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<v Speaker 1>Will you wait begin?

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<v Speaker 2>Welcome back to Midnight Viewing. It's one of our patented

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<v Speaker 2>holiday specials, and this one's all about love you crazy kids,

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<v Speaker 2>We're rounding up I realized that's my other show and

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<v Speaker 2>kind of a plug, but I'm good with it. We're

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<v Speaker 2>rounding up all of the best of Night Gallerries segments

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<v Speaker 2>dedicated to love and all the terrible consequences to be had. Now,

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<v Speaker 2>this is a Valentine's Day special, so I'm tempted to

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<v Speaker 2>dive headfirst into the manufactured nature of the holiday and

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<v Speaker 2>how it like all initially pleasant days meant to focus

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<v Speaker 2>on friendship or family or your beloved and turned it

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<v Speaker 2>into a money grubbing cash grab. But it's all a

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<v Speaker 2>cash grab lately, So let's not be cynical, not with love.

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<v Speaker 2>I mean, the segments we're gonna be talking about are

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<v Speaker 2>terrifically cynical. It's Night Gallery Gang. But we are not

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<v Speaker 2>listening in the spirit of yeah, but what can you do?

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<v Speaker 2>Or hey, that's the way life goes? No, no, no, no,

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<v Speaker 2>we are celebrating love, you and I, and no amount

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<v Speaker 2>of scientific theory about dopamine or early conditioning can explain

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<v Speaker 2>away the genuine magic when it comes to love, nor

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<v Speaker 2>can it diminish its power. I think we all need

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<v Speaker 2>a little bit more of it right now. But let's

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<v Speaker 2>not forget the cynicism. We'll need that as well. To

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<v Speaker 2>that end, I've collected six stories from our time dwelling

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<v Speaker 2>in the night Gallery, all dealing with love and its

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<v Speaker 2>various guises, and all demented in their outcome. So stay strong, everybody,

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<v Speaker 2>and if you think you have no love, especially if

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<v Speaker 2>you think you have no love, rest assured. Love isn't

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<v Speaker 2>a wave, It's a fucking tsunami, and it'll get us

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<v Speaker 2>all eventually.

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<v Speaker 3>Painting number one, it's titled The Dead Man, an interesting

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<v Speaker 3>meeting between flesh and bone, between that which walks and

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<v Speaker 3>that which you should excuse the expression get buried. So

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<v Speaker 3>we submit for your approval of this and other frozen

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<v Speaker 3>moments of Nightmare placed on canvas.

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<v Speaker 2>In this episode, Carl Best's a doctor who has encountered

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<v Speaker 2>an unusual young man who has the power under hypnosis

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<v Speaker 2>to embody any physical ailment.

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<v Speaker 1>What did you think of this, Chris?

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<v Speaker 4>I like that they're talking about something that inherently have

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<v Speaker 4>an interest in, which is the usage of hypnosis and hypnotherapy.

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<v Speaker 4>I think that's interesting. I think it's an interesting place

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<v Speaker 4>to go. Obviously, this is a like you had mentioned,

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<v Speaker 4>this is a teleplay based on a pre existing short story,

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<v Speaker 4>which would lead me to believe that I understand now

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<v Speaker 4>why it was such a novel concept because it's pretty

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<v Speaker 4>high concept stuff. I liked it. The ending is straight

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<v Speaker 4>out of tails from the crypt Boy amusing, is still

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<v Speaker 4>funny and humorous. I think it's an interesting if we're

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<v Speaker 4>calling this now episode one. I think it's an interesting

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<v Speaker 4>if this is the first thing that you saw versus

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<v Speaker 4>the last thing being the first thing you saw. I

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<v Speaker 4>think this still does a good job of setting the table,

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<v Speaker 4>the stage, whatever you want to call it for what

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<v Speaker 4>is to come, similarly to the way them Terry set

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<v Speaker 4>the stage for the previous pilot.

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<v Speaker 5>Okay, yeah, I really liked this. I love Jeff Corey,

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<v Speaker 5>and I was so happy when they showed that dead

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<v Speaker 5>body on the table it was Michael Blanche because I.

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<v Speaker 4>Was just like, you're broad your goddamn but they brought.

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<v Speaker 5>Yeah, yeah, Broad Barzinski. Yeah, I was very happy to

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<v Speaker 5>see him. That was nice. And yeah, this whole idea

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<v Speaker 5>of the hypnosis, I wish they would have done the

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<v Speaker 5>third segment of the hypnosis to do two where it

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<v Speaker 5>works and one where it doesn't. And maybe they did,

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<v Speaker 5>but they might have just been condensed together in my head,

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<v Speaker 5>because it felt like they really went from this to

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<v Speaker 5>this and the screw up, the accidental screw up, and

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<v Speaker 5>this whole idea of your mind's tricking you and all

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<v Speaker 5>this kind of stuff. I was like, that's interesting, And

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<v Speaker 5>then I did also like that doctor Max Redford is

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<v Speaker 5>just openly cuckolded by his wife, but he seems okay

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<v Speaker 5>with it as long as he's getting his jolly's medically.

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<v Speaker 5>Then it was okay. So interesting, and yeah, I think

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<v Speaker 5>having Fritz Lieber behind the original typewriter, I thought, really

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<v Speaker 5>loaned this some credibility and some more interesting turns and

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<v Speaker 5>we normally would get in a short segment like this.

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<v Speaker 1>Yeah, I agree.

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<v Speaker 2>What's weird is this episode and the next one are

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<v Speaker 2>gonna typify theme that I noticed running throughout Night Gallery,

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<v Speaker 2>which we're gonna be looking at marriage a lot. We're

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<v Speaker 2>gonna be looking at marriage in the late nineteen sixties

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<v Speaker 2>early nineteen seventies, shot through from a horror anthology standpoint. Yeah,

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<v Speaker 2>I thought that was an interesting aspect of this one.

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<v Speaker 2>I too loved the I think the concept of hypnosis

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<v Speaker 2>and coupled with what we don't understand about the brain,

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<v Speaker 2>is a very fertile concept, and we've seen it before.

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<v Speaker 2>This segment all difference to Fritz Lieber actually reminds me

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<v Speaker 2>of an Eggar Allen Post story called The Facts in

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<v Speaker 2>the Case of m Valdemar, where a man is put

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<v Speaker 2>under hypnosis and then dies but remains constant in our

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<v Speaker 2>world but his body is slowly decaying. Felt very much

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<v Speaker 2>like that. Yeah, Jeff Corey is the doctor, by the way.

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<v Speaker 1>I love him.

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<v Speaker 2>I love seeing him in anything he is, and oddly

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<v Speaker 2>enough he is. He ends up directing about nine segments

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<v Speaker 2>of the particular series that we're watching. I didn't know

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<v Speaker 2>he was in that prolific director, but I guess he

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<v Speaker 2>and Rod must have gotten along. And Louise Soerell.

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<v Speaker 1>The wife and it.

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<v Speaker 2>She's going to appear later in an adaptation of an

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<v Speaker 2>HP Lovecraft story called Pigman's Model. I love all the

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<v Speaker 2>acting in this, I love the concept. The ending us

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<v Speaker 2>a little forgetting the code is a bit much. I

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<v Speaker 2>think you're right, Mike, we needed a moment where we

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<v Speaker 2>saw him do that once at least once, like the

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<v Speaker 2>second time he fucks it up, and then the third

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<v Speaker 2>time everything works fine, and then we've at least got

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<v Speaker 2>some basis for it happening. But I do love the

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<v Speaker 2>final bit, particularly the sort of use of the flashlight.

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<v Speaker 5>When she goes screaming to ymetery. Good thing, there's a

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<v Speaker 5>cemetery right next door to this house. And then when

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<v Speaker 5>she goes screaming out and she doesn't stop screaming, Oh

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<v Speaker 5>my godness, laughing quite a bit so good.

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<v Speaker 2>And I love the very theatrical banging out of the

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<v Speaker 2>sort of Morse code on the lid of the coffin.

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<v Speaker 2>But when the doctor finally shows up and the sort

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<v Speaker 2>of the one tracking shot and it's handheld, like it's

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<v Speaker 2>so immediate and wonderful. Look that final makeup. It's not

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<v Speaker 2>technically a makeup, it's like a it's a mannequin. If

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<v Speaker 2>it's anything at all, that's not great.

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<v Speaker 4>Little too desiccated to be actual based.

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<v Speaker 1>It's not great, but the effect is pretty fantastic. It's

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<v Speaker 1>pretty creepy. I like it. I did not like the.

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<v Speaker 4>Equivalent to Norma Bates and Psycho. It's that level of yeah.

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<v Speaker 4>But the way it's lit.

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<v Speaker 2>Right, Yeah, we do need to talk about the horrible

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<v Speaker 2>day for night. However, during that entire sequence, it was

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<v Speaker 2>like day from mid afternoon it was like and it

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<v Speaker 2>wildly like the quality jumped from shot like it was

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<v Speaker 2>like clearly daylight.

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<v Speaker 1>And then suddenly it was night.

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<v Speaker 2>I don't know that didn't do the segment any service,

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<v Speaker 2>but overall I really like this one, and I think

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<v Speaker 2>it maintains the promise from what we got in the

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<v Speaker 2>pilot a year later. They seem to be shooting for

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<v Speaker 2>a bit of a higher quality across the board, which

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<v Speaker 2>I really liked.

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<v Speaker 4>It reminded me of It reminded me of Tales from

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<v Speaker 4>the Crypt episodes as well. It had that very gothic

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<v Speaker 4>feel to it, which I appreciate. I appreciated that, and

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<v Speaker 4>again I appreciate that they have this kind of modern

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<v Speaker 4>idea set in a ostensibly gothic setting. It's this mansion

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<v Speaker 4>on these grounds with the cemetery. I don't know what's

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<v Speaker 4>more Gothic than having a cemetery in your backyard, but

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<v Speaker 4>I would wager that having a cemetery with mausoleums in

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<v Speaker 4>your backyard it's pretty goddamn god. Oh, yeah, I like

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<v Speaker 4>the concept. I like the finale, but I, like you said, Mike,

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<v Speaker 4>I wish there was a little bit more to that

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<v Speaker 4>tension of Okay, is it gonna work this time or no?

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<v Speaker 4>And they just go right into the second one. I'm

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<v Speaker 4>not not working this time. Sorry, whoa, whoa. Yeah, we're

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<v Speaker 4>just getting to know.

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<v Speaker 5>These characters like to that that you don't see the

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<v Speaker 5>finale that it's just the horror of it. From Cory's POV,

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<v Speaker 5>I had a little trouble and I when the door

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<v Speaker 5>was answered and she just looks so rough, I was like, Okay,

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<v Speaker 5>how long has it been? I wasn't really sure how

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<v Speaker 5>long it was until they showed how desicated. What's his

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<v Speaker 5>name in Beyond the Valley of the Dolls is like

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<v Speaker 5>Lance Rock or whatever. But I was so glad when

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<v Speaker 5>they showed just how desiccated he was. I was like, oh, okay,

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<v Speaker 5>so it's been a while, But I wish it would

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<v Speaker 5>have been like I haven't seen you in six months

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<v Speaker 5>or something like that.

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<v Speaker 4>Yeah.

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<v Speaker 2>I agree, it definitely needed that. I think they I think,

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<v Speaker 2>like you said, the state of her was supposed to

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<v Speaker 2>tell us that it's been sometimes, but that could have

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<v Speaker 2>been a week later for christ you're that grief stricken.

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<v Speaker 2>So yeah, that needed to be more clear. But I

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<v Speaker 2>got to say at the very end in that shot

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<v Speaker 2>with the flashlight panting around, the shot of her as

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<v Speaker 2>catatonic was particularly haunting. I love a character going insane

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<v Speaker 2>at the end of a horror thing.

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<v Speaker 3>We offer for your approvalless still life, if you will,

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<v Speaker 3>of noise, a soundless canvas suggestive of sound. The mouth

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<v Speaker 3>belongs to Pamela, and life is shrieking battle axe made

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<v Speaker 3>up of adenoids, tonsils, and sound decibels. In death, an

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<v Speaker 3>unmuted practitioner of fishwife fery, undeterred and UnGagged by what

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<v Speaker 3>one would have shown to be the great silencer. Some

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<v Speaker 3>ghosts come back to haunt. Others come back simply to

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<v Speaker 3>pick up where they left off. Our painting is called

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<v Speaker 3>Pamela's and this is the night Gallery Now.

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<v Speaker 2>Pamela's Voice was written by Ron Serling, directed by Richard Beckert,

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<v Speaker 2>and stars Phyllis Diller and John Aston. Only it's about

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<v Speaker 2>a murderous husband who discovers that all too late, that

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<v Speaker 2>the difference between heaven and hell. Chris, you want to

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<v Speaker 2>start on this one?

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<v Speaker 4>Can I tell you guys something funny. Sure, yes, I

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<v Speaker 4>didn't know that that was what Phyllis Dillar looked like,

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<v Speaker 4>Oh really as a did you just know her as

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<v Speaker 4>a tune puppet, an old, older person in her seventies

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<v Speaker 4>and eighties? Like when I saw I didn't know. I

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<v Speaker 4>knew because the episode told me. But I was like,

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<v Speaker 4>that's Phillis Diller. Yeah, like from I only really think

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<v Speaker 4>of Phyllis Dillar when she tells the when she's in

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<v Speaker 4>the what the fuck is that movie? Coped the Aristocrats?

