v Speaker 4>because it does accomplish that feat. And it kind of

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00:19:17.920 --> 00:19:24.480
<v Speaker 4>goes to show me that the guys that produced the show, Hirshman, Burke, Grantit,

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<v Speaker 4>Buck Houghton, those producers, I don't think you can say

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<v Speaker 4>that they were the only ones with the original ideas

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00:19:35.400 --> 00:19:38.759
<v Speaker 4>because I think that the occurrence at al Creek Bridge

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00:19:38.799 --> 00:19:42.920
<v Speaker 4>fits right in line with Twilight Zone and the twilight

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<v Speaker 4>Zone structure of how.

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<v Speaker 3>An episode is set up and executed. I think it's excellent.

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<v Speaker 4>Now as far as the rating, you know, it's interesting

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<v Speaker 4>when we talk about upper tier, mid tier, and lower tier.

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<v Speaker 4>As we go through the season of the seasons and

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<v Speaker 4>the one hundred and fifty six episode, I tend to

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<v Speaker 4>find out that my top tier probably handles about ninety episodes.

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<v Speaker 4>The middle tier has probably got about forty and then

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<v Speaker 4>the bottom tier has like the rest of the twenty six.

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<v Speaker 4>So you know, again, I'm not evenly waited at you know,

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00:20:16.440 --> 00:20:20.799
<v Speaker 4>fifty two, fifty two and fifty two. But if it

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00:20:20.880 --> 00:20:22.920
<v Speaker 4>is set up that way, I have to put a

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00:20:23.039 --> 00:20:26.720
<v Speaker 4>currence in ale Creek Bridge in the middle tier. If

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<v Speaker 4>I can extend my top tier, it's going up there

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<v Speaker 4>because I think it's an excellent piece of work. And

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<v Speaker 4>I love the silence of it and just the ambient

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00:20:35.480 --> 00:20:39.079
<v Speaker 4>sounds because it does carry me along and I'm rooting

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<v Speaker 4>for the character to get home, and when he does,

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00:20:43.279 --> 00:20:47.759
<v Speaker 4>we finally get the realization that it was all a dream,

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<v Speaker 4>as Rod says in his ending comments, a dreamlike state

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<v Speaker 4>where a man could feel like he's living or something

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<v Speaker 4>like that. I'm just paraphrasing, but you know, one last

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<v Speaker 4>comparison contrast, and i'll let it go here is the

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<v Speaker 4>songs in both of the episodes. The first one where

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<v Speaker 4>far Kohar meets up with Josh and he's like, Josh,

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<v Speaker 4>why are you here? And you have I'm assuming, okay,

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<v Speaker 4>Josh must be dead but he hasn't realized it yet,

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<v Speaker 4>and Josh knows he's dead, and he's singing a song

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<v Speaker 4>about Lazarus like the Resurrection Piece, a biblical type song.

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<v Speaker 4>And then the Twilight Zone version one also has biblical

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<v Speaker 4>references when it says a man is up and he

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<v Speaker 4>walks around, And I looked that up and it said

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<v Speaker 4>that that's in reference to Biblical verses about a man

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<v Speaker 4>gets up and walks around and sees the bugs on

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<v Speaker 4>the leaves and things like that. It is very interesting

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<v Speaker 4>that both of these episodes chose songs to help drive

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00:21:58.480 --> 00:22:01.119
<v Speaker 4>the story, and the lyrics and the songs were both

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00:22:01.119 --> 00:22:04.960
<v Speaker 4>biblically based. And the end of the episode, the man

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<v Speaker 4>ends in death and it doesn't really have to explain

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<v Speaker 4>because whatever his crime was, that's what he was going

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<v Speaker 4>to get. But I thought it was a really well

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<v Speaker 4>done piece, and I recommended that to several people. Hey,

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<v Speaker 4>you got to watch this. Rod didn't write it, but

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<v Speaker 4>it's as good as something Rod would have wrote. Thanks Tom,

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<v Speaker 4>Thank you, Joe.

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<v Speaker 2>I always love it when someone sends me some feedback

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<v Speaker 2>on an episode and they include something that I was

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<v Speaker 2>absolutely not aware of. You know, I looked into that

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<v Speaker 2>episode a fair bit, as you will have heard in

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<v Speaker 2>the last show, but the biblical references and Josh singing

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<v Speaker 2>the song about Lazarus and so on completely lost on me,

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<v Speaker 2>and I never knew or none of that occred to me,

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<v Speaker 2>So that's some great perspective. Thank you, Joe, and thank

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<v Speaker 2>you for sending some feedback in always good to hear

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<v Speaker 2>from you. And I'm looking forward to catching up at

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<v Speaker 2>sailing Fest.

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<v Speaker 3>All right.

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<v Speaker 2>Another person that I'm looking forward to catching up with

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<v Speaker 2>at sailing Fest hopefully is Cassie May. So let's hear

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<v Speaker 2>it from Cassie.

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<v Speaker 5>Hi, Tom, and all the folks listening. This is Cassie.

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<v Speaker 5>And I actually think this is my first ever time

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<v Speaker 5>sending feedback on a Twilight Zone episode, so let's see

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<v Speaker 5>how this goes. But I specifically wanted to send feedback

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<v Speaker 5>on this episode because I don't think i've seen it

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<v Speaker 5>since my first ever watch through of the series. I mean,

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00:23:36.160 --> 00:23:40.799
<v Speaker 5>I remember watching it at age probably like fifteen, and

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00:23:40.920 --> 00:23:43.559
<v Speaker 5>I remember thinking it felt so out of place and

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<v Speaker 5>just so meh overall. Granted, I mean being fifteen at

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<v Speaker 5>the time, I think this may have been a bit

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<v Speaker 5>above my attention span. But when I saw the poll

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00:23:53.680 --> 00:23:56.880
<v Speaker 5>posted on Patreon, I was like, I should rewatch that

395
00:23:56.920 --> 00:23:59.680
<v Speaker 5>episode and see what I think now, and I am

396
00:23:59.720 --> 00:24:02.640
<v Speaker 5>so happy to report that ten years later, I was

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00:24:02.680 --> 00:24:05.920
<v Speaker 5>able to appreciate this episode so much more this time around.

398
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<v Speaker 5>I thought it was really successful at being atmospheric and immersive.

399
00:24:11.559 --> 00:24:15.839
<v Speaker 5>The cinematography was gorgeous, especially that shot of the protagonist

400
00:24:16.000 --> 00:24:20.920
<v Speaker 5>running down that corridor of trees. Don't even get me started,

401
00:24:20.920 --> 00:24:24.599
<v Speaker 5>because it was stunning. There were also all of those

402
00:24:24.640 --> 00:24:28.119
<v Speaker 5>like ambient noises that really contributed to the vibe, and

403
00:24:28.160 --> 00:24:31.599
<v Speaker 5>I really liked those. I also think the main actor's

404
00:24:31.640 --> 00:24:34.240
<v Speaker 5>performance in the latter half of the episode was really

405
00:24:34.240 --> 00:24:37.240
<v Speaker 5>great and really powerful. I felt like I could feel

406
00:24:37.359 --> 00:24:39.839
<v Speaker 5>his exhaustion as he was running through the woods, and

407
00:24:40.200 --> 00:24:44.000
<v Speaker 5>also his joy at seeing his wife. My main qualm

408
00:24:44.400 --> 00:24:47.519
<v Speaker 5>comes with the ending. I felt that after so much

409
00:24:47.599 --> 00:24:50.359
<v Speaker 5>build up, not only did their reunion feel kind of

410
00:24:50.440 --> 00:24:54.319
<v Speaker 5>like subtle to me, but also I do not understand

411
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<v Speaker 5>why they had the two characters touch in the short story.