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<v Speaker 4>Oh okay, she's in The Aristocrats.

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<v Speaker 5>She the voice of the queen and as life.

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<v Speaker 4>Yeah yeah, but yeah, but I didn't she didn't look

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<v Speaker 4>like Phyllis Diller outside of that though. Gomez Adams killing

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<v Speaker 4>his wife, come on, John Aston's great.

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<v Speaker 2>Are you saying come on? Like you can't believe they

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<v Speaker 2>made him kill his wife? Or you're saying, hey, no,

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<v Speaker 2>I'm saying come on.

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<v Speaker 4>It's very tongue in cheek, given that his the character

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<v Speaker 4>that he is one more or less known for playing,

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<v Speaker 4>loves his wife immensely, and then this he's like, yeah,

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<v Speaker 4>fuck you, if this is hell, I'll die again. Like

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<v Speaker 4>all right, I love that.

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<v Speaker 5>I grew up with Philip Stiller. Just she was always

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<v Speaker 5>there for the longest time, just always there, TV, movies, there.

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<v Speaker 2>Were so many more variety shows and stuff on TV

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<v Speaker 2>all the time, on talk shows all the time.

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<v Speaker 5>Well, she was even the Monster's mate in the Mad

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<v Speaker 5>Monster Party. So we've talked a little bit about her before.

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<v Speaker 4>Yeah that was bad, Yeah.

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<v Speaker 5>Very bad. But she was just doing Philip Stiller yeah everything. Yeah,

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<v Speaker 5>and literally yeah, because Fang was like the husband, I'd

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<v Speaker 5>be able to remember this one. It really made a

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<v Speaker 5>big impression.

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<v Speaker 2>Yeah, because nothing, nothing happens. Yes, that's the simplicity and

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<v Speaker 2>beauty of it is the brevity.

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<v Speaker 5>Yeah.

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<v Speaker 4>To be fair, though, was there any more that they

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<v Speaker 4>could have given us and or that we needed?

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<v Speaker 1>Not really?

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<v Speaker 2>No, Look, it's Who's afraid of Virginia woolf in two

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<v Speaker 2>minutes with Ghosts. Look, it suffers from the rod sterling

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<v Speaker 2>overly writerritis and it is bottled and whatever. But like

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<v Speaker 2>you said, Chris, it's.

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<v Speaker 4>Quick as an overstay.

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<v Speaker 2>It's welcome, definitely, and some of their barbs at one

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<v Speaker 2>another are actually pretty good, Like when she shows up

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<v Speaker 2>as a ghost seemingly for the first time, she says,

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<v Speaker 2>you're surprised to see me, and he says, no, I'm

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<v Speaker 2>not surprised. You showed up everywhere uninvited your entire life.

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<v Speaker 2>Why should anything be different. Now that's good. I will

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<v Speaker 2>say they tread with or they treat lightly. The notion

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<v Speaker 2>at the end, which is this isn't a ghost story

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<v Speaker 2>at all. This is she's in heaven and he's in

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<v Speaker 2>hell simultaneously. Right, That's what's going on here, which is

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<v Speaker 2>really metaphysical and fun for a brief little more. Still

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<v Speaker 2>at the beginning of this episode.

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<v Speaker 4>Yeah I didn't. I was having hard time understanding that.

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<v Speaker 4>Conceit her heaven.

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<v Speaker 1>Is just her heaven is torturing him by talking.

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<v Speaker 2>Okay, his hell is being tortured by her from talking.

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<v Speaker 1>It's like an O Henry story in a way.

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<v Speaker 4>Yeah, again, it didn't overstay. It's welcome. John Aston's a

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<v Speaker 4>good actor. He's great in everything. I've seen him in

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<v Speaker 4>the Fright Nerds being one of those things he's okay,

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<v Speaker 4>he's not the best part of that, but he's the

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<v Speaker 4>father of Sean Aston. He's the original Gomez Adams.

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<v Speaker 2>And not only is he playing against type here, but

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<v Speaker 2>he underplays everything. He's really spooky, how quiet he is.

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<v Speaker 2>I've never seen a performance like that from him before,

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<v Speaker 2>so that was really welcome and interesting.

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<v Speaker 4>No, I like this segment a fair amount only because

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<v Speaker 4>it a doesn't overstay, It's welcome, and the twist at

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<v Speaker 4>the end is nice. It's a cheeky little twist it is.

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<v Speaker 1>The jokes are not really that funny.

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<v Speaker 2>I've praised it for landing a few, but I don't

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<v Speaker 2>know it accomplished what it set out to, which is

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<v Speaker 2>a couple hating each other and they're tramped together forever

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<v Speaker 2>and good for them.

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<v Speaker 4>And look, Twilight Zone nineteen eighty five did that. They

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<v Speaker 4>had those brief segments, those little essentially what amounted to interstitials.

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<v Speaker 4>It can work if they know what they're a couple

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<v Speaker 4>of children zoo. Yeah, Dreams for Sale was literally the

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<v Speaker 4>name of the show.

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<v Speaker 5>I never really realized until we started doing this show

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<v Speaker 5>how much John Aston had to do with Night Gallery.

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<v Speaker 2>I know right now because he directed a segment we've

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<v Speaker 2>already talked about. He's in this one, he's in another one.

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<v Speaker 2>I can't wait till we get to that one because

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<v Speaker 2>I remember it being hilarious, Like his performance is so good,

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<v Speaker 2>and I think he directs one more too, at least

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<v Speaker 2>one more, which is a lot.

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<v Speaker 1>Oh yeah, yeez.

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<v Speaker 4>Yeah. I don't think if John Aston as anything other

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<v Speaker 4>than an actor. So it's interesting because we have already

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<v Speaker 4>seen him direct something and that was okay. I don't

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<v Speaker 4>think he brought anything to it.

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<v Speaker 1>The failure wasn't the direction. No, you did with what

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<v Speaker 1>you could.

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<v Speaker 2>Like the ultimate failure of the Tom Bondsley Steven Spielberg episode.

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<v Speaker 1>It's not the direction, it's the terrible script.

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<v Speaker 2>Yeah, but at least here you can't go around with

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<v Speaker 2>two people just throwing barbs at each other and then

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<v Speaker 2>getting a pretty decent twist.

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<v Speaker 4>No, yeah, it's and it doesn't overstay. It's welcome either,

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<v Speaker 4>which is the important part because it could have shown

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<v Speaker 4>him killing her, given us a couple scenes of them.

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<v Speaker 4>I don't need that, Like, they can do that through

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<v Speaker 4>dialogue and it's fine, And they did and it's it's okay.

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<v Speaker 2>Yeah, it's a rare instance with it's strength to just

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<v Speaker 2>have them talking to each other. It doesn't feel like

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<v Speaker 2>they're trying to skimp on a budget.

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<v Speaker 4>Oh, Dina's is to a room of people talking, and

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<v Speaker 4>that's what this is. It's just everything in this episode

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<v Speaker 4>segment is just much more well thought out.

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<v Speaker 1>You dig boothill baby. I love that line too. He

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<v Speaker 1>just does that.

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<v Speaker 3>From this picture, one wouldn't necessarily conjure up the story

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<v Speaker 3>of love. But that's precisely what it tells about. The

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<v Speaker 3>emotion as old as man, but the object of the

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<v Speaker 3>emotional this is not quite as familiar. It's titled Phantom Farmhouse,

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<v Speaker 3>offering number one in the Night Gallery.

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<v Speaker 2>Now the first segment is called the Phantom Farmhouse. This

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<v Speaker 2>is written by Halston Wells, based on a short story

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<v Speaker 2>by Seabury Quinn, and directed by Jeno Jouirque starts David McCallum,

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<v Speaker 2>David Carrodine, Linda Marsh, Trina Parks, and Bill Quinn. I

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<v Speaker 2>just want to point him out because the entire are

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<v Speaker 2>you guys at all familiar with the ventriloquist by the

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<v Speaker 2>name of Jeff Dunham.

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<v Speaker 1>He's got this.

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<v Speaker 2>Old man character named Walter, who Bill Quinn just looks

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<v Speaker 2>like the living embodiment of it.

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<v Speaker 1>Was very odd.

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<v Speaker 4>Thanks for reminding me that Jeff Dunham exists.

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<v Speaker 1>I know, look, I didn't want to bring him up

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<v Speaker 1>or promotion anyway, but.

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<v Speaker 4>Las Vegas's own Jeff Dunham.

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<v Speaker 2>You mean, that's right, he's the hometown boy. Now, this

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<v Speaker 2>story concerns an unorthodox psychiatrist who investigates the mysterious murders

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<v Speaker 2>plaguing his patients, and there are wolves involved.

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<v Speaker 1>What do you think of this one, Mike?

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<v Speaker 5>I felt this segment made me feel stupid because I

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<v Speaker 5>could not figure out what the heck was going on.

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<v Speaker 5>All these people in this tree and David Keardy maybe

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<v Speaker 5>he's a Satanist. I don't know what. Please just please

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<v Speaker 5>explain this one to me, because I just was not

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<v Speaker 5>getting this one at all.

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<v Speaker 1>It's very confused, but of itself is confused. But here's

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<v Speaker 1>what happened.

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<v Speaker 4>Bear with me.

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<v Speaker 5>I'm ready. I'm ready for.

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<v Speaker 1>This, listeners. I didn't come up with this, all right, so.

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<v Speaker 4>No, somebody by the name of Seabury Quinn did. And

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<v Speaker 4>then somebody named Halsted Wells adapted it. Then somebody named

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00:18:41.440 --> 00:18:44.319
<v Speaker 4>Janno Swark directed it. Those three names together should give

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<v Speaker 4>you an idea of the where we're going with this.

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<v Speaker 4>It's pretty all over the place.

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<v Speaker 2>You know what, though, if you meet the original short

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<v Speaker 2>straight Seabury Quinn, who was not he was a writer,

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<v Speaker 2>like all of his contemporaries were. The weird tales guy.

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00:18:55.839 --> 00:18:59.000
<v Speaker 2>So it's like Roberty Howard and he Lovecraft and yeah,

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<v Speaker 2>like all of the sort of the giants as it were.

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<v Speaker 2>And he created a character named Jules de Granden who

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<v Speaker 2>is a paranormal investigator, and he's got a whole series

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<v Speaker 2>of these stories that they're all great. In addition to that,

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<v Speaker 2>Seabury Quinn was like a mortuary lawyer. That was his

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<v Speaker 2>primary function. He published a magazine called Caskets and Sunshine

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<v Speaker 2>or something.

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<v Speaker 5>Wow.

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<v Speaker 2>And if you read the original story, it's much more simplified.

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00:19:24.359 --> 00:19:26.160
<v Speaker 2>I'll give you the short story version and that'll and

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00:19:26.200 --> 00:19:28.759
<v Speaker 2>you'll understand exactly what it is. This guy checks into

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<v Speaker 2>a checks himself into an asylum in Maine in this

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<v Speaker 2>case right, which is right across the border from Canada,

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<v Speaker 2>which is why there are French speaking characters in the story.

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<v Speaker 4>I had a lot of questions, why the hell everybody's

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<v Speaker 4>speaking French? Als, thank you, thank you.

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<v Speaker 2>That helps hold over for no good reason. Wow, He's

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<v Speaker 2>allowed to walk the grounds and he walks and finds

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<v Speaker 2>a house with a family, a mother and a father,

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<v Speaker 2>and a beautiful girl who seems dressed from another age,

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<v Speaker 2>and they have an instant connection, but she's very odd

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<v Speaker 2>and keeps him at a distance. Nevertheless, when he comes

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<v Speaker 2>back to the asylum and tells the people about it,

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<v Speaker 2>they're like, you must really be crazy because there's no

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<v Speaker 2>house out there just to ruin. And then he continues

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<v Speaker 2>going visiting with the girl and her family, and then

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<v Speaker 2>there's this business with people being attacked by wolves and

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<v Speaker 2>the thing talk of it, but none of that is

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<v Speaker 2>put together forthrightly. It's basically is he insane or not?

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<v Speaker 1>Is the thing?

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<v Speaker 2>Back and forth because he going to the asylum and

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<v Speaker 2>they're crazy, but they're telling him he's crazy, but he's

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<v Speaker 2>actually seeing the people. They are a family of were

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<v Speaker 2>wolves and they are dead, so they're ghost wolves or

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<v Speaker 2>where ghosts.

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<v Speaker 1>It ends basically the same way. So there's no.

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<v Speaker 2>Character feeding these people or alluring them, or there's no

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00:20:42.680 --> 00:20:46.000
<v Speaker 2>warlocks and all this other shit. It's they let him

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<v Speaker 2>know that family who lived there were renowned as potential

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<v Speaker 2>were wolves. Stay away from there, and they are, and

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00:20:53.039 --> 00:20:56.440
<v Speaker 2>she's it's so it's more of a Romeo and Juliet

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<v Speaker 2>with the two warring factions, where her parents want to

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<v Speaker 2>eat him and the rest of them think he's crazy.