412
00:24:57.599 --> 00:25:01.480
<v Speaker 5>It seems that the protagonist feels that like pain before

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<v Speaker 5>he's able to touch her it all, and I think

414
00:25:04.640 --> 00:25:07.599
<v Speaker 5>that would have made this so much more successful if

415
00:25:07.599 --> 00:25:10.440
<v Speaker 5>they had been like inches away from even just being

416
00:25:10.480 --> 00:25:14.000
<v Speaker 5>able to grasp one another's hands. And then we cut

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<v Speaker 5>to that final scene, but I'm curious if other folks

418
00:25:16.960 --> 00:25:19.759
<v Speaker 5>have thoughts on that. But with all that said, I

419
00:25:19.799 --> 00:25:23.799
<v Speaker 5>think it's a generally good piece of media. However, it

420
00:25:23.880 --> 00:25:26.720
<v Speaker 5>still doesn't feel super Twilight Zone to me, not that

421
00:25:26.720 --> 00:25:29.000
<v Speaker 5>it has to be. I mean, it was its own thing,

422
00:25:29.680 --> 00:25:32.680
<v Speaker 5>but of course I'm viewing it from a Twilight Zone lens,

423
00:25:33.400 --> 00:25:35.559
<v Speaker 5>and I see how it could be in concept, but

424
00:25:35.880 --> 00:25:39.759
<v Speaker 5>the tzy vibes aren't there for me, which also just

425
00:25:39.759 --> 00:25:43.480
<v Speaker 5>further emphasizes my hypothesis that the Twilight Zone cannot possibly

426
00:25:43.480 --> 00:25:45.920
<v Speaker 5>feel like the Twilight Zone unless it has Rod's DNA.

427
00:25:46.079 --> 00:25:48.160
<v Speaker 5>But that's a whole other discussion for a whole other day.

428
00:25:49.119 --> 00:25:52.640
<v Speaker 5>And I don't think I see myself rewatching this one often.

429
00:25:53.240 --> 00:25:55.799
<v Speaker 5>I think it's a good experience, but not when I

430
00:25:55.839 --> 00:25:59.000
<v Speaker 5>see myself being drawn too often, so I think I

431
00:25:59.039 --> 00:26:02.440
<v Speaker 5>would in the end call it mid tier. So yes,

432
00:26:02.519 --> 00:26:04.160
<v Speaker 5>thank you folks for your time, thank you for listening

433
00:26:04.160 --> 00:26:06.240
<v Speaker 5>to me, and very excited to see what other people

434
00:26:06.240 --> 00:26:07.359
<v Speaker 5>think already.

435
00:26:07.720 --> 00:26:11.240
<v Speaker 2>Bye, Cassie, thank you so much. You make a great

436
00:26:11.279 --> 00:26:14.640
<v Speaker 2>point about seeing it as a kid and not really

437
00:26:14.720 --> 00:26:19.400
<v Speaker 2>appreciating it, but then seeing it as an adult and

438
00:26:20.599 --> 00:26:23.920
<v Speaker 2>having a different perspective on that, because one of the

439
00:26:23.960 --> 00:26:27.000
<v Speaker 2>things that I've said a million times on the podcast,

440
00:26:27.160 --> 00:26:30.359
<v Speaker 2>or one of the things about The Twilight Zone for

441
00:26:30.440 --> 00:26:35.400
<v Speaker 2>me was that irrespective of whether I got what Rod

442
00:26:35.559 --> 00:26:39.000
<v Speaker 2>was trying to say, do with different levels to it,

443
00:26:39.759 --> 00:26:43.559
<v Speaker 2>and I just enjoyed it, you know, as that quirky

444
00:26:43.640 --> 00:26:46.440
<v Speaker 2>show when I was a kid, and I'm not sure

445
00:26:46.440 --> 00:26:48.720
<v Speaker 2>I would have really enjoyed this one. I kind of

446
00:26:49.000 --> 00:26:53.200
<v Speaker 2>think I needed to be an adult to get into

447
00:26:53.240 --> 00:26:57.519
<v Speaker 2>this one, having you know, seen so many more movies

448
00:26:57.599 --> 00:26:59.079
<v Speaker 2>and experienced.

449
00:26:58.480 --> 00:27:00.079
<v Speaker 3>So much more in life.

450
00:27:00.319 --> 00:27:04.839
<v Speaker 2>So I do believe that this is one I would

451
00:27:04.839 --> 00:27:07.599
<v Speaker 2>have grown into had I seen it as a kid,

452
00:27:08.000 --> 00:27:14.079
<v Speaker 2>I think my reaction would probably have been exactly like yours. Well, yeah,

453
00:27:14.200 --> 00:27:18.039
<v Speaker 2>wonderful to hear your thoughts, Cassie, and you know, I

454
00:27:18.119 --> 00:27:22.359
<v Speaker 2>hope we hear from you again on the show. Okay,

455
00:27:23.119 --> 00:27:28.119
<v Speaker 2>So next up we have Peter Gamble and he's got

456
00:27:28.160 --> 00:27:30.960
<v Speaker 2>some thoughts for us too, So take it away, Peter.

457
00:27:31.279 --> 00:27:34.839
<v Speaker 6>Hi Tom, this is Peter reporting in from Adelaide, Australia.

458
00:27:35.599 --> 00:27:39.079
<v Speaker 6>I do hope Harold Clark doesn't mind me mimicking his introduction.

459
00:27:39.720 --> 00:27:43.079
<v Speaker 6>I always enjoy hearing what he's got to say. I

460
00:27:43.200 --> 00:27:46.640
<v Speaker 6>started listening to the twilight Zone podcast in twenty twenty

461
00:27:46.680 --> 00:27:50.000
<v Speaker 6>two and I'm finally caught up with all the episodes. Yeah,

462
00:27:50.119 --> 00:27:53.480
<v Speaker 6>what can I say, I'm a slow listener, I guess.

463
00:27:54.599 --> 00:27:57.440
<v Speaker 6>So I wanted to provide my thoughts on an occurrence

464
00:27:57.480 --> 00:28:02.640
<v Speaker 6>at Our Creek Bridge. If Twilight Zone episodes are all

465
00:28:02.680 --> 00:28:06.519
<v Speaker 6>presentations given at a school by Rod Serling and the

466
00:28:06.559 --> 00:28:09.839
<v Speaker 6>other great writers on his staff, an occurrence at Our

467
00:28:09.920 --> 00:28:14.680
<v Speaker 6>Creek Bridge is the one given by a foreign exchange student. Yeah,

468
00:28:14.680 --> 00:28:17.480
<v Speaker 6>as far as I know, it's the only one not written, directed,

469
00:28:17.559 --> 00:28:20.720
<v Speaker 6>or acted by the twilight Zone team. So yeah, it

470
00:28:20.720 --> 00:28:24.599
<v Speaker 6>definitely stunds out as different. But does it still feel

471
00:28:24.640 --> 00:28:27.160
<v Speaker 6>like Twilight Zone. Well, I guess that's up to each

472
00:28:27.200 --> 00:28:32.359
<v Speaker 6>of us and our taste. So yeah, I sat down

473
00:28:32.400 --> 00:28:34.880
<v Speaker 6>and watched it and sort of wrote down some of

474
00:28:34.880 --> 00:28:37.599
<v Speaker 6>my thoughts and then I've expanded on those for this.

475
00:28:39.200 --> 00:28:42.319
<v Speaker 6>I love the soundscape at the start of the episode. Really,

476
00:28:42.359 --> 00:28:46.680
<v Speaker 6>the whole episodes, Yeah, got a good soundscape, but particularly

477
00:28:46.720 --> 00:28:49.960
<v Speaker 6>at the start there's the sounds of nature with the

478
00:28:49.960 --> 00:28:54.720
<v Speaker 6>birds chopping, but there's no no music, no dialogue. It's

479
00:28:54.759 --> 00:28:58.920
<v Speaker 6>a very different feel to other Twilight Zone episodes given

480
00:28:58.960 --> 00:29:03.079
<v Speaker 6>their dialogue been nature in general, and it really draws

481
00:29:03.119 --> 00:29:06.720
<v Speaker 6>you into the scene. So the scene has, yeah, all

482
00:29:06.759 --> 00:29:10.240
<v Speaker 6>the soldiers around and then the man who's about to

483
00:29:10.240 --> 00:29:13.720
<v Speaker 6>be hung. I wasn't familiar with a short story when

484
00:29:13.720 --> 00:29:16.400
<v Speaker 6>I first watched this, but I did guess that perhaps

485
00:29:16.480 --> 00:29:21.359
<v Speaker 6>it was set during the American Civil War. I did

486
00:29:21.519 --> 00:29:23.359
<v Speaker 6>notice when I watched it this time, the man in

487
00:29:23.400 --> 00:29:26.880
<v Speaker 6>the noose. He's wearing a pretty fancy suit, so it's

488
00:29:26.920 --> 00:29:30.359
<v Speaker 6>not exactly what I would picture a soldier wearing, just

489
00:29:30.359 --> 00:29:34.880
<v Speaker 6>something that stood out to me. There's the shots of

490
00:29:34.960 --> 00:29:38.240
<v Speaker 6>all the soldiers in the cannon, and all these seem

491
00:29:38.279 --> 00:29:40.079
<v Speaker 6>to tell of you are just you know, how dire

492
00:29:40.319 --> 00:29:44.880
<v Speaker 6>the protagonist's situation is. It gives the impression he's out numbered,

493
00:29:44.920 --> 00:29:46.880
<v Speaker 6>there's no escape for him, which I think is the

494
00:29:46.920 --> 00:29:50.400
<v Speaker 6>intended message and tended message, and it's a hint to

495
00:29:50.440 --> 00:29:56.000
<v Speaker 6>the twist ending. Just before dropping the plank, they tie

496
00:29:56.000 --> 00:29:58.480
<v Speaker 6>his feet up, So I'm not sure if that's a

497
00:29:58.480 --> 00:30:02.160
<v Speaker 6>common thing to do, and if serves a purpose. Maybe

498
00:30:02.200 --> 00:30:04.680
<v Speaker 6>it makes it harder him to flail around and kick

499
00:30:04.759 --> 00:30:07.680
<v Speaker 6>things while he's hanging, So yeah, maybe that's why they

500
00:30:07.720 --> 00:30:12.759
<v Speaker 6>did that. It goes into his memory, presumably with his

501
00:30:12.839 --> 00:30:15.680
<v Speaker 6>wife and his family, and there's the sounds of these

502
00:30:15.720 --> 00:30:19.599
<v Speaker 6>slow clicks that speed up over time. I'm still not

503
00:30:19.680 --> 00:30:23.079
<v Speaker 6>exactly sure what these are supposed to be. My best

504
00:30:23.079 --> 00:30:26.880
<v Speaker 6>guess is it's probably representing time passing slowly as he's

505
00:30:28.079 --> 00:30:31.079
<v Speaker 6>going through his memory, and then they take his watch

506
00:30:31.119 --> 00:30:35.359
<v Speaker 6>and his mind snaps back to the present. Possibly another

507
00:30:35.440 --> 00:30:40.400
<v Speaker 6>head towards the twist, standing, Yeah, just before the plank's

508
00:30:40.440 --> 00:30:42.640
<v Speaker 6>going to be dropped, so you really feel his despair.

509
00:30:43.119 --> 00:30:45.839
<v Speaker 6>He's got his lips quivering, and he's got tears coming

510
00:30:45.880 --> 00:30:49.400
<v Speaker 6>from his eyes, he's got them tight shut. I really

511
00:30:49.519 --> 00:30:53.880
<v Speaker 6>can't remember anything similar in terms of a recent acting

512
00:30:53.920 --> 00:30:57.799
<v Speaker 6>performance by a man about to be killed. Just feels

513
00:30:57.799 --> 00:31:01.599
<v Speaker 6>like a very honest portrayal. He's not standing there defined

514
00:31:01.960 --> 00:31:04.440
<v Speaker 6>like glaring at the guy's going to hang him. He's

515
00:31:04.480 --> 00:31:06.720
<v Speaker 6>you know, he's afraid to die and he just wants

516
00:31:06.759 --> 00:31:12.319
<v Speaker 6>to live. So yeah, I enjoyed that a lot anyway. Yeah,

517
00:31:12.359 --> 00:31:15.640
<v Speaker 6>then the captain presumably steps off the plank, and then

518
00:31:15.680 --> 00:31:18.960
<v Speaker 6>the rope snaps and he plunges into the water. I

519
00:31:19.000 --> 00:31:23.240
<v Speaker 6>was very impressed with the underwater footage in these scenes.