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<v Speaker 2>I'm trying to keep them apart, and then she makes

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<v Speaker 2>the sacrifice just exercise. Me and my family will go

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00:21:06.200 --> 00:21:08.240
<v Speaker 2>away and the countryside will be fine.

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<v Speaker 1>But I'll lose you.

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<v Speaker 2>But if I stay with you, I'm going to murder

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00:21:11.039 --> 00:21:15.319
<v Speaker 2>you because I'm a wolf the end. Now, how that

399
00:21:15.359 --> 00:21:20.519
<v Speaker 2>turned into tree pads and groovy talk and moccasins and

400
00:21:20.920 --> 00:21:24.279
<v Speaker 2>thumper from Goddamn you only live twice?

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00:21:24.440 --> 00:21:28.079
<v Speaker 1>I don't know, but I did enjoy it.

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00:21:28.680 --> 00:21:32.200
<v Speaker 4>Glad you did. The only note I have is crow

403
00:21:32.279 --> 00:21:37.000
<v Speaker 4>noises and two random French dudes. There are crow noises

404
00:21:37.079 --> 00:21:38.839
<v Speaker 4>up the wazoo in this episode.

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<v Speaker 1>Perfect segue there, Chris Mike Card. He knows where we're

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00:21:41.200 --> 00:21:41.640
<v Speaker 1>going with this.

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00:21:42.319 --> 00:21:44.359
<v Speaker 2>Another thing I like to point out in these episodes

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<v Speaker 2>of the second season that are performers who probably don't

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00:21:47.599 --> 00:21:49.799
<v Speaker 2>have the spotlight shine on them enough. In this case,

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00:21:50.000 --> 00:21:52.519
<v Speaker 2>featured only once in this episode, but I think we

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<v Speaker 2>all know it.

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00:21:53.160 --> 00:21:55.200
<v Speaker 1>It's about twenty five years old at this point. Here

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<v Speaker 1>it is ladies and gentlemen. You probably know that from everything.

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<v Speaker 2>Most of these sound effects ended up being used on

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<v Speaker 2>Sesame Street a lot. That's a count von count if

416
00:22:08.599 --> 00:22:10.880
<v Speaker 2>I've ever I've heard one. Its actual name is Single

417
00:22:10.960 --> 00:22:14.640
<v Speaker 2>Classic Wolf, although sometimes it's called Single Coyote, which I

418
00:22:14.640 --> 00:22:17.400
<v Speaker 2>think is racist. The first appearance of it, this was

419
00:22:17.440 --> 00:22:20.880
<v Speaker 2>created by the Disney sound folks. It appeared in a

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00:22:20.920 --> 00:22:23.680
<v Speaker 2>segment called Bongo, which was part of a Fun and

421
00:22:23.799 --> 00:22:27.039
<v Speaker 2>Fancy free in nineteen forty six. There you go, We

422
00:22:27.160 --> 00:22:32.920
<v Speaker 2>love you, Single Classic Wolf. You're joining Castle Thunder in

423
00:22:33.000 --> 00:22:39.200
<v Speaker 2>the pantheon of sound effects here. I like this episode

424
00:22:39.200 --> 00:22:42.440
<v Speaker 2>a little bit like I did like how off off

425
00:22:42.599 --> 00:22:44.799
<v Speaker 2>kilter it seems and I don't know what's going on

426
00:22:44.880 --> 00:22:47.200
<v Speaker 2>for so long, Like it had the feeling of the

427
00:22:47.240 --> 00:22:49.920
<v Speaker 2>sort of abstract set at the beginning, when they're all

428
00:22:49.920 --> 00:22:52.480
<v Speaker 2>on these pads, we find ourselves in it at an

429
00:22:52.480 --> 00:22:55.720
<v Speaker 2>asylum kind of, but everyone's outside and they're all groovy,

430
00:22:55.720 --> 00:22:58.400
<v Speaker 2>and they're on these pads that are wrapped around these.

431
00:22:58.279 --> 00:22:59.799
<v Speaker 1>Trees, and it's really weird.

432
00:23:00.200 --> 00:23:02.559
<v Speaker 2>All that stuff was disconcerting, and I was like really

433
00:23:02.640 --> 00:23:05.039
<v Speaker 2>enjoying it. And then when we go meet the girl

434
00:23:05.440 --> 00:23:09.480
<v Speaker 2>who in this one, David Kardine is telling everyone that

435
00:23:09.519 --> 00:23:11.400
<v Speaker 2>they have to go there. He's like trying to lure

436
00:23:11.440 --> 00:23:13.319
<v Speaker 2>them out there to be killed, and he tells everyone

437
00:23:13.359 --> 00:23:15.359
<v Speaker 2>who sees this girl is gonna fall in love with her,

438
00:23:15.640 --> 00:23:20.880
<v Speaker 2>and when we see her, it's this Loretta Lynn wig

439
00:23:21.000 --> 00:23:22.920
<v Speaker 2>that's been bottle blonded, and.

440
00:23:22.920 --> 00:23:26.400
<v Speaker 4>Oh her bangs are great. The bangs on that wig

441
00:23:26.599 --> 00:23:28.960
<v Speaker 4>are just chef's kiss.

442
00:23:28.759 --> 00:23:32.920
<v Speaker 2>Specttaga and the dress itself, this voluminous ball gown looking.

443
00:23:33.119 --> 00:23:35.759
<v Speaker 4>I don't understand it. Where you people are from, what

444
00:23:36.000 --> 00:23:40.440
<v Speaker 4>time and place? That's all David McCallum needs to say.

445
00:23:40.480 --> 00:23:43.759
<v Speaker 4>It's like, who the fuck are you? I don't understand

446
00:23:43.799 --> 00:23:45.680
<v Speaker 4>how anyone in the right mind would be like, Oh,

447
00:23:45.720 --> 00:23:49.400
<v Speaker 4>you clearly belong here. You are so out of time

448
00:23:49.440 --> 00:23:52.240
<v Speaker 4>and out of place, it's beyond obvious. They don't even try.

449
00:23:53.400 --> 00:23:55.160
<v Speaker 2>The weird thing about that is it's like they could

450
00:23:55.200 --> 00:23:58.279
<v Speaker 2>have Her parents are dressed. It could have been faked.

451
00:23:58.480 --> 00:24:01.839
<v Speaker 2>It could be nineteen seventy They're dressed basically in coveralls.

452
00:24:01.839 --> 00:24:03.680
<v Speaker 1>They just look like poor farmers.

453
00:24:04.079 --> 00:24:07.400
<v Speaker 2>Why if that's what they were wearing in like eighteen

454
00:24:07.519 --> 00:24:10.839
<v Speaker 2>seventy one, why was she dressed not like them, Like

455
00:24:10.920 --> 00:24:12.720
<v Speaker 2>she's not at a cotillion or anything.

456
00:24:12.799 --> 00:24:15.559
<v Speaker 1>She stirred poor like her parents, and she's a werewolf.

457
00:24:15.640 --> 00:24:16.960
<v Speaker 1>Why does she even have the dress?

458
00:24:17.039 --> 00:24:19.839
<v Speaker 4>It doesn't make sense she had werewolf or she had dog.

459
00:24:20.119 --> 00:24:21.599
<v Speaker 1>They couldn't afford the wolves.

460
00:24:22.359 --> 00:24:23.400
<v Speaker 4>They could afford dogs.

461
00:24:23.400 --> 00:24:23.759
<v Speaker 6>Though.

462
00:24:24.519 --> 00:24:28.200
<v Speaker 5>I was wondering about that too, because when they showed

463
00:24:28.200 --> 00:24:29.759
<v Speaker 5>the dog, I was like, Oh, the dog must be

464
00:24:29.839 --> 00:24:32.279
<v Speaker 5>running away from the wolf, because I kept hearing the wolf,

465
00:24:32.319 --> 00:24:34.160
<v Speaker 5>and I was just like, why is this dog running away?

466
00:24:34.599 --> 00:24:35.839
<v Speaker 1>That's not a problem.

467
00:24:36.000 --> 00:24:40.920
<v Speaker 2>This is like a two day shoot. Yeah, And according

468
00:24:40.920 --> 00:24:42.920
<v Speaker 2>to Sin, I've swark. But the dogs were like the

469
00:24:43.000 --> 00:24:44.960
<v Speaker 2>nicest dogs in the world, and they wouldn't even want

470
00:24:45.000 --> 00:24:46.119
<v Speaker 2>to chase anything anyway.

471
00:24:46.160 --> 00:24:47.920
<v Speaker 1>So it's impressive that they got any shots at all.

472
00:24:48.000 --> 00:24:52.319
<v Speaker 2>But obviously they're where dog ghosts, Wolfy Ghoster tins.

473
00:24:52.480 --> 00:24:53.079
<v Speaker 1>I don't know.

474
00:24:53.319 --> 00:24:55.720
<v Speaker 4>Where dog ghosts are you asking us a question?

475
00:24:55.920 --> 00:24:57.400
<v Speaker 1>You know what it's you know what it reminds me of.

476
00:24:57.440 --> 00:24:59.720
<v Speaker 2>There's a quote from Big Trouble, Little China Eggshen is

477
00:24:59.720 --> 00:25:02.799
<v Speaker 2>talking about all the different disciplines that they're all drawing

478
00:25:02.920 --> 00:25:06.200
<v Speaker 2>from Buddhism and Confucianism, and we take what we want

479
00:25:06.240 --> 00:25:08.720
<v Speaker 2>to leave the rest like a salad bar. That's what

480
00:25:08.720 --> 00:25:10.680
<v Speaker 2>this felt like to me. It's like they are werewolves,

481
00:25:10.720 --> 00:25:13.240
<v Speaker 2>so we'll put to have the pentagram on the hand,

482
00:25:13.319 --> 00:25:14.720
<v Speaker 2>but they're also ghosts.

483
00:25:14.720 --> 00:25:18.519
<v Speaker 4>But it is titled the phantom farmhouse, so there must

484
00:25:18.519 --> 00:25:20.279
<v Speaker 4>be phantoms involved.

485
00:25:19.920 --> 00:25:22.839
<v Speaker 2>A phantom reasoning, the phantom logic like.

486
00:25:22.880 --> 00:25:27.839
<v Speaker 4>It felt like a really somehow poorly done. It feels

487
00:25:27.839 --> 00:25:29.799
<v Speaker 4>like a poorly done episode of Tales from the Crypt,

488
00:25:29.839 --> 00:25:32.160
<v Speaker 4>like an easy comics story. That's what it feels like.

489
00:25:32.359 --> 00:25:34.960
<v Speaker 5>When they had all those people in the tree, I

490
00:25:35.039 --> 00:25:39.279
<v Speaker 5>kept thinking, these are aspects of his personality and they

491
00:25:39.279 --> 00:25:41.480
<v Speaker 5>are fighting within his mind.

492
00:25:42.039 --> 00:25:42.720
<v Speaker 1>That would have been good.

493
00:25:42.799 --> 00:25:45.759
<v Speaker 5>And then it just when David Kardine came out of

494
00:25:45.759 --> 00:25:48.039
<v Speaker 5>the tree, I was like, there goes that theory.

495
00:25:50.400 --> 00:25:53.079
<v Speaker 4>You were you were doing the episode's job for it,

496
00:25:53.640 --> 00:25:55.880
<v Speaker 4>trying to make it more interesting than it ended up being.

497
00:25:56.000 --> 00:25:58.400
<v Speaker 2>Did you notice that when David Karenine homps down off

498
00:25:58.440 --> 00:26:00.880
<v Speaker 2>of the thing he tries to and they cretell he

499
00:26:00.960 --> 00:26:02.960
<v Speaker 2>does he not say cocaine.

500
00:26:02.519 --> 00:26:05.359
<v Speaker 1>Anyone, I swear to God.

501
00:26:05.359 --> 00:26:07.200
<v Speaker 2>He says it twice he said it, And I was like,

502
00:26:07.319 --> 00:26:09.079
<v Speaker 2>you couldn't have heard that. They wouldn't have put that

503
00:26:09.119 --> 00:26:11.160
<v Speaker 2>on television. And then at the end of the seasons

504
00:26:11.160 --> 00:26:13.759
<v Speaker 2>like oka anyone the leaves. Maybe I'm wrong, I should

505
00:26:13.799 --> 00:26:17.480
<v Speaker 2>read the script, but that's what I heard. Maybe that's

506
00:26:17.480 --> 00:26:18.279
<v Speaker 2>what I wanted to hear.

507
00:26:19.680 --> 00:26:21.839
<v Speaker 4>That's what you wanted David Carrodine to say.

508
00:26:21.839 --> 00:26:23.039
<v Speaker 5>It feels like he would share.

509
00:26:23.240 --> 00:26:24.720
<v Speaker 1>Yeah, he seemed like a groovy guy.

510
00:26:24.759 --> 00:26:28.240
<v Speaker 2>By the way, hippy slang seems so natural coming out

511
00:26:28.240 --> 00:26:30.480
<v Speaker 2>of David Carroddy, Like all of that dialogue could have

512
00:26:30.559 --> 00:26:32.920
<v Speaker 2>been the worst if it weren't him and he it

513
00:26:33.000 --> 00:26:35.119
<v Speaker 2>was effortless, and I was like, oh, so that's how

514
00:26:35.160 --> 00:26:37.359
<v Speaker 2>people talk instead of the awkward way people try to

515
00:26:37.400 --> 00:26:37.960
<v Speaker 2>reproduce it.

516
00:26:38.240 --> 00:26:39.839
<v Speaker 4>Because David Carrody is a great actor.

517
00:26:40.400 --> 00:26:43.160
<v Speaker 1>Yeah, it was was he still is.

518
00:26:43.279 --> 00:26:44.200
<v Speaker 4>Sorry, damn it.

519
00:26:45.039 --> 00:26:47.359
<v Speaker 2>And speaking of damn it, stopped doing Day for Night.

520
00:26:47.400 --> 00:26:48.440
<v Speaker 2>Everybody stop.

521
00:26:48.640 --> 00:26:50.799
<v Speaker 5>Oh that was real rough.

522
00:26:51.799 --> 00:26:53.880
<v Speaker 2>You can't do a were wolf story and do day

523
00:26:53.880 --> 00:26:55.400
<v Speaker 2>for Night. Just don't even do it.

524
00:26:56.759 --> 00:26:58.720
<v Speaker 5>Yeah, how long did you say they had for this?

525
00:26:58.839 --> 00:26:59.400
<v Speaker 5>Five days?

526
00:26:59.480 --> 00:27:01.720
<v Speaker 4>I don't know why they even tried two days?

527
00:27:01.839 --> 00:27:04.799
<v Speaker 5>Two days Jesus, Yeah, no, wonder it looks so bad.

528
00:27:04.920 --> 00:27:06.640
<v Speaker 1>Yeah, they're not going to get a big lighting package

529
00:27:06.680 --> 00:27:07.000
<v Speaker 1>out there.

530
00:27:07.200 --> 00:27:09.119
<v Speaker 4>I think it's more impressive that it only took two

531
00:27:09.200 --> 00:27:11.319
<v Speaker 4>days and that it's not a complete mess.

532
00:27:11.400 --> 00:27:13.839
<v Speaker 2>I think it's well shot. I think there's some poetical

533
00:27:13.880 --> 00:27:14.839
<v Speaker 2>looking shots in there.

534
00:27:15.640 --> 00:27:18.440
<v Speaker 4>It's a nice looking it's a nice looking episode.

535
00:27:18.039 --> 00:27:21.400
<v Speaker 2>When McCallum's first venturing into the forest, there's a scene

536
00:27:21.519 --> 00:27:23.920
<v Speaker 2>of this lamb running through the forest being pursued by

537
00:27:23.960 --> 00:27:25.880
<v Speaker 2>the wolves, and it all looks gorgeous. It looks like

538
00:27:25.920 --> 00:27:27.960
<v Speaker 2>a fairy tale. And then unfortunately we're right back to

539
00:27:28.079 --> 00:27:30.960
<v Speaker 2>the Universal lot with most obvious lighting in the world,

540
00:27:31.000 --> 00:27:33.680
<v Speaker 2>the sun, just because they needed for speed.

541
00:27:33.720 --> 00:27:36.039
<v Speaker 1>But he managed to get a couple of cool shots.

542
00:27:36.039 --> 00:27:38.720
<v Speaker 2>There's another one at the midpoint where they're on top

543
00:27:38.799 --> 00:27:41.000
<v Speaker 2>of a hill where all the sheep, where McCallum walks

544
00:27:41.039 --> 00:27:41.920
<v Speaker 2>down and scares the.

545
00:27:41.880 --> 00:27:43.559
<v Speaker 1>Sheep, which another gorgeous shot.

546
00:27:43.720 --> 00:27:46.720
<v Speaker 2>That there are little moments of beauty in these episodes,

547
00:27:46.799 --> 00:27:48.720
<v Speaker 2>and at least this one did not in any way

548
00:27:48.759 --> 00:27:49.519
<v Speaker 2>feel set bound.

549
00:27:49.960 --> 00:27:51.640
<v Speaker 4>If they had just turned the camera around, they probably

550
00:27:51.640 --> 00:27:54.880
<v Speaker 4>would have seen the Baits Motel behind them. That's what

551
00:27:54.960 --> 00:27:58.880
<v Speaker 4>it looked like to me. It looked like where the

552
00:27:59.440 --> 00:28:02.480
<v Speaker 4>oldertures of the Universal back Loot Tour. That's what it

553
00:28:02.480 --> 00:28:04.799
<v Speaker 4>looked like. The set, the set that they were on,

554
00:28:05.200 --> 00:28:08.599
<v Speaker 4>it looked like just out there in the Universal, like

555
00:28:08.720 --> 00:28:10.119
<v Speaker 4>where they shoot stuff like this.

556
00:28:10.160 --> 00:28:14.359
<v Speaker 2>It's it's like where you guys gonna shoot over there. Look,

557
00:28:14.400 --> 00:28:16.680
<v Speaker 2>this is not the best part of this one, it's okay.

558
00:28:16.799 --> 00:28:20.039
<v Speaker 2>It didn't insult me. I was more confused, and then

559
00:28:20.400 --> 00:28:21.799
<v Speaker 2>by the end I didn't care.

560
00:28:23.319 --> 00:28:27.720
<v Speaker 4>Well, it just ends. It just ends, and that's fine.

561
00:28:28.079 --> 00:28:31.240
<v Speaker 4>But this is now I think. I want to say

562
00:28:31.240 --> 00:28:33.680
<v Speaker 4>there was an episode segment in the last episode that

563
00:28:33.799 --> 00:28:36.119
<v Speaker 4>just ended too, but it worked better than it just ended.

564
00:28:36.160 --> 00:28:39.240
<v Speaker 4>This one just goes and that's it. It's okay, all right,

565
00:28:39.279 --> 00:28:40.880
<v Speaker 4>I guess it's over now, moving on.

566
00:28:41.160 --> 00:28:44.640
<v Speaker 1>Why even use wolves? Just make it ghost eats people,

567
00:28:44.680 --> 00:28:47.599
<v Speaker 1>you know what I mean? How about we're all vampires.

568
00:28:47.680 --> 00:28:51.200
<v Speaker 2>Let's do vampires there, that's a ghost in a wolf together.

569
00:28:51.400 --> 00:28:53.799
<v Speaker 4>Stop and vampires are what five cents? You just get

570
00:28:53.799 --> 00:28:54.720
<v Speaker 4>the little teeth, that's it.

571
00:28:54.839 --> 00:28:59.720
<v Speaker 5>Yeah, if you even need the teeth, you just cover

572
00:28:59.799 --> 00:29:03.000
<v Speaker 5>up the face. Or Catherine Deneuve and the hunger.

573
00:29:03.319 --> 00:29:04.480
<v Speaker 1>We didn't mention the finger.

574
00:29:04.759 --> 00:29:05.039
<v Speaker 5>What's that?

575
00:29:05.519 --> 00:29:07.960
<v Speaker 2>The finger, the index finger that we got to see

576
00:29:07.960 --> 00:29:09.319
<v Speaker 2>one hundred thousand times.

577
00:29:09.359 --> 00:29:11.160
<v Speaker 1>That was a bit of a failure. I didn't like

578
00:29:11.240 --> 00:29:11.759
<v Speaker 1>that at all.

579
00:29:12.319 --> 00:29:14.759
<v Speaker 4>She is a really long finger. She is a really

580
00:29:14.799 --> 00:29:18.599
<v Speaker 4>long finger. Only were wolves have long fingers.

581
00:29:18.680 --> 00:29:21.240
<v Speaker 2>It's the index fingers as long or longer than the

582
00:29:21.279 --> 00:29:23.640
<v Speaker 2>rest of the fingers. It's the traditional lore. But guys,

583
00:29:23.640 --> 00:29:26.039
<v Speaker 2>we get it. We're not going to get a transformation sequence,

584
00:29:26.079 --> 00:29:28.319
<v Speaker 2>and we only have dogs instead of wolves. But we

585
00:29:28.400 --> 00:29:29.920
<v Speaker 2>don't need to feature the one thing you.

586
00:29:29.880 --> 00:29:31.240
<v Speaker 1>Could have for it stop.

587
00:29:42.319 --> 00:29:46.640
<v Speaker 3>Painting number one. It has to do with death. Usually

588
00:29:46.680 --> 00:29:50.160
<v Speaker 3>the last chapter in every Man's Book of Life, the

589
00:29:50.240 --> 00:29:52.720
<v Speaker 3>ashes in the dust, the tomb, and the engraving on

590
00:29:52.799 --> 00:29:57.960
<v Speaker 3>the stone death the finale. But our first painting offers

591
00:29:58.000 --> 00:30:01.000
<v Speaker 3>up a tail with the final curve not quite the

592
00:30:01.039 --> 00:30:04.519
<v Speaker 3>final criten, there's an epilog we offer, you know, a

593
00:30:04.519 --> 00:30:09.039
<v Speaker 3>little item called cool Air, tonight's first painting in the

594
00:30:09.160 --> 00:30:09.759
<v Speaker 3>Night Gallery.

595
00:30:10.079 --> 00:30:13.200
<v Speaker 2>Cool Air was written by Rod Serling from a short

596
00:30:13.240 --> 00:30:17.200
<v Speaker 2>story by H. P. Lovecraft and directed by Jeno Swark

597
00:30:17.480 --> 00:30:22.400
<v Speaker 2>twenty two segments, gentlemen, Jeno Smart twenty two segment.

598
00:30:22.440 --> 00:30:23.880
<v Speaker 4>At least it's not Gene Kearney.

599
00:30:24.000 --> 00:30:28.319
<v Speaker 2>Wow, thank god, it's not Jeane Kearney doing twenty two segments.

600
00:30:28.319 --> 00:30:30.799
<v Speaker 2>I think I would lose my mind. This one stars

601
00:30:30.839 --> 00:30:34.359
<v Speaker 2>Henry Darrow Barbara Rush, who, by the way, appeared in

602
00:30:34.400 --> 00:30:36.839
<v Speaker 2>a TV movie called The Man, which was about the

603
00:30:36.839 --> 00:30:40.759
<v Speaker 2>first Black President starring James Earl Jones. Written by Rod Star.

604
00:30:41.000 --> 00:30:42.279
<v Speaker 1>Oh yeah, by Rod.

605
00:30:42.200 --> 00:30:44.240
<v Speaker 5>Star such a great movie.

606
00:30:44.279 --> 00:30:48.720
<v Speaker 1>This is the tale of a May December romance. What

607
00:30:48.799 --> 00:30:49.880
<v Speaker 1>did you think of this one? Mike?

608
00:30:50.079 --> 00:30:51.079
<v Speaker 5>It left me cold?

609
00:30:51.480 --> 00:30:53.920
<v Speaker 1>O bing bang.

610
00:30:58.319 --> 00:31:02.039
<v Speaker 5>Yes, I was waiting for that room shot there, Chrish.

611
00:31:05.200 --> 00:31:06.920
<v Speaker 1>Yeah, there we go.

612
00:31:07.200 --> 00:31:10.319
<v Speaker 4>Late take around here. We just got the sound for.

613
00:31:12.039 --> 00:31:16.359
<v Speaker 5>Yeah, we're back in HP Lovecraft territory. Though again I

614
00:31:16.400 --> 00:31:19.640
<v Speaker 5>can tell what's going on. Why are we supposed to

615
00:31:19.680 --> 00:31:22.839
<v Speaker 5>not figure this stuff out? Yeah, the guy's dead, Like

616
00:31:22.920 --> 00:31:24.920
<v Speaker 5>I could tell you that right from the get go.

617
00:31:26.079 --> 00:31:29.359
<v Speaker 5>I don't know, I was. I really wanted to like

618
00:31:29.440 --> 00:31:32.440
<v Speaker 5>this one. Maybe if it was like half the length,

619
00:31:32.640 --> 00:31:34.599
<v Speaker 5>I would have liked it a little bit more. But

620
00:31:34.720 --> 00:31:36.880
<v Speaker 5>at the length that it was, and just that I

621
00:31:36.880 --> 00:31:42.440
<v Speaker 5>could see the twist coming. Yeah it did it. No,

622
00:31:42.440 --> 00:31:44.200
<v Speaker 5>no joke, it diddly be cold boy.

623
00:31:44.279 --> 00:31:48.240
<v Speaker 4>They love HP Lovecraft, don't they. They really really do.

624
00:31:48.920 --> 00:31:51.119
<v Speaker 4>Look I'm not gonna say, oh, what a weird HP

625
00:31:51.240 --> 00:31:54.640
<v Speaker 4>Lovecraft story to adapt, because look, HB. Lovecraft in a

626
00:31:54.680 --> 00:31:57.319
<v Speaker 4>lot of ways is like Stephen King, like he's got

627
00:31:57.319 --> 00:31:59.640
<v Speaker 4>plenty of things to adapt, folks, and they're not all

628
00:31:59.759 --> 00:32:05.000
<v Speaker 4>within for a reason. Whatever the fuck. The conceit of

629
00:32:05.039 --> 00:32:07.519
<v Speaker 4>this episode is that there is a man who has

630
00:32:07.559 --> 00:32:11.880
<v Speaker 4>a Living Corps because he lives in an ice box.