520
00:31:24.039 --> 00:31:26.000
<v Speaker 6>So it's like it's very clear and easy to see

521
00:31:26.000 --> 00:31:29.920
<v Speaker 6>what's going on while he's underwater, and it's also clearly

522
00:31:30.200 --> 00:31:34.000
<v Speaker 6>like he is actually underwater and he's actually swimming. I'm

523
00:31:34.039 --> 00:31:36.039
<v Speaker 6>not really sure how they filmed this, and I'd be

524
00:31:36.160 --> 00:31:39.160
<v Speaker 6>very interested to know if there are details on how

525
00:31:39.200 --> 00:31:44.160
<v Speaker 6>they filmed this. Again, Yeah, great sound for this section

526
00:31:44.240 --> 00:31:47.160
<v Speaker 6>as well. Everything's a bit muted, like it is when

527
00:31:47.200 --> 00:31:52.359
<v Speaker 6>you're underwater. Really sells it. And then he breaches the

528
00:31:52.440 --> 00:31:54.680
<v Speaker 6>surface and he does that big gasp of air to

529
00:31:54.680 --> 00:31:58.720
<v Speaker 6>breathe in, and it's a great, you know, distinct change

530
00:31:58.759 --> 00:32:02.240
<v Speaker 6>from the quiet beforehand. And yeah, he really sells that

531
00:32:02.279 --> 00:32:07.359
<v Speaker 6>he needed the air. And then the song kicks in.

532
00:32:07.559 --> 00:32:10.279
<v Speaker 6>It's not one that I'm familiar with from anything else,

533
00:32:11.039 --> 00:32:14.440
<v Speaker 6>and I think it does fit perfectly. It's about the

534
00:32:14.519 --> 00:32:17.720
<v Speaker 6>joy of living, and it's sung pretty simply. You know,

535
00:32:17.759 --> 00:32:20.920
<v Speaker 6>it's not the most beautiful voice singing it, or you know,

536
00:32:20.960 --> 00:32:24.079
<v Speaker 6>he's not doing anything fancy too much with the instruments.

537
00:32:24.160 --> 00:32:27.960
<v Speaker 6>It's just a simple song about the joy of living really,

538
00:32:29.240 --> 00:32:31.599
<v Speaker 6>and yeah, you can see that he's happy to be

539
00:32:31.680 --> 00:32:34.440
<v Speaker 6>alive and he's got this huge smile. And I love

540
00:32:34.519 --> 00:32:39.200
<v Speaker 6>that they use the shots of the centipede and the spider,

541
00:32:39.839 --> 00:32:42.359
<v Speaker 6>you know, creatures that generally consider it to be unpleasant

542
00:32:42.440 --> 00:32:46.000
<v Speaker 6>or frightening. I think it's saying, you know, even these

543
00:32:46.039 --> 00:32:48.839
<v Speaker 6>animals you didn't really think too kindly of, you know,

544
00:32:48.920 --> 00:32:52.519
<v Speaker 6>you just overjoyed that you're alive to see them. And yeah,

545
00:32:52.559 --> 00:32:55.119
<v Speaker 6>it's a really good choice, I think, to use those

546
00:32:55.240 --> 00:32:58.200
<v Speaker 6>rather than something a bit you know, typical, like maybe

547
00:32:58.200 --> 00:33:01.680
<v Speaker 6>it used like butterflies or you know, rabbits or something

548
00:33:01.720 --> 00:33:06.519
<v Speaker 6>that's you know, a bit more appealing. Anyway, then they

549
00:33:07.119 --> 00:33:10.279
<v Speaker 6>slow down the start of the dialogue of the soldiers

550
00:33:10.279 --> 00:33:13.720
<v Speaker 6>as they're saying something, you know, when they got about

551
00:33:13.720 --> 00:33:16.640
<v Speaker 6>to give orders to fire and stuff like that, I

552
00:33:16.640 --> 00:33:19.079
<v Speaker 6>think they saw, yeah, it's caught like a rat in

553
00:33:19.160 --> 00:33:24.599
<v Speaker 6>a trap. It sounds pretty weird to me, but yeah,

554
00:33:24.920 --> 00:33:29.519
<v Speaker 6>I guess they were showing that it was happening over

555
00:33:29.599 --> 00:33:32.279
<v Speaker 6>a short period of time, even though you know, you

556
00:33:32.559 --> 00:33:37.359
<v Speaker 6>had like, you know, minute or so music. Yeah, with

557
00:33:37.480 --> 00:33:40.680
<v Speaker 6>all the soldiers firing at him and missing, Yeah, it

558
00:33:40.680 --> 00:33:44.079
<v Speaker 6>looks pretty ludicrous if you don't know what the twist

559
00:33:44.200 --> 00:33:46.559
<v Speaker 6>ending is. So yeah, I think this is a pretty

560
00:33:46.599 --> 00:33:49.559
<v Speaker 6>significant glue towards that twist ending, and you know, makes

561
00:33:49.599 --> 00:33:54.240
<v Speaker 6>it make sense in retrospect. It goes down the river

562
00:33:54.599 --> 00:33:57.400
<v Speaker 6>rapids pretty fast at some of these points, and the

563
00:33:57.519 --> 00:34:00.079
<v Speaker 6>rappids look a bit strong. So I do hope they

564
00:34:00.119 --> 00:34:04.319
<v Speaker 6>did something to you know, ensure his safety because it

565
00:34:04.440 --> 00:34:06.440
<v Speaker 6>might be a bit risky if he's just you know,

566
00:34:07.039 --> 00:34:11.119
<v Speaker 6>putting that river by himself and told to just swim.

567
00:34:12.440 --> 00:34:17.239
<v Speaker 6>So hopefully, yeah, they did something where when he reaches

568
00:34:17.280 --> 00:34:20.719
<v Speaker 6>the bank, he does this great laugh of you know,

569
00:34:20.880 --> 00:34:23.239
<v Speaker 6>joy and disbelief, and he's throwing the dirt up in

570
00:34:23.280 --> 00:34:25.880
<v Speaker 6>the air. So I like that that part quite a lot.

571
00:34:25.960 --> 00:34:28.360
<v Speaker 6>And again, yeah, they got the music that kicks back

572
00:34:28.400 --> 00:34:32.599
<v Speaker 6>in at that section, and then you've got him running

573
00:34:32.679 --> 00:34:37.039
<v Speaker 6>through the forest and there's this drumming sound, which yeah,

574
00:34:37.079 --> 00:34:39.480
<v Speaker 6>i'd guess probably ties back to the drumming of the

575
00:34:39.480 --> 00:34:43.360
<v Speaker 6>soldiers back at the bridge. I did notice it seemed

576
00:34:43.400 --> 00:34:46.519
<v Speaker 6>to start and stop a lot, or like it got quiet,

577
00:34:46.840 --> 00:34:48.880
<v Speaker 6>which yeah, was a bit odd in my opinion. I

578
00:34:48.920 --> 00:34:50.960
<v Speaker 6>would have thought they would kind of build that drumming

579
00:34:51.559 --> 00:34:53.599
<v Speaker 6>and it kind of gets louder until the end when

580
00:34:53.639 --> 00:34:56.400
<v Speaker 6>he's you know snapped and he's taken back to the bridge.

581
00:34:57.239 --> 00:34:59.559
<v Speaker 6>But I do like it, and I like that there's

582
00:34:59.599 --> 00:35:02.599
<v Speaker 6>a lot of birds chirping as well, unless I'm mistaken

583
00:35:02.800 --> 00:35:06.280
<v Speaker 6>from the sounds of that section. When he does see

584
00:35:06.320 --> 00:35:09.239
<v Speaker 6>his wife and you know, she's crying, and to me,

585
00:35:09.559 --> 00:35:13.400
<v Speaker 6>she looks like she's sad rather than joyful, Like she

586
00:35:13.480 --> 00:35:16.159
<v Speaker 6>has this forced smile on perhaps, and gives me the

587
00:35:16.159 --> 00:35:20.679
<v Speaker 6>impression that you know, she knows he's dead and this

588
00:35:20.760 --> 00:35:24.000
<v Speaker 6>is entirely happening, but you know, she's happy to see him,

589
00:35:24.039 --> 00:35:27.840
<v Speaker 6>but you know sad that he's dying. That's the impression

590
00:35:27.880 --> 00:35:30.599
<v Speaker 6>I get, and I'm looking forward to hearing if others

591
00:35:30.639 --> 00:35:33.159
<v Speaker 6>see the same thing, or if they see it more

592
00:35:33.199 --> 00:35:36.559
<v Speaker 6>like she's crying to us of joy to see him.

593
00:35:36.800 --> 00:35:40.039
<v Speaker 6>And then of course he reaches her, and then there's

594
00:35:40.079 --> 00:35:43.960
<v Speaker 6>that great transition shot from him in her arms to

595
00:35:44.239 --> 00:35:48.480
<v Speaker 6>him back on the noose, probably the most iconic bit

596
00:35:48.519 --> 00:35:52.440
<v Speaker 6>of the episode really, and you know, the twist ending,

597
00:35:53.920 --> 00:35:56.480
<v Speaker 6>and then you've got the ending ration by Rod sailing,

598
00:35:56.519 --> 00:35:59.079
<v Speaker 6>which is pretty short and sweet. For this one, I

599
00:35:59.079 --> 00:36:02.599
<v Speaker 6>do like the final line. This is the stuff of fantasy,

600
00:36:03.000 --> 00:36:06.559
<v Speaker 6>the threat of imagination, the ingredients of the Twilight Zone.

601
00:36:07.559 --> 00:36:10.079
<v Speaker 6>So to me, that's kind of saying, yes, yeah, we

602
00:36:10.119 --> 00:36:13.360
<v Speaker 6>didn't make this one, but it does have the ingredients

603
00:36:13.400 --> 00:36:16.880
<v Speaker 6>of a Twilight Zone, so it fits in here with

604
00:36:17.000 --> 00:36:20.800
<v Speaker 6>the others, and that's where I land for this one.

605
00:36:21.360 --> 00:36:24.719
<v Speaker 6>It's again very different in how it shots and how

606
00:36:24.760 --> 00:36:29.039
<v Speaker 6>it's almost dialogue free, but there's enough common elements with

607
00:36:29.480 --> 00:36:32.639
<v Speaker 6>what is Twilight Zone that it fits in and I'm

608
00:36:32.679 --> 00:36:35.760
<v Speaker 6>certainly glad that it was made into one. Otherwise, yeah,

609
00:36:35.760 --> 00:36:38.639
<v Speaker 6>I would never have seen it be probably pretty obscure

610
00:36:38.639 --> 00:36:42.519
<v Speaker 6>and hard to come across it otherwise. And yeah, I

611
00:36:42.519 --> 00:36:45.920
<v Speaker 6>do think it's very good. I'd probably place it top

612
00:36:46.000 --> 00:36:49.039
<v Speaker 6>of the middle tier of Twilight Zone for me. You know,

613
00:36:49.079 --> 00:36:52.440
<v Speaker 6>it's very well executed, but probably missing, you know, some

614
00:36:52.480 --> 00:36:54.840
<v Speaker 6>sort of extra special elements that would put it into

615
00:36:54.880 --> 00:36:58.519
<v Speaker 6>the top tier for me. So yeah, that's my thoughts

616
00:36:58.599 --> 00:37:02.679
<v Speaker 6>on an occurrence at our Thanks for all your years

617
00:37:02.679 --> 00:37:06.199
<v Speaker 6>of excellent work on the Twi Zone podcast top Your

618
00:37:06.239 --> 00:37:08.559
<v Speaker 6>podcast has been a pleasure to listen to and I

619
00:37:08.599 --> 00:37:11.760
<v Speaker 6>will continue to listen towards and I wish you well

620
00:37:11.840 --> 00:37:17.280
<v Speaker 6>for your year ahead in your coverage of the remaining episodes.

621
00:37:17.599 --> 00:37:18.679
<v Speaker 6>So thanks very much.

622
00:37:19.280 --> 00:37:24.599
<v Speaker 2>Bye, Peter, Thank you so much. You know, I think

623
00:37:24.639 --> 00:37:28.119
<v Speaker 2>that's probably a reason to go back and take a

624
00:37:28.119 --> 00:37:31.840
<v Speaker 2>look at the episode see whether there is a little

625
00:37:31.840 --> 00:37:34.679
<v Speaker 2>more detail in there that I miss because I can't

626
00:37:34.760 --> 00:37:39.519
<v Speaker 2>recall the face of the wife. But yeah, you know,

627
00:37:39.679 --> 00:37:43.800
<v Speaker 2>this is his reality, but is there a moment of

628
00:37:43.840 --> 00:37:46.840
<v Speaker 2>actual reality within that where his wife is sitting there,

629
00:37:46.960 --> 00:37:51.599
<v Speaker 2>she is sad because he is missing or because she

630
00:37:51.760 --> 00:37:55.719
<v Speaker 2>now knows he's dead, and then he comes up to her.

631
00:37:55.840 --> 00:37:59.719
<v Speaker 2>So yeah, I didn't get onto that at all, So

632
00:37:59.760 --> 00:38:01.599
<v Speaker 2>thank you, thank you for bringing it up. And it's

633
00:38:01.599 --> 00:38:05.679
<v Speaker 2>certainly something that I will check out next time I

634
00:38:05.800 --> 00:38:09.599
<v Speaker 2>watch it. Now you invoke the name of Harold Clark,

635
00:38:10.400 --> 00:38:11.199
<v Speaker 2>So here he is.

636
00:38:11.239 --> 00:38:14.119
<v Speaker 7>Hey, there, Tom, Harold Clark reporting in from but to

637
00:38:14.119 --> 00:38:19.039
<v Speaker 7>Texas talking about an occurrence at out Creek Bridge.

638
00:38:19.039 --> 00:38:20.119
<v Speaker 6>The effects of a war.

639
00:38:21.280 --> 00:38:24.760
<v Speaker 7>That's a common theme and the twilight zone, and here

640
00:38:24.800 --> 00:38:29.400
<v Speaker 7>we have another angle on that. As I was watching this,

641
00:38:30.039 --> 00:38:33.559
<v Speaker 7>I was thinking, man, how does how does this affect

642
00:38:33.599 --> 00:38:38.639
<v Speaker 7>those soldiers that are watching this happen, you know, the

643
00:38:38.639 --> 00:38:42.800
<v Speaker 7>ones that are along the coast there you lined up

644
00:38:42.920 --> 00:38:45.719
<v Speaker 7>their guns that the ready. How is this affecting the

645
00:38:46.199 --> 00:38:49.960
<v Speaker 7>dude who's tossing the rope over the bridge and the

646
00:38:50.000 --> 00:38:55.320
<v Speaker 7>guys that are tying the cloth around his legs and feet.