631
00:32:13.240 --> 00:32:16.599
<v Speaker 4>You know what, Sure, fine, whatever, but that's like a

632
00:32:16.640 --> 00:32:23.039
<v Speaker 4>ten minute episode segment, not a twenty minute segment. Good lord.

633
00:32:23.680 --> 00:32:25.680
<v Speaker 4>And I'm not to jump ahead, but I'm not sure

634
00:32:26.039 --> 00:32:28.240
<v Speaker 4>that that criticism is not going to be leveled against

635
00:32:28.240 --> 00:32:31.359
<v Speaker 4>both of these segments. I think they're both too long

636
00:32:31.480 --> 00:32:34.079
<v Speaker 4>for what they're trying to do. I think this one

637
00:32:34.759 --> 00:32:37.839
<v Speaker 4>is way too long for what the punchline is. And look,

638
00:32:37.839 --> 00:32:41.440
<v Speaker 4>I'm not saying the punchline doesn't work. It's sufficiently campy

639
00:32:41.720 --> 00:32:47.480
<v Speaker 4>and goofy, but way too long, just way way.

640
00:32:47.519 --> 00:32:50.880
<v Speaker 5>It also doesn't help that it feels so similar to

641
00:32:51.839 --> 00:32:54.599
<v Speaker 5>the one we just talked about on our last episode

642
00:32:55.119 --> 00:32:59.680
<v Speaker 5>with the woman that was oll Wait is that the one?

643
00:33:00.079 --> 00:33:04.039
<v Speaker 5>Is it a woman that was being menaced by that thing?

644
00:33:04.359 --> 00:33:06.440
<v Speaker 5>Or am I completely mixing this up?

645
00:33:07.119 --> 00:33:11.279
<v Speaker 1>In Pickman's Yeah, it's also HP Lovecraft, and it's basically a.

646
00:33:11.279 --> 00:33:13.000
<v Speaker 5>Woman comes in and it's just like, oh, what is

647
00:33:13.039 --> 00:33:15.440
<v Speaker 5>this stuff? And then oh there's a big monster or

648
00:33:15.480 --> 00:33:17.480
<v Speaker 5>a big twist quote unquote at the end.

649
00:33:17.880 --> 00:33:19.880
<v Speaker 2>Yeah, it's a shame that they're on the heels of

650
00:33:19.880 --> 00:33:24.160
<v Speaker 2>one another because the romance aspect is not present. In

651
00:33:24.200 --> 00:33:27.920
<v Speaker 2>the original HP Lovecraft story. And I actually think it's

652
00:33:27.920 --> 00:33:30.839
<v Speaker 2>an improvement by Rod Sling in that regard. And if

653
00:33:30.839 --> 00:33:32.680
<v Speaker 2>you read the original story, there's a lot of he's

654
00:33:32.720 --> 00:33:36.039
<v Speaker 2>supposed to be from Spain, so it's all phonetically written.

655
00:33:36.119 --> 00:33:39.839
<v Speaker 1>Oh elleal l E E t l E. It's very embarrassing.

656
00:33:40.480 --> 00:33:41.359
<v Speaker 1>Henry Darrow.

657
00:33:41.720 --> 00:33:44.559
<v Speaker 2>Henry Darrow here, he's five years younger than Barbara Rush,

658
00:33:44.599 --> 00:33:47.880
<v Speaker 2>playing a dashing older man. I liked him. I liked

659
00:33:47.880 --> 00:33:50.640
<v Speaker 2>his performance a lot. I thought Barbara Rush was really good.

660
00:33:51.279 --> 00:33:54.920
<v Speaker 2>There is another unnecessary wrap around, just like the pickman's

661
00:33:54.960 --> 00:33:57.119
<v Speaker 2>model in the last one, which starts in the present

662
00:33:57.160 --> 00:34:00.279
<v Speaker 2>for no reason and then takes us back. That to me,

663
00:34:00.359 --> 00:34:03.359
<v Speaker 2>is the lamest part of it is the Serling concoction

664
00:34:03.880 --> 00:34:06.599
<v Speaker 2>that we're going to see the leaves blow off the

665
00:34:06.640 --> 00:34:08.880
<v Speaker 2>top of the gravestone at the end and realize he's

666
00:34:08.960 --> 00:34:10.159
<v Speaker 2>been dead twice.

667
00:34:10.400 --> 00:34:12.199
<v Speaker 1>By the way, who put that there? She put that

668
00:34:12.239 --> 00:34:13.920
<v Speaker 1>in there? Why would that be on there?

669
00:34:14.239 --> 00:34:17.000
<v Speaker 2>Weirdest thing ever, by the way his name is misspelled

670
00:34:17.000 --> 00:34:17.519
<v Speaker 2>on the grave.

671
00:34:18.760 --> 00:34:22.840
<v Speaker 4>High production values abound at midnight at the Night Gallery podcast.

672
00:34:22.960 --> 00:34:25.280
<v Speaker 4>I guess this isn't the podcast as high production values

673
00:34:25.320 --> 00:34:26.960
<v Speaker 4>this show doesn't Is this the back.

674
00:34:29.079 --> 00:34:29.280
<v Speaker 1>Oh?

675
00:34:29.400 --> 00:34:32.880
<v Speaker 2>Speaking of the backlot and high production at one point,

676
00:34:33.039 --> 00:34:35.000
<v Speaker 2>like this starts as a period piece. It's set in

677
00:34:35.039 --> 00:34:36.880
<v Speaker 2>the nineteen twenties, and she's in the back of what

678
00:34:37.039 --> 00:34:40.280
<v Speaker 2>is basically a horseless carriage as a driving down the street,

679
00:34:40.280 --> 00:34:42.440
<v Speaker 2>and in the background the street is blocked off by

680
00:34:42.440 --> 00:34:43.960
<v Speaker 2>a Universal Studios van.

681
00:34:44.960 --> 00:34:49.000
<v Speaker 4>Oops. Oh geez, what are you implying? Father alone?

682
00:34:49.119 --> 00:34:51.239
<v Speaker 1>Maybe shoot the scene at night?

683
00:34:52.599 --> 00:34:55.000
<v Speaker 4>I thought you were What are you? Are you implying

684
00:34:55.000 --> 00:34:55.559
<v Speaker 4>that this is.

685
00:34:55.679 --> 00:34:59.280
<v Speaker 2>A fruit stand back there, or two guys carrying a

686
00:34:59.280 --> 00:35:03.440
<v Speaker 2>pane of glass, anything other than a vehicle from nineteen

687
00:35:03.599 --> 00:35:06.679
<v Speaker 2>seventy one just sitting there? Hey, folks, the tour is

688
00:35:06.800 --> 00:35:08.079
<v Speaker 2>right right this way.

689
00:35:08.239 --> 00:35:11.519
<v Speaker 4>Hey, who was asleep at the wheel at this point? Huh?

690
00:35:11.519 --> 00:35:12.239
<v Speaker 4>That's the question.

691
00:35:12.440 --> 00:35:15.440
<v Speaker 2>I blame Jano. But Jane did do something really cool here.

692
00:35:15.559 --> 00:35:18.960
<v Speaker 2>There's a conversation scene when there's falling in love. It's

693
00:35:19.000 --> 00:35:21.519
<v Speaker 2>a minute and a half pan around the dinner table.

694
00:35:22.159 --> 00:35:25.559
<v Speaker 2>There's a join in it, but it's really masterful considering

695
00:35:25.800 --> 00:35:28.920
<v Speaker 2>all the other limitations that they're saddled with. Also, the

696
00:35:29.000 --> 00:35:33.159
<v Speaker 2>music in this episode, this was a guest composer guy

697
00:35:33.239 --> 00:35:37.320
<v Speaker 2>named Robert Bain. He's an LA session musician, was actually

698
00:35:37.320 --> 00:35:41.480
<v Speaker 2>Henry Mancini's guitarist, and he was specifically chosen by Lair

699
00:35:41.559 --> 00:35:45.199
<v Speaker 2>to do a Spanish flavored theme for this episode and

700
00:35:45.239 --> 00:35:46.679
<v Speaker 2>actually works really well.

701
00:35:46.719 --> 00:35:48.000
<v Speaker 1>As far as I'm concerned, is.

702
00:35:47.960 --> 00:35:51.280
<v Speaker 2>This episode about because Sling made it of romance? Is

703
00:35:51.320 --> 00:35:53.239
<v Speaker 2>this now a tale of necro feelings?

704
00:35:54.519 --> 00:36:02.719
<v Speaker 4>Jesus necromantic? If we're talking literally, then yes.

705
00:36:03.119 --> 00:36:04.480
<v Speaker 1>All right, good for you.

706
00:36:04.639 --> 00:36:05.360
<v Speaker 5>Rod HP.

707
00:36:05.480 --> 00:36:07.400
<v Speaker 4>Lovecraft was into some freaky shit.

708
00:36:07.760 --> 00:36:10.000
<v Speaker 2>Lovecraft didn't have anything to do with that part of it,

709
00:36:10.039 --> 00:36:10.880
<v Speaker 2>that's all Surling.

710
00:36:11.360 --> 00:36:14.320
<v Speaker 4>Yeah, But the concept, though, it still lends itself in

711
00:36:14.360 --> 00:36:14.840
<v Speaker 4>that direction.

712
00:36:15.039 --> 00:36:17.599
<v Speaker 2>The concept of necrophilia just goes way back to the

713
00:36:17.599 --> 00:36:20.400
<v Speaker 2>beginning of civilization. We always had it with us. It

714
00:36:20.480 --> 00:36:23.719
<v Speaker 2>just took Rod Sterling to really popularize it. Use it

715
00:36:23.719 --> 00:36:25.480
<v Speaker 2>in between commercials for soap.

716
00:36:30.239 --> 00:36:35.639
<v Speaker 4>Exactly. I only use ajax when I now back to necrophilia.

717
00:36:36.159 --> 00:36:39.679
<v Speaker 2>It's the most romantic presentation of necrophilia I've ever seen.

718
00:36:39.760 --> 00:36:40.519
<v Speaker 1>I was moved.

719
00:36:40.719 --> 00:36:43.719
<v Speaker 4>I Yeah, when you think about it that way, boy,

720
00:36:43.760 --> 00:36:47.239
<v Speaker 4>it really puts it all in perspective, doesn't it. You

721
00:36:47.280 --> 00:36:50.239
<v Speaker 4>know what? Hey? I wish the payoff was in an

722
00:36:50.239 --> 00:36:53.840
<v Speaker 4>episode half the episode segment half the length. That's really it.

723
00:36:53.840 --> 00:36:56.400
<v Speaker 4>It's not a bad segment. I just don't think it

724
00:36:56.440 --> 00:36:59.079
<v Speaker 4>gets to the point fast enough. And also like you're

725
00:36:59.159 --> 00:37:01.519
<v Speaker 4>stalling as if we can't figure out what's going on.

726
00:37:01.559 --> 00:37:04.119
<v Speaker 4>There's anyone surprised at the end that he was a corpse,

727
00:37:04.559 --> 00:37:07.639
<v Speaker 4>like they hint at it a lot, like a lot,

728
00:37:07.679 --> 00:37:09.840
<v Speaker 4>a lot, A lot, a lot. Yeah.

729
00:37:10.079 --> 00:37:13.280
<v Speaker 2>Also, this episode does contain I think the single worst

730
00:37:13.280 --> 00:37:16.280
<v Speaker 2>performance in any segment we've seen thus far, which is

731
00:37:16.599 --> 00:37:20.519
<v Speaker 2>that handyman ice carrying guy, whoever he is.

732
00:37:20.960 --> 00:37:23.840
<v Speaker 1>What's with the guy in there with the he's got

733
00:37:23.920 --> 00:37:24.480
<v Speaker 1>ice in.

734
00:37:24.480 --> 00:37:28.000
<v Speaker 2>The bathroom, just pulling all these faces like he's I

735
00:37:28.039 --> 00:37:29.440
<v Speaker 2>don't know, like he's auditioning.

736
00:37:30.719 --> 00:37:31.559
<v Speaker 4>He's late stage.

737
00:37:31.639 --> 00:37:34.159
<v Speaker 1>Leslie Nielsen, boy, he was bad.

738
00:37:43.440 --> 00:37:47.440
<v Speaker 6>Painting number two in the Night Gallery, addressing itself to

739
00:37:47.480 --> 00:37:50.760
<v Speaker 6>the strains and stresses of the marriage, having to do

740
00:37:50.840 --> 00:37:52.960
<v Speaker 6>with the fact that there is more than one way

741
00:37:53.000 --> 00:37:56.079
<v Speaker 6>to kill a cat and more than one way to

742
00:37:56.159 --> 00:38:00.719
<v Speaker 6>dispose of a wife. Our painting is called Stop Killing Me.