647
00:38:56.320 --> 00:39:00.000
<v Speaker 7>How's it affecting the first guy who is standing on.

648
00:38:59.920 --> 00:39:03.760
<v Speaker 6>The board, and then you have the.

649
00:39:03.719 --> 00:39:09.280
<v Speaker 7>Captain I guess, uh, maybe not a second guy to

650
00:39:09.320 --> 00:39:13.599
<v Speaker 7>stand on the board who actually actually steps off the

651
00:39:13.639 --> 00:39:17.519
<v Speaker 7>board to to commence the hanging. You know, how does

652
00:39:18.800 --> 00:39:19.880
<v Speaker 7>how does that affect them?

653
00:39:20.039 --> 00:39:20.239
<v Speaker 6>You know?

654
00:39:21.679 --> 00:39:27.159
<v Speaker 7>Do they just get numb to it? Is this somehow

655
00:39:27.639 --> 00:39:32.559
<v Speaker 7>in this crazy idea of a war, a relief of

656
00:39:32.639 --> 00:39:37.519
<v Speaker 7>seeing somebody hung as opposed to you know, shooting somebody

657
00:39:37.559 --> 00:39:42.920
<v Speaker 7>themselves or stabbing somebody. You know, I'm glad that I've

658
00:39:43.000 --> 00:39:46.000
<v Speaker 7>never had to think about what that would be like.

659
00:39:46.039 --> 00:39:49.559
<v Speaker 7>But you know, we have wars and wars and wars

660
00:39:49.559 --> 00:39:54.840
<v Speaker 7>and wars and wars, and who again obviously affected you know,

661
00:39:55.519 --> 00:40:00.519
<v Speaker 7>it affected Rod severely with what he saw, even in

662
00:40:00.599 --> 00:40:03.679
<v Speaker 7>a I guess you would call it a non combat situation.

663
00:40:05.159 --> 00:40:10.360
<v Speaker 7>So yeah, the effects of war always a always a relevant.

664
00:40:09.920 --> 00:40:11.159
<v Speaker 6>Thing to cover.

665
00:40:13.039 --> 00:40:18.760
<v Speaker 7>So near the end, a large iron gate double gate

666
00:40:18.880 --> 00:40:23.000
<v Speaker 7>opens up, and I hadn't remembered that from when I've

667
00:40:23.000 --> 00:40:24.840
<v Speaker 7>watched it in the past, but I thought, you know what,

668
00:40:24.920 --> 00:40:28.440
<v Speaker 7>that's that's a clever I thought that was a clever

669
00:40:28.639 --> 00:40:32.000
<v Speaker 7>idea because if you happen to be one of the

670
00:40:32.119 --> 00:40:38.679
<v Speaker 7>viewers that thought, there's no way all of those you know, well,

671
00:40:38.760 --> 00:40:40.920
<v Speaker 7>one that he didn't drowned because he was under the

672
00:40:40.920 --> 00:40:43.440
<v Speaker 7>water for quite a quite a long time. And two

673
00:40:43.639 --> 00:40:49.199
<v Speaker 7>all of those soldiers couldn't hit him, not once. So

674
00:40:49.280 --> 00:40:52.719
<v Speaker 7>if you had some doubts, I can imagine when you

675
00:40:52.760 --> 00:40:55.880
<v Speaker 7>saw those gates open up, you thought, ah see, he

676
00:40:56.079 --> 00:40:59.440
<v Speaker 7>didn't make it out alive, and this is heaven, or

677
00:40:59.480 --> 00:41:03.960
<v Speaker 7>at least how he This guy perceives heaven, very country

678
00:41:04.000 --> 00:41:07.119
<v Speaker 7>style heaven, which is not unlike you know, the the

679
00:41:07.800 --> 00:41:12.000
<v Speaker 7>heaven that was envisioned in the Hunt. So I thought

680
00:41:12.000 --> 00:41:14.199
<v Speaker 7>that was a clever idea. I don't know if that's

681
00:41:14.239 --> 00:41:16.760
<v Speaker 7>in the original short story, but I thought, okay, you

682
00:41:16.760 --> 00:41:18.880
<v Speaker 7>know you they're they're they're setting you up going okay,

683
00:41:18.880 --> 00:41:19.199
<v Speaker 7>here you go.

684
00:41:19.320 --> 00:41:20.239
<v Speaker 6>Yeah, he's in heaven.

685
00:41:22.280 --> 00:41:28.280
<v Speaker 7>And then for me came the Mandela effect because what

686
00:41:28.440 --> 00:41:31.679
<v Speaker 7>I remember again, I remember the twist of the story

687
00:41:31.880 --> 00:41:33.559
<v Speaker 7>that this all happens in the blink of an eye.

688
00:41:33.559 --> 00:41:37.199
<v Speaker 7>But man, I thought, for sure, I remember that he

689
00:41:38.960 --> 00:41:43.480
<v Speaker 7>makes it, gets up to his wife. They they hug,

690
00:41:43.559 --> 00:41:48.079
<v Speaker 7>they embrace, and her hands slowly go up to his

691
00:41:48.199 --> 00:41:53.519
<v Speaker 7>neck and start to squeeze his neck, and the look

692
00:41:53.559 --> 00:41:57.039
<v Speaker 7>of joy on his face turns from joy to confusion

693
00:41:57.840 --> 00:42:00.519
<v Speaker 7>as he's wondering what is going on, And there's a

694
00:42:00.599 --> 00:42:02.920
<v Speaker 7>couple of seconds where she just keeps squeezed and squeeze

695
00:42:02.920 --> 00:42:06.400
<v Speaker 7>and squeeze, and it confusion goes to fear and then

696
00:42:07.039 --> 00:42:13.840
<v Speaker 7>they show the hanging. So, uh so I was quite

697
00:42:14.199 --> 00:42:18.320
<v Speaker 7>quite surprised when it happened really quick. I was like, oh,

698
00:42:18.719 --> 00:42:21.719
<v Speaker 7>so it it caught me off guard, like I'm sure

699
00:42:21.920 --> 00:42:25.079
<v Speaker 7>very first viewers would have had. So, you know, so

700
00:42:25.159 --> 00:42:28.880
<v Speaker 7>that was a nice That was a nice, pleasant surprise,

701
00:42:29.000 --> 00:42:30.519
<v Speaker 7>if you call it, I want to call it that.

702
00:42:31.760 --> 00:42:35.920
<v Speaker 7>So anyway, I mean, you know, what can you say

703
00:42:35.960 --> 00:42:39.039
<v Speaker 7>about the episode? I mean, uh, you know, it does

704
00:42:39.639 --> 00:42:42.400
<v Speaker 7>have the all the qualities of a Twilight Zone episode,

705
00:42:44.400 --> 00:42:46.559
<v Speaker 7>you know. I mean, like I said, it gave me

706
00:42:46.599 --> 00:42:48.400
<v Speaker 7>a couple more things to think about it about just

707
00:42:48.440 --> 00:42:51.719
<v Speaker 7>the horrors of war, you know.