743
00:38:04.559 --> 00:38:07.199
<v Speaker 2>Stop Killing Me was written by Jack Laird from a

744
00:38:07.239 --> 00:38:10.480
<v Speaker 2>short story by hald Dresner kol hand Luke's hal Dresner

745
00:38:11.440 --> 00:38:14.079
<v Speaker 2>Zorro the Gay Blades Hal Dresner. Kind of a slide

746
00:38:14.079 --> 00:38:17.199
<v Speaker 2>whistle situation there. This one was also directed by Jenno Zwark,

747
00:38:17.480 --> 00:38:21.960
<v Speaker 2>starring Geraldine Page first of three appearances in The Night Gallery,

748
00:38:22.320 --> 00:38:25.360
<v Speaker 2>and James Gregory only. This is about a wife enlisting

749
00:38:25.360 --> 00:38:27.440
<v Speaker 2>the aid of a police officer because she believes her

750
00:38:27.519 --> 00:38:31.880
<v Speaker 2>husband is slowly murdering her through worry. What'd you think

751
00:38:31.920 --> 00:38:33.400
<v Speaker 2>of this one, Chris.

752
00:38:33.599 --> 00:38:35.559
<v Speaker 4>Yeah, this is a lot of fun. It does go

753
00:38:35.679 --> 00:38:38.239
<v Speaker 4>on a little long too, but the length of this

754
00:38:38.280 --> 00:38:41.760
<v Speaker 4>one is to sell. What's the length is selling what

755
00:38:41.800 --> 00:38:44.760
<v Speaker 4>they're going for, and it works here. She is so

756
00:38:44.960 --> 00:38:47.199
<v Speaker 4>haired with him that he is just fuck yeah, I

757
00:38:47.239 --> 00:38:50.079
<v Speaker 4>see why this is the way that works here. And

758
00:38:50.159 --> 00:38:52.360
<v Speaker 4>I enjoyed this episode. But I'm gonna be biased because

759
00:38:52.360 --> 00:38:55.800
<v Speaker 4>I love James Gregory. Now again, when we started the

760
00:38:55.840 --> 00:38:58.320
<v Speaker 4>Barney Miller Show, not so much the case, but his

761
00:38:58.440 --> 00:39:01.760
<v Speaker 4>characterization has grown over time and grown on me. But

762
00:39:02.239 --> 00:39:05.000
<v Speaker 4>seeing him here is great. He's fun. She plays that

763
00:39:05.119 --> 00:39:08.239
<v Speaker 4>character great, He plays that character great. And I love

764
00:39:08.280 --> 00:39:10.880
<v Speaker 4>that they keep focusing on the photo of his wife

765
00:39:11.239 --> 00:39:14.480
<v Speaker 4>uh fucking desk because it is the funniest thing. Reasoning, Yeah,

766
00:39:14.519 --> 00:39:18.239
<v Speaker 4>you're right, I see there's no one would ever think divorce.

767
00:39:18.320 --> 00:39:20.760
<v Speaker 4>It's oh my god, this guy's just so pent up

768
00:39:20.800 --> 00:39:23.960
<v Speaker 4>and angry all day. Huh, He's just been waiting for

769
00:39:24.039 --> 00:39:27.480
<v Speaker 4>someone like her to walk through his door. And I

770
00:39:27.519 --> 00:39:29.719
<v Speaker 4>love that kind of storytelling where these two people were

771
00:39:29.760 --> 00:39:32.360
<v Speaker 4>faded to be in this room together for ten minutes

772
00:39:32.400 --> 00:39:33.639
<v Speaker 4>and it totally works.

773
00:39:34.119 --> 00:39:37.480
<v Speaker 5>I wish that the Jano's Wark does something interesting in

774
00:39:37.519 --> 00:39:43.280
<v Speaker 5>this episode where Geraldine Page will basically imitate her husband

775
00:39:43.719 --> 00:39:46.719
<v Speaker 5>and repeat the lines that he keeps saying to her.

776
00:39:47.360 --> 00:39:51.239
<v Speaker 5>And when she does that, we get these interesting cuts

777
00:39:51.280 --> 00:39:55.000
<v Speaker 5>to almost like from the side all of a sudden,

778
00:39:55.039 --> 00:39:57.519
<v Speaker 5>and she will turn to the side and start doing

779
00:39:57.519 --> 00:40:01.159
<v Speaker 5>her husband's voice, not like literally saying what he's saying,

780
00:40:01.800 --> 00:40:05.440
<v Speaker 5>and then cut back and she'll move back. And they

781
00:40:05.480 --> 00:40:08.280
<v Speaker 5>did that a few times, but then they just started

782
00:40:08.320 --> 00:40:10.760
<v Speaker 5>doing it kind of willy nilly as far as where

783
00:40:10.800 --> 00:40:12.719
<v Speaker 5>she was going to turn to the left, to the right,

784
00:40:12.800 --> 00:40:15.320
<v Speaker 5>to the straight to wherever. I wish he had been

785
00:40:15.360 --> 00:40:17.400
<v Speaker 5>a little bit more consistent with that, because I thought

786
00:40:17.400 --> 00:40:21.119
<v Speaker 5>it was a good device the way it ended up overall,

787
00:40:21.239 --> 00:40:23.679
<v Speaker 5>I still liked it, but it just I thought it

788
00:40:23.679 --> 00:40:25.639
<v Speaker 5>could have been a little bit more powerful as far

789
00:40:25.679 --> 00:40:28.519
<v Speaker 5>as that went, but I thought that was nice and

790
00:40:28.559 --> 00:40:32.440
<v Speaker 5>I also like that to your point, Chris, we have

791
00:40:32.519 --> 00:40:34.840
<v Speaker 5>to spend this time. We have to take this time

792
00:40:34.920 --> 00:40:39.920
<v Speaker 5>to hear the basically psychological warfare that this guy has

793
00:40:39.960 --> 00:40:44.920
<v Speaker 5>been waging on his wife, letting her know that she

794
00:40:45.320 --> 00:40:49.800
<v Speaker 5>has very little time to live, and when the payoff happens.

795
00:40:50.079 --> 00:40:52.440
<v Speaker 5>I complain a lot about, Oh, we know where this

796
00:40:52.599 --> 00:40:55.440
<v Speaker 5>is going to go. I was really looking forward to

797
00:40:55.480 --> 00:40:56.679
<v Speaker 5>this going where it went to.

798
00:40:57.400 --> 00:40:59.519
<v Speaker 2>This one is a flip side not of Satan, but

799
00:40:59.679 --> 00:41:03.119
<v Speaker 2>of the late mister Pettington from two episodes ago. Except here,

800
00:41:03.159 --> 00:41:05.960
<v Speaker 2>instead of a woman talking herself into murder, she convinces

801
00:41:06.000 --> 00:41:08.840
<v Speaker 2>another of the ease of which he can dispatch his

802
00:41:08.840 --> 00:41:11.960
<v Speaker 2>own spouse. Starts with a great b roll of the

803
00:41:11.960 --> 00:41:16.840
<v Speaker 2>New York City skyline, dingy kind of nineteen seventies. Look

804
00:41:16.960 --> 00:41:19.360
<v Speaker 2>at the show, which I always love. I think, I

805
00:41:19.360 --> 00:41:23.719
<v Speaker 2>think Geraldine Page is so electric here in that scene

806
00:41:23.840 --> 00:41:27.239
<v Speaker 2>that those moments, in particular Michael, she's pantomiming her husband,

807
00:41:27.480 --> 00:41:29.559
<v Speaker 2>and we keep cutting to this unknown point of view.

808
00:41:29.559 --> 00:41:31.760
<v Speaker 2>It's ultimately the viewer's point of view, or her point

809
00:41:31.800 --> 00:41:34.719
<v Speaker 2>of view, because it's the husband talking to her and

810
00:41:34.760 --> 00:41:35.440
<v Speaker 2>being servered.

811
00:41:35.679 --> 00:41:38.519
<v Speaker 1>The cuts are so jarring, but she's so funny.

812
00:41:39.239 --> 00:41:42.559
<v Speaker 2>This is a horrible situation, and the things that this

813
00:41:42.679 --> 00:41:45.199
<v Speaker 2>husband is doing to her is really beyond the pale

814
00:41:45.280 --> 00:41:48.440
<v Speaker 2>when you really think about it, and the way her

815
00:41:48.480 --> 00:41:51.679
<v Speaker 2>performance just I don't know. I thought it was hilarious

816
00:41:51.800 --> 00:41:53.920
<v Speaker 2>if only he could stop with the killing me, killing me,

817
00:41:54.000 --> 00:41:54.440
<v Speaker 2>killing me.

818
00:41:57.920 --> 00:42:00.599
<v Speaker 5>When I really thought I knew what way this episode

819
00:42:00.800 --> 00:42:03.679
<v Speaker 5>was going to go with that title, I thought that

820
00:42:04.559 --> 00:42:06.239
<v Speaker 5>she was going to come in and it was going

821
00:42:06.280 --> 00:42:08.760
<v Speaker 5>to be a da situation. I want to report a

822
00:42:08.840 --> 00:42:12.519
<v Speaker 5>murder who's mind? But then I actually thought that she

823
00:42:12.920 --> 00:42:15.960
<v Speaker 5>was dead and was coming in. When she said my

824
00:42:16.039 --> 00:42:20.159
<v Speaker 5>husband's killing me right now, I was like, oh, okay,

825
00:42:20.280 --> 00:42:24.000
<v Speaker 5>that's interesting, like she's astro projecting or something. So I

826
00:42:24.039 --> 00:42:27.840
<v Speaker 5>took this in a whole different way, but I ended

827
00:42:27.920 --> 00:42:32.719
<v Speaker 5>up liking where it went, which was not supernatural whatsoever.

828
00:42:33.360 --> 00:42:35.320
<v Speaker 4>I thought that too. I thought that too when she

829
00:42:35.320 --> 00:42:36.960
<v Speaker 4>said that. I was like, oh, because again that's what

830
00:42:37.039 --> 00:42:40.280
<v Speaker 4>it seems like. There's some angle here and it's just no,

831
00:42:40.440 --> 00:42:43.679
<v Speaker 4>he's just he's almost like Pusher from the X Files,

832
00:42:43.880 --> 00:42:49.719
<v Speaker 4>where it's like that's yeah, it's this weird, like just

833
00:42:49.760 --> 00:42:52.039
<v Speaker 4>suggesting over and over again that it's putting her on

834
00:42:52.159 --> 00:42:54.920
<v Speaker 4>edge constantly. I can't even imagine what that would be like.

835
00:42:55.000 --> 00:42:57.920
<v Speaker 2>But good lord, I don't think we needed the sound

836
00:42:57.920 --> 00:43:02.400
<v Speaker 2>effect of her getting run over in traffic. That wasn't necessary.

837
00:43:02.440 --> 00:43:05.559
<v Speaker 2>The plot, the plan of it was obviously working. She

838
00:43:05.840 --> 00:43:09.199
<v Speaker 2>left that police station feeling really no better than when

839
00:43:09.239 --> 00:43:12.119
<v Speaker 2>she came in. There's certainly no less safe, So just

840
00:43:12.320 --> 00:43:15.119
<v Speaker 2>having the police officer talking to his wife would have

841
00:43:15.159 --> 00:43:17.880
<v Speaker 2>been sufficient. I do think we hold a little too

842
00:43:17.920 --> 00:43:20.079
<v Speaker 2>long at the end, a little too long on the

843
00:43:20.079 --> 00:43:22.280
<v Speaker 2>picture of his wife, like a minute.

844
00:43:22.280 --> 00:43:25.480
<v Speaker 4>Feels like I was going to say, to your point.

845
00:43:25.559 --> 00:43:27.519
<v Speaker 4>With the sound effect, it almost seems like it was

846
00:43:27.559 --> 00:43:30.159
<v Speaker 4>added after the fact, and I know it obviously was,

847
00:43:30.239 --> 00:43:33.360
<v Speaker 4>but more like they didn't ask James Gregory to react

848
00:43:33.400 --> 00:43:35.519
<v Speaker 4>to anything, because I watched it a couple times and

849
00:43:35.559 --> 00:43:37.440
<v Speaker 4>he doesn't react at all, but we hear it as

850
00:43:37.480 --> 00:43:39.559
<v Speaker 4>the audience. It's like he would have heard it. He

851
00:43:39.599 --> 00:43:41.880
<v Speaker 4>should have reacted. There should have been like a sly

852
00:43:42.000 --> 00:43:44.320
<v Speaker 4>little smirk or a grin or something, and there's nothing.

853
00:43:44.760 --> 00:43:47.440
<v Speaker 4>It almost it feels like they gilded the lily just

854
00:43:47.760 --> 00:43:49.440
<v Speaker 4>a little. I'm not saying it's perfect. But it's a

855
00:43:49.440 --> 00:43:52.280
<v Speaker 4>pretty good segment that is just too on the nose.

856
00:43:52.920 --> 00:43:55.159
<v Speaker 2>I think it's twice as long as it probably should

857
00:43:55.159 --> 00:43:57.599
<v Speaker 2>have been. But I'm not in any way angry at it,

858
00:43:57.599 --> 00:43:59.639
<v Speaker 2>because I would watch Geraldine Page.

859
00:43:59.360 --> 00:44:00.400
<v Speaker 1>Do just about it anything.

860
00:44:00.559 --> 00:44:03.280
<v Speaker 2>I think she's great here anything else about this one, though,

861
00:44:03.960 --> 00:44:05.960
<v Speaker 2>I think it's just really solid and I'm glad we're

862
00:44:05.960 --> 00:44:09.480
<v Speaker 2>getting them. Yeah, peaks and valleys with this show, gentlemen,

863
00:44:09.519 --> 00:44:10.559
<v Speaker 2>peaks and funtain all right.