708
00:42:51.840 --> 00:42:53.639
<v Speaker 6>I mean, I.

709
00:42:53.559 --> 00:42:56.000
<v Speaker 7>Guess I don't know if this was the first story

710
00:42:56.199 --> 00:43:00.920
<v Speaker 7>to ever put forth this idea that you know, seconds

711
00:43:00.960 --> 00:43:04.000
<v Speaker 7>before you die, you relive your life or things like that.

712
00:43:04.840 --> 00:43:08.679
<v Speaker 7>I do remember hearing that one of my guilty pleasure movies,

713
00:43:11.719 --> 00:43:17.800
<v Speaker 7>Sucker Punch. I remember Snyder saying that that movie was

714
00:43:17.840 --> 00:43:21.280
<v Speaker 7>inspired by this episode, and for those who've seen it,

715
00:43:21.760 --> 00:43:24.239
<v Speaker 7>you know exactly what I'm talking about. And if you

716
00:43:24.360 --> 00:43:27.239
<v Speaker 7>haven't seen it, well, I highly recommend you see it.

717
00:43:28.840 --> 00:43:31.599
<v Speaker 7>If not see it, go on YouTube and look up

718
00:43:31.639 --> 00:43:35.360
<v Speaker 7>all the action sequences because the action, the fantasy action

719
00:43:35.519 --> 00:43:42.239
<v Speaker 7>sequences are are fantastic. But and again, if you haven't

720
00:43:42.239 --> 00:43:45.480
<v Speaker 7>seen the movie, give it a watch, and you know

721
00:43:45.519 --> 00:43:47.960
<v Speaker 7>when you make it through, you go ah, yep, that

722
00:43:48.159 --> 00:43:52.639
<v Speaker 7>is a modern day occurrence at al Creek. So anyway,

723
00:43:53.119 --> 00:43:56.519
<v Speaker 7>interesting to hear what you have, what you've uncovered, Tom

724
00:43:56.599 --> 00:43:59.760
<v Speaker 7>And and because I'm sure your your research is going

725
00:43:59.800 --> 00:44:05.159
<v Speaker 7>to be have notatch. So anyway, onward to the next episode.

726
00:44:05.280 --> 00:44:12.159
<v Speaker 2>Okay, Harold. If there's one thing that I never thought

727
00:44:12.280 --> 00:44:17.880
<v Speaker 2>I would hear in this feedback episode, it is that

728
00:44:18.440 --> 00:44:22.159
<v Speaker 2>sucker Punch was based on an occurrence at our Greek Bridge.

729
00:44:23.119 --> 00:44:27.360
<v Speaker 2>But I haven't seen soccer Punch. I've heard some not

730
00:44:27.559 --> 00:44:29.679
<v Speaker 2>great things about it, but you did say it's a

731
00:44:29.679 --> 00:44:33.039
<v Speaker 2>guilty pleasure, and at the end of the day, you

732
00:44:33.039 --> 00:44:36.880
<v Speaker 2>know we need not be guilty about the things we enjoy.

733
00:44:37.079 --> 00:44:39.960
<v Speaker 2>So yeah, I will give it a shot. Thank you, Harold,

734
00:44:39.960 --> 00:44:42.440
<v Speaker 2>and thank you for your clip. Always good to hear

735
00:44:42.480 --> 00:44:46.360
<v Speaker 2>from you and another one who I'm looking forward to

736
00:44:46.480 --> 00:44:51.320
<v Speaker 2>seeing its sailing fest this year. Okay, So to close

737
00:44:51.360 --> 00:44:56.760
<v Speaker 2>things out and to say thank you as well, really,

738
00:44:56.960 --> 00:45:00.239
<v Speaker 2>I'm going to close out with my friend Emmanuel, my

739
00:45:00.320 --> 00:45:06.719
<v Speaker 2>French correspondent for all Things Twilight Zone, who very kindly

740
00:45:06.960 --> 00:45:12.960
<v Speaker 2>did the translation of the French dialogue for me from

741
00:45:13.000 --> 00:45:16.360
<v Speaker 2>the French version which you had in the actual episode.

742
00:45:16.800 --> 00:45:19.239
<v Speaker 2>So thank you so much, Emmanuel for taking the time

743
00:45:19.280 --> 00:45:22.239
<v Speaker 2>to do that, and I'm so glad that you followed

744
00:45:22.239 --> 00:45:25.880
<v Speaker 2>that up with a clip for the show. So let's

745
00:45:25.880 --> 00:45:28.679
<v Speaker 2>have a listen to what Emmanuel has to say.

746
00:45:28.800 --> 00:45:33.079
<v Speaker 8>Hi, Tom, it's Emanuel inspired to share some feedback about

747
00:45:33.119 --> 00:45:37.440
<v Speaker 8>the French Twilight Zone episode. I watched it without knowing

748
00:45:37.480 --> 00:45:41.960
<v Speaker 8>any of the backgrounds, simply expecting a regular episode of

749
00:45:42.000 --> 00:45:45.119
<v Speaker 8>the Twilight Zone, if there is such a thing. So

750
00:45:45.199 --> 00:45:47.559
<v Speaker 8>at first I was quite quick to dismiss it, and

751
00:45:47.679 --> 00:45:51.360
<v Speaker 8>I thought, why am I watching a French art house

752
00:45:51.440 --> 00:45:55.159
<v Speaker 8>film from the sixties. This isn't what I came here for.

753
00:45:56.679 --> 00:46:00.880
<v Speaker 8>I was also slightly put off by the formalism, which

754
00:46:01.000 --> 00:46:07.599
<v Speaker 8>initially felt out of place in the anthology. I also

755
00:46:07.840 --> 00:46:11.639
<v Speaker 8>was not familiar with the Ambrose beer story and naturally

756
00:46:11.719 --> 00:46:16.519
<v Speaker 8>assumed that the hero was just an innocent civilian caught

757
00:46:16.679 --> 00:46:20.880
<v Speaker 8>in the wrong place at the wrong time. And for me,

758
00:46:20.960 --> 00:46:25.760
<v Speaker 8>the episode was primarily about the absurdity of war based

759
00:46:25.800 --> 00:46:30.840
<v Speaker 8>on that lengthy procedural opening, and even thought of such

760
00:46:30.840 --> 00:46:35.079
<v Speaker 8>films as all Quiet on the Western Front. But then

761
00:46:35.119 --> 00:46:38.480
<v Speaker 8>I was quite taken by the wonderful song I Want

762
00:46:38.519 --> 00:46:41.719
<v Speaker 8>to Be a Living Man and became very absorbed in

763
00:46:41.800 --> 00:46:46.639
<v Speaker 8>the hero's desperate flight. Generally did not see the final

764
00:46:46.719 --> 00:46:52.280
<v Speaker 8>twist coming, except perhaps when the plantation gates open magically,