864
00:44:10.599 --> 00:44:12.599
<v Speaker 4>I like the idea that James Gregory is. At one point,

865
00:44:12.960 --> 00:44:14.800
<v Speaker 4>she asked him, is your wife still as beautiful as

866
00:44:14.800 --> 00:44:16.679
<v Speaker 4>the day you married her? And he just like stares

867
00:44:16.679 --> 00:44:21.280
<v Speaker 4>at that photo just a moment too long, just a no,

868
00:44:21.559 --> 00:44:24.760
<v Speaker 4>you're right, it's just again. James Gregory was the perfect

869
00:44:24.800 --> 00:44:26.000
<v Speaker 4>person for this role.

870
00:44:26.079 --> 00:44:26.239
<v Speaker 3>You know.

871
00:44:26.280 --> 00:44:28.599
<v Speaker 2>It's funny, perfect. While watching and I was like, I

872
00:44:28.639 --> 00:44:30.719
<v Speaker 2>know this guy from somewhere. He's so good. I'm like,

873
00:44:30.760 --> 00:44:32.719
<v Speaker 2>I'm gonna look him up and so we can discuss

874
00:44:32.800 --> 00:44:34.639
<v Speaker 2>him on the show. And then I saw the credits

875
00:44:34.639 --> 00:44:37.239
<v Speaker 2>of Barney Miller and I'm not gonna just close my notebook.

876
00:44:37.440 --> 00:44:39.719
<v Speaker 2>These guys can supply all the information we need to

877
00:44:39.719 --> 00:44:40.679
<v Speaker 2>know about James Gregor.

878
00:44:40.760 --> 00:44:45.719
<v Speaker 5>Oh yeah, yeah, yeah, this is almost a prequel. But

879
00:44:45.920 --> 00:44:48.840
<v Speaker 5>I don't think Luger took this career path. Plus, I

880
00:44:48.840 --> 00:44:51.599
<v Speaker 5>don't think he would be married according to Chris's theory,

881
00:44:51.800 --> 00:44:52.320
<v Speaker 5>I am my.

882
00:44:52.360 --> 00:44:54.559
<v Speaker 4>Theory hashtag Luger big gay.

883
00:44:55.280 --> 00:44:57.559
<v Speaker 1>Well maybe that's why he's got to kill the wife.

884
00:44:57.639 --> 00:44:59.400
<v Speaker 1>He's come out.

885
00:44:59.480 --> 00:45:03.880
<v Speaker 5>Yeah bottom alone. Just two highlights off of mister Gregory's career.

886
00:45:04.119 --> 00:45:07.679
<v Speaker 5>Won the role that he played in Manchurion Candidate. He

887
00:45:07.920 --> 00:45:13.679
<v Speaker 5>was the husband what's her name, Angela Lancebery really.

888
00:45:13.440 --> 00:45:15.719
<v Speaker 1>Good role, so good in that, yes.

889
00:45:15.960 --> 00:45:19.519
<v Speaker 5>And then the other one is General Ursus I believe

890
00:45:19.679 --> 00:45:22.119
<v Speaker 5>is his name from Planet of the Apes, Planet of

891
00:45:22.159 --> 00:45:22.639
<v Speaker 5>the Apes.

892
00:45:22.719 --> 00:45:26.079
<v Speaker 2>Yes, yeah, that voice, man, he's so good.

893
00:45:26.119 --> 00:45:26.960
<v Speaker 1>He's great in this.

894
00:45:27.320 --> 00:45:31.079
<v Speaker 2>As a two person segment, yeah, bottle thing. We got

895
00:45:31.079 --> 00:45:33.519
<v Speaker 2>here for fourteen straight minutes. These two could have taken

896
00:45:33.559 --> 00:45:36.519
<v Speaker 2>another fourteen. Honestly, if they could have had some machinations

897
00:45:36.519 --> 00:45:39.519
<v Speaker 2>added to this would have been perfectly satisfied.

898
00:45:49.039 --> 00:45:52.159
<v Speaker 3>Strips of ethereal night clouds are seen from the vantage

899
00:45:52.159 --> 00:45:55.119
<v Speaker 3>point of a square, a group of tombstones, and the

900
00:45:55.159 --> 00:45:59.039
<v Speaker 3>face of a neutral onlooker who surveysed the silence. Oh

901
00:45:59.119 --> 00:46:02.320
<v Speaker 3>perhaps not quite total silence, because the name of our

902
00:46:02.360 --> 00:46:05.599
<v Speaker 3>painting is Whisper, and it tells the story of one

903
00:46:05.639 --> 00:46:09.119
<v Speaker 3>body inhabited by two people. And at a point, as

904
00:46:09.119 --> 00:46:11.960
<v Speaker 3>you can well imagine, this gets crowded. And if this

905
00:46:12.000 --> 00:46:15.199
<v Speaker 3>one doesn't ice up your spine, we'll send you one

906
00:46:15.199 --> 00:46:18.880
<v Speaker 3>of our official apologies along with the body. That's the

907
00:46:18.960 --> 00:46:21.760
<v Speaker 3>kind of guarantee you get in the night Gallery.

908
00:46:22.079 --> 00:46:25.519
<v Speaker 2>This is season three, episode thirteen. It aired on May thirteenth,

909
00:46:25.679 --> 00:46:28.760
<v Speaker 2>nineteen seventy three. The previous episode aired in March. They

910
00:46:28.760 --> 00:46:31.440
<v Speaker 2>skipped the entire month of April. I wonder why that is,

911
00:46:31.840 --> 00:46:34.599
<v Speaker 2>because they couldn't handle the awesomeness of April of nineteen

912
00:46:34.679 --> 00:46:38.320
<v Speaker 2>seventy three anyway. It was written by David Rafiel from

913
00:46:38.320 --> 00:46:41.440
<v Speaker 2>a short story by Martin Waddell. Directed by Jean Zuark.

914
00:46:41.840 --> 00:46:48.320
<v Speaker 2>It stars Tony Hey, Tony no Phony, Baloney, Tony the Tiger, LaRusso,

915
00:46:48.519 --> 00:46:51.760
<v Speaker 2>Dean Stockwell, Ladies and Gentlemen, also Sally Field.

916
00:46:52.000 --> 00:46:53.559
<v Speaker 1>It is about It is the story of a.

917
00:46:53.519 --> 00:46:57.000
<v Speaker 2>Young wife who's getting high on ghosts and her husband

918
00:46:57.159 --> 00:46:57.960
<v Speaker 2>is the dealer.

919
00:46:58.440 --> 00:47:00.760
<v Speaker 1>Like what you think about this one? Oh, nobody can

920
00:47:00.800 --> 00:47:01.519
<v Speaker 1>see you, Whisper.

921
00:47:03.360 --> 00:47:06.960
<v Speaker 5>You couldn't hear me whisper that vaguely that I could.

922
00:47:07.239 --> 00:47:11.599
<v Speaker 5>I didn't really like this one all, especially the way

923
00:47:11.639 --> 00:47:14.760
<v Speaker 5>that it ended. I had no freaking idea what was

924
00:47:14.800 --> 00:47:17.679
<v Speaker 5>going on for so much of this one and then

925
00:47:17.719 --> 00:47:22.920
<v Speaker 5>it just ended? What the fuck? So what did I miss?

926
00:47:23.039 --> 00:47:24.800
<v Speaker 5>What did I miss with it? That seems to be

927
00:47:24.960 --> 00:47:28.199
<v Speaker 5>my thing for the shows? And somebody please explain this

928
00:47:28.239 --> 00:47:28.519
<v Speaker 5>to me?

929
00:47:28.679 --> 00:47:30.000
<v Speaker 1>Okay? Very simple.

930
00:47:31.199 --> 00:47:35.280
<v Speaker 2>Young couple Stockwell and Sally Field. Sally Field is touched.

931
00:47:35.440 --> 00:47:37.840
<v Speaker 2>She can communicate with the dead, or she's like a

932
00:47:37.920 --> 00:47:40.559
<v Speaker 2>conduit for the dead. They can take her over and

933
00:47:40.599 --> 00:47:43.920
<v Speaker 2>they can solve their problems, their unfinished business on earth

934
00:47:43.960 --> 00:47:47.840
<v Speaker 2>through her, and Stockwell has always known this and known

935
00:47:47.920 --> 00:47:50.760
<v Speaker 2>it's true and is attracted to that aspect of it,

936
00:47:50.840 --> 00:47:53.239
<v Speaker 2>even though it's frightening and he's a little worried she

937
00:47:53.639 --> 00:47:56.199
<v Speaker 2>one time she won't be able to get back they

938
00:47:56.519 --> 00:48:00.639
<v Speaker 2>She feels a poll across the country, and so they

939
00:48:00.719 --> 00:48:02.639
<v Speaker 2>end up stopping the small town where they've been living

940
00:48:02.679 --> 00:48:05.159
<v Speaker 2>for about three months, and she keeps looking for this

941
00:48:05.239 --> 00:48:08.719
<v Speaker 2>house over and over again, and then Stockwell goes, see,

942
00:48:08.760 --> 00:48:11.440
<v Speaker 2>here's the thing. Stockwell goes to a doctor to get

943
00:48:11.480 --> 00:48:15.000
<v Speaker 2>her sleeping pills. At that point, the doctor said. Doctor

944
00:48:15.079 --> 00:48:20.360
<v Speaker 2>is categorizing it as hallucinations, and he's basically blaming Stockwell

945
00:48:20.400 --> 00:48:23.039
<v Speaker 2>for enabling these things. And he says, I've seen cases

946
00:48:23.159 --> 00:48:26.800
<v Speaker 2>like this. The subject wants to go further, they don't

947
00:48:26.880 --> 00:48:29.679
<v Speaker 2>want to come back. That's the setup for the end

948
00:48:29.760 --> 00:48:34.840
<v Speaker 2>because eventually the main ghost that's been haunting her trying

949
00:48:34.840 --> 00:48:39.039
<v Speaker 2>to find the summer house. It's another young bride whose

950
00:48:39.119 --> 00:48:44.239
<v Speaker 2>child had died and their baby was interred incorrectly and

951
00:48:44.280 --> 00:48:46.239
<v Speaker 2>that has to be corrected, and that's been the task

952
00:48:46.320 --> 00:48:46.880
<v Speaker 2>the whole time.

953
00:48:46.920 --> 00:48:47.239
<v Speaker 6>Wow.

954
00:48:47.920 --> 00:48:50.239
<v Speaker 1>So Dean Stockwell plays the.

955
00:48:50.199 --> 00:48:53.239
<v Speaker 2>Part of the husband and he buries the baby, the

956
00:48:53.320 --> 00:48:56.559
<v Speaker 2>proxy for the baby. But it's been happening for so

957
00:48:56.760 --> 00:49:00.480
<v Speaker 2>long that what Sally feel, what Dean Stockwell was worried about,

958
00:49:00.519 --> 00:49:02.760
<v Speaker 2>and what the doctor warned about comes to pass and

959
00:49:02.800 --> 00:49:04.239
<v Speaker 2>she can't get back to her body.

960
00:49:04.840 --> 00:49:05.079
<v Speaker 1>Yeah.

961
00:49:05.119 --> 00:49:08.639
<v Speaker 5>Wow, So I was so confused because Sally Field through

962
00:49:08.679 --> 00:49:12.400
<v Speaker 5>this whole episode is talking I guess with the ghosts

963
00:49:12.800 --> 00:49:16.039
<v Speaker 5>she but yes, but she is the ghost at times,

964
00:49:16.119 --> 00:49:19.119
<v Speaker 5>but she's talking with the ghost. And then Dean Stockwell,

965
00:49:20.119 --> 00:49:24.480
<v Speaker 5>I guess he's talking to us the audience. Yes, okay,

966
00:49:24.480 --> 00:49:27.320
<v Speaker 5>see that's the most confusing thing. You can't have one

967
00:49:27.400 --> 00:49:30.519
<v Speaker 5>character talking to nobody and then have another character talking

968
00:49:30.559 --> 00:49:33.960
<v Speaker 5>to nobody, but one character's talking to another character and

969
00:49:34.039 --> 00:49:39.840
<v Speaker 5>another character's talking to us. That was really fucked up. Man.

970
00:49:40.719 --> 00:49:46.320
<v Speaker 4>I'm sorry, but I'm with you, okod fucking bizarre? Look, Hyke,

971
00:49:46.400 --> 00:49:48.239
<v Speaker 4>are you like it's my thing on this show? It's

972
00:49:48.239 --> 00:49:52.079
<v Speaker 4>not yet things like fucking win? Are you that that's

973
00:49:52.079 --> 00:49:52.639
<v Speaker 4>what I feel?

974
00:49:52.679 --> 00:49:52.760
<v Speaker 3>Like?

975
00:49:54.599 --> 00:49:56.679
<v Speaker 5>How many times have I asked that on this show?

976
00:49:57.800 --> 00:50:00.400
<v Speaker 5>I'm not high while I'm watching these episodes, I swear

977
00:50:00.480 --> 00:50:01.119
<v Speaker 5>I'm straight.