765
00:46:52.320 --> 00:46:55.800
<v Speaker 8>which was a bit of a giveaway from me. I

766
00:46:55.840 --> 00:46:59.679
<v Speaker 8>also found it interesting that instead of seeing his whole

767
00:46:59.719 --> 00:47:04.440
<v Speaker 8>life flash before his eyes, which would be the stereotype,

768
00:47:04.480 --> 00:47:09.360
<v Speaker 8>he clings on to the essential and primitive things in life,

769
00:47:09.519 --> 00:47:14.719
<v Speaker 8>you know, nature and finally his wife. I also loved

770
00:47:14.760 --> 00:47:18.960
<v Speaker 8>small touches like the watch being taken away and it

771
00:47:19.039 --> 00:47:24.599
<v Speaker 8>seems it stops time. Maybe anyway, by the end, I thought, look,

772
00:47:24.599 --> 00:47:28.800
<v Speaker 8>it's black and white, it has a devastating twist, it

773
00:47:28.920 --> 00:47:33.039
<v Speaker 8>deals with war and delusion, and Rodsoning clearly went out

774
00:47:33.079 --> 00:47:37.159
<v Speaker 8>of his way to bring it to American audiences, so

775
00:47:37.480 --> 00:47:40.559
<v Speaker 8>there's no doubt that it does have its place in

776
00:47:40.599 --> 00:47:46.079
<v Speaker 8>the Twilight Zone anyway, Thanks for the great podcast, Take care.

777
00:47:46.000 --> 00:47:50.039
<v Speaker 2>Goodbye, Emmanuel, Thank you so much. I cannot think of

778
00:47:50.199 --> 00:47:54.320
<v Speaker 2>a more poetic way to end the coverage of an

779
00:47:54.320 --> 00:47:57.880
<v Speaker 2>occurrence at how quick Breaks and to have someone from

780
00:47:58.000 --> 00:48:02.480
<v Speaker 2>next versions origent country feeding back on it. So thank

781
00:48:02.559 --> 00:48:05.079
<v Speaker 2>you so much. Just to pick up on what you

782
00:48:05.159 --> 00:48:08.480
<v Speaker 2>said about you know, Rod made the effort to bring

783
00:48:08.519 --> 00:48:12.159
<v Speaker 2>this over and I think that's the thing, isn't it

784
00:48:12.199 --> 00:48:14.719
<v Speaker 2>that you know we might have this discussion and it's

785
00:48:14.760 --> 00:48:18.360
<v Speaker 2>been an enjoyable discussion about whether if it's in the

786
00:48:18.360 --> 00:48:22.119
<v Speaker 2>Twilight Zone or or whether it's real Twilight Zone, et cetera,

787
00:48:22.199 --> 00:48:26.639
<v Speaker 2>et cetera. But it comes down to one thing, really,

788
00:48:26.679 --> 00:48:30.079
<v Speaker 2>and I remember saying this the in the after show

789
00:48:30.159 --> 00:48:33.800
<v Speaker 2>for people who aren't aware. Over on Patreon, I do

790
00:48:34.440 --> 00:48:37.320
<v Speaker 2>the twilight Zone after Show, which is more of a

791
00:48:37.360 --> 00:48:40.880
<v Speaker 2>discussion format where we'll talk about an episode. This one

792
00:48:40.960 --> 00:48:44.159
<v Speaker 2>was actually a pre show. I did it months ago

793
00:48:44.719 --> 00:48:47.920
<v Speaker 2>before I actually made the main show episode. Anyway, it's

794
00:48:47.920 --> 00:48:51.280
<v Speaker 2>all getting very confusing, but one of the things I

795
00:48:51.320 --> 00:48:55.039
<v Speaker 2>said in that episode was if the boss Man says

796
00:48:55.079 --> 00:48:59.519
<v Speaker 2>it's in, then it's in. And really that's what it

797
00:48:59.559 --> 00:49:03.760
<v Speaker 2>comes down to and like you said, Emmanuel, Rod Sailing says,

798
00:49:03.800 --> 00:49:04.159
<v Speaker 2>it's in.

799
00:49:04.719 --> 00:49:05.280
<v Speaker 3>So it's in.

800
00:49:05.880 --> 00:49:07.880
<v Speaker 2>Great to hear from you, and thank you so much

801
00:49:07.920 --> 00:49:12.679
<v Speaker 2>again for your help with the episode. I really appreciate it.

802
00:49:13.119 --> 00:49:16.960
<v Speaker 2>So there we go Al Creek Bridge, possibly the last

803
00:49:17.039 --> 00:49:21.280
<v Speaker 2>deep dive of the Twilight Zone. You know, it's always

804
00:49:21.280 --> 00:49:25.519
<v Speaker 2>been a pleasure when I start to cover an episode

805
00:49:25.960 --> 00:49:28.719
<v Speaker 2>and you go down the rabbit hole and there is

806
00:49:28.840 --> 00:49:31.480
<v Speaker 2>just so much to it that it ends up being

807
00:49:31.559 --> 00:49:34.320
<v Speaker 2>one of these bigger things. And if this is the

808
00:49:34.400 --> 00:49:38.800
<v Speaker 2>last one, which I think it probably is, then I'm

809
00:49:38.840 --> 00:49:42.280
<v Speaker 2>a little sad about that. I'm a little sad about that.

810
00:49:43.159 --> 00:49:45.760
<v Speaker 2>If it is to be the last one, then you know,

811
00:49:46.239 --> 00:49:49.760
<v Speaker 2>I think it was an interesting episode to finish on.

812
00:49:50.039 --> 00:49:53.679
<v Speaker 2>But anyway, thank you everyone for your feedback and your thoughts.

813
00:49:54.639 --> 00:49:57.360
<v Speaker 2>Next up on the Twilight Zone Podcast, I am hard

814
00:49:57.360 --> 00:50:00.599
<v Speaker 2>at work on the next episode, so hope you won't

815
00:50:00.599 --> 00:50:03.440
<v Speaker 2>be waiting too long for that. I have an interview

816
00:50:03.480 --> 00:50:05.800
<v Speaker 2>coming up with the writer of a new book about

817
00:50:05.880 --> 00:50:08.159
<v Speaker 2>Rod Sailing, so that's going to be coming out soon,

818
00:50:08.639 --> 00:50:11.000
<v Speaker 2>and maybe we'll get back to our comic book coverage

819
00:50:11.000 --> 00:50:13.679
<v Speaker 2>at some point. There's a lot going on in the

820
00:50:13.719 --> 00:50:17.639
<v Speaker 2>twilight Zone at the moment, and I think I'll be

821
00:50:17.679 --> 00:50:21.239
<v Speaker 2>putting out a short episode very soon as well to

822
00:50:21.360 --> 00:50:25.599
<v Speaker 2>tell you what my involvement at Sailing Fest is going

823
00:50:25.679 --> 00:50:29.440
<v Speaker 2>to be okay, so look out for that and I'll

824
00:50:29.480 --> 00:51:01.480
<v Speaker 2>speak to you next time. Bye for now one