978
00:50:02.159 --> 00:50:04.960
<v Speaker 4>But to be fair, I was gonna say I did

979
00:50:05.000 --> 00:50:06.880
<v Speaker 4>get what was going on, and I can tell you

980
00:50:06.960 --> 00:50:11.760
<v Speaker 4>with absolute certainty, this is just a god This is

981
00:50:11.880 --> 00:50:14.679
<v Speaker 4>just the spinning of wheels and a treading of water

982
00:50:15.159 --> 00:50:20.920
<v Speaker 4>for twenty minutes, just and you know what, Dean stock

983
00:50:20.960 --> 00:50:24.039
<v Speaker 4>Well's fine, Sally Field's fine. Sally Field doesn't play the

984
00:50:24.239 --> 00:50:28.239
<v Speaker 4>crazy very well. She's just too goddamn and endearing as

985
00:50:28.280 --> 00:50:33.119
<v Speaker 4>an actress. And yeah, the ending is just, oh you need.

986
00:50:32.960 --> 00:50:35.840
<v Speaker 5>To see Sybil's.

987
00:50:36.920 --> 00:50:41.039
<v Speaker 4>Oh yeah, I haven't seen that. Having not seen that,

988
00:50:41.440 --> 00:50:44.239
<v Speaker 4>this is not a very good representation of that is

989
00:50:44.280 --> 00:50:47.079
<v Speaker 4>probably a better way of putting it. And the ending

990
00:50:47.280 --> 00:50:52.000
<v Speaker 4>is laughably bad. It's yeah, it's asinines. Oh my god.

991
00:50:52.119 --> 00:50:54.079
<v Speaker 4>But what so? The question then becomes, if you can't

992
00:50:54.079 --> 00:50:57.920
<v Speaker 4>get back to your body, what does that mean? What

993
00:50:58.119 --> 00:51:00.480
<v Speaker 4>the what does that mean? Does that mean she's just

994
00:51:00.519 --> 00:51:03.920
<v Speaker 4>a catatonic shell, eyes rolled back into her head, can

995
00:51:04.039 --> 00:51:07.280
<v Speaker 4>do anything? Or is the ghost still in her body? Again,

996
00:51:07.480 --> 00:51:09.679
<v Speaker 4>this isn't a oh. They don't explain it because they

997
00:51:09.679 --> 00:51:11.960
<v Speaker 4>don't need to. They don't explain it because I don't

998
00:51:11.960 --> 00:51:14.239
<v Speaker 4>think they have way to explain it, because they spend

999
00:51:14.239 --> 00:51:20.119
<v Speaker 4>twenty minutes doing everything in their power to try to show,

1000
00:51:20.360 --> 00:51:24.400
<v Speaker 4>not tell, what's going on, and they somehow fail remarkably.

1001
00:51:24.960 --> 00:51:27.920
<v Speaker 5>You just wait. Father Malone's gonna love this episode.

1002
00:51:28.039 --> 00:51:31.719
<v Speaker 1>I fucking loved this episode. I did.

1003
00:51:33.239 --> 00:51:36.920
<v Speaker 4>Boy, that is the theme here. It's too hot, too cold,

1004
00:51:37.400 --> 00:51:38.880
<v Speaker 4>just right right.

1005
00:51:40.679 --> 00:51:43.079
<v Speaker 2>It's the magic of Jean's work. No, I'm not, that's

1006
00:51:43.199 --> 00:51:45.239
<v Speaker 2>up the case. I'm not liking it to the Jons magic.

1007
00:51:45.480 --> 00:51:48.000
<v Speaker 4>Gean's Wark should be the name of your next podcast,

1008
00:51:48.000 --> 00:51:50.119
<v Speaker 4>because I think at this point you have been You

1009
00:51:50.159 --> 00:51:53.239
<v Speaker 4>have defended no director more ever in the history of

1010
00:51:53.280 --> 00:51:55.880
<v Speaker 4>anything we've worked on than Jean's Wark.

1011
00:51:56.360 --> 00:51:58.840
<v Speaker 1>He's really good and he does fucking really good work here. Man,

1012
00:51:58.840 --> 00:51:59.480
<v Speaker 1>what can I tell you?

1013
00:52:00.000 --> 00:52:01.880
<v Speaker 5>There's no John Batham. I'll tell you that.

1014
00:52:02.239 --> 00:52:06.159
<v Speaker 1>He's at least Badam's equal. Well, laugh sir. Okay, here's

1015
00:52:06.159 --> 00:52:07.079
<v Speaker 1>what I liked about it.

1016
00:52:07.199 --> 00:52:10.320
<v Speaker 2>I liked the confusion at the beginning where okay, first

1017
00:52:10.360 --> 00:52:14.480
<v Speaker 2>of all, it starts, and it's typical of Night Gallery

1018
00:52:14.800 --> 00:52:17.519
<v Speaker 2>the entire run of the series, where I think we've

1019
00:52:17.559 --> 00:52:20.079
<v Speaker 2>all been baffled for a good portion of every segment

1020
00:52:20.159 --> 00:52:23.119
<v Speaker 2>as to what time period this is. But this episode

1021
00:52:23.119 --> 00:52:25.840
<v Speaker 2>actually embraces that. It makes us think that we're in

1022
00:52:25.880 --> 00:52:29.400
<v Speaker 2>some sort of like little house on the prairie time.

1023
00:52:29.800 --> 00:52:32.840
<v Speaker 2>And then suddenly she's burning a plane ticket in the thing.

1024
00:52:32.880 --> 00:52:35.559
<v Speaker 2>I thought that was great. I do understand what you're saying, like,

1025
00:52:35.679 --> 00:52:39.159
<v Speaker 2>because she's talking to what I thought was her. I

1026
00:52:39.199 --> 00:52:41.159
<v Speaker 2>thought she was breaking the fourth wall. I thought she

1027
00:52:41.280 --> 00:52:44.280
<v Speaker 2>was talking to us initially, but then she's just talking

1028
00:52:44.280 --> 00:52:48.880
<v Speaker 2>to nobody. And then when we get outside, it's this

1029
00:52:49.039 --> 00:52:52.559
<v Speaker 2>slow pan of her and we get this voiceover. I thought,

1030
00:52:52.599 --> 00:52:54.760
<v Speaker 2>I like, oh, we're getting a voiceover from Dean Stockhol.

1031
00:52:54.760 --> 00:52:56.519
<v Speaker 2>We're going to pan over and see what he's up to,

1032
00:52:56.960 --> 00:53:00.480
<v Speaker 2>and then we realize he's speaking out loud, and then

1033
00:53:00.960 --> 00:53:04.159
<v Speaker 2>is he narrating to himself and then he turns to us,

1034
00:53:04.679 --> 00:53:07.000
<v Speaker 2>and it's so unnerving. Every time they've done it, and

1035
00:53:07.000 --> 00:53:09.280
<v Speaker 2>they've done it a lot this season. It works like

1036
00:53:09.360 --> 00:53:12.719
<v Speaker 2>Gangbusters mat And not only that, in this he basically

1037
00:53:12.719 --> 00:53:17.039
<v Speaker 2>says to us, you're dead. That was extra uneasy, thinking

1038
00:53:17.159 --> 00:53:19.320
<v Speaker 2>I'm now supposed to be viewing this in the guise

1039
00:53:19.320 --> 00:53:21.519
<v Speaker 2>of a ghost. I'm just one of these floating spirits

1040
00:53:21.559 --> 00:53:24.440
<v Speaker 2>around her. And he keeps looking to us over and

1041
00:53:24.480 --> 00:53:28.159
<v Speaker 2>over again, he'll notice us peering at them. I liked

1042
00:53:28.199 --> 00:53:32.000
<v Speaker 2>that a lot. I think, honestly, this is an episode

1043
00:53:32.719 --> 00:53:35.760
<v Speaker 2>that Rod envisioned. I know he had nothing to do

1044
00:53:35.800 --> 00:53:37.800
<v Speaker 2>with this episode, but this is what he wanted Night

1045
00:53:37.840 --> 00:53:41.159
<v Speaker 2>Galler to be beginning to end. I think these gentle

1046
00:53:41.360 --> 00:53:44.480
<v Speaker 2>character pieces with supernatural overtones.

1047
00:53:44.800 --> 00:53:46.360
<v Speaker 1>That's what I took away from an Ayvy. I do

1048
00:53:46.400 --> 00:53:47.639
<v Speaker 1>want to point out one thing.

1049
00:53:47.719 --> 00:53:49.679
<v Speaker 2>I haven't done this in some time, but there is

1050
00:53:49.719 --> 00:53:53.079
<v Speaker 2>another performer in this episode who deserves a bit of

1051
00:53:53.079 --> 00:53:53.639
<v Speaker 2>a spotlight.

1052
00:53:53.679 --> 00:53:54.079
<v Speaker 1>Here we go.

1053
00:54:01.119 --> 00:54:04.760
<v Speaker 2>Oh that stormy wind from the Hannah barb Era library.

1054
00:54:05.000 --> 00:54:07.639
<v Speaker 1>Oh so good.

1055
00:54:07.719 --> 00:54:09.119
<v Speaker 4>I'm glad I had to hear it again.

1056
00:54:10.000 --> 00:54:12.840
<v Speaker 1>I'm gonna play it again because it comes up again later. Oh,

1057
00:54:13.000 --> 00:54:13.320
<v Speaker 1>I know.

1058
00:54:13.559 --> 00:54:15.880
<v Speaker 4>It really to the point where when I was watching

1059
00:54:15.880 --> 00:54:18.320
<v Speaker 4>it with my wife, she goes, can you turn it down?

1060
00:54:18.480 --> 00:54:22.239
<v Speaker 4>It's really obnoxious, And then I go of all the

1061
00:54:22.280 --> 00:54:25.039
<v Speaker 4>times to be watching this in the even as opposed

1062
00:54:25.039 --> 00:54:26.079
<v Speaker 4>to early in the morning.

1063
00:54:27.039 --> 00:54:27.960
<v Speaker 1>So here's something cool.

1064
00:54:28.440 --> 00:54:33.039
<v Speaker 2>When William Hannah and Joseph Barbera left MGM to start

1065
00:54:33.079 --> 00:54:37.320
<v Speaker 2>Hannah Barbera animation, they took their sound editor from MGM,

1066
00:54:37.480 --> 00:54:40.800
<v Speaker 2>who in turn took with him a massive amount of

1067
00:54:40.840 --> 00:54:44.719
<v Speaker 2>sounds from the MGM library, which had made available to

1068
00:54:44.920 --> 00:54:47.760
<v Speaker 2>all the studios in nineteen sixty five when Hanna Barbara

1069
00:54:47.840 --> 00:54:53.119
<v Speaker 2>released it as their own soundtrack library that includes Stormy Wind.

1070
00:54:53.159 --> 00:54:55.880
<v Speaker 2>Here it plays a prominent role here. It's been played

1071
00:54:55.920 --> 00:54:58.960
<v Speaker 2>too often, too long. It's it is no longer in use,

1072
00:54:59.000 --> 00:55:01.119
<v Speaker 2>thank god, but it it has appeared a lot in

1073
00:55:01.239 --> 00:55:05.079
<v Speaker 2>my gallery. Its just was so prominently displayed. I had

1074
00:55:05.079 --> 00:55:05.800
<v Speaker 2>to point it out here.

1075
00:55:06.639 --> 00:55:10.119
<v Speaker 4>Yeah, I am shocked that you like this. But to

1076
00:55:10.199 --> 00:55:14.679
<v Speaker 4>Mike's point, it is on brand. But that's not a

1077
00:55:14.719 --> 00:55:18.320
<v Speaker 4>bad thing. I think my issue is more in tune

1078
00:55:18.360 --> 00:55:21.760
<v Speaker 4>with where Mike is coming from, which is I really

1079
00:55:21.800 --> 00:55:24.320
<v Speaker 4>had a hard time understanding what the fuck, who the

1080
00:55:24.400 --> 00:55:27.639
<v Speaker 4>fuck was being talked to, And again I understand, I

1081
00:55:27.719 --> 00:55:30.360
<v Speaker 4>ended up understanding what was going on. I just I

1082
00:55:30.360 --> 00:55:36.280
<v Speaker 4>don't know. Coupling the weird storytelling with a very weak ending, again,

1083
00:55:36.320 --> 00:55:39.599
<v Speaker 4>I'm really struggling to understand what the meaning of the

1084
00:55:39.679 --> 00:55:40.400
<v Speaker 4>story is.

1085
00:55:40.639 --> 00:55:44.559
<v Speaker 2>Can I say about the ending? I actually found it

1086
00:55:44.599 --> 00:55:49.000
<v Speaker 2>horrified that the concept. I know, they don't explain to

1087
00:55:49.079 --> 00:55:52.719
<v Speaker 2>us what it means. But in my mind, she's just

1088
00:55:52.800 --> 00:55:56.199
<v Speaker 2>floating in the ether now and her body is a vegetable.

1089
00:55:56.079 --> 00:55:57.880
<v Speaker 4>So it's like, get out there. Okay.

1090
00:55:58.199 --> 00:56:02.599
<v Speaker 2>Yeah, And now not even that, but Dean Stockwell now

1091
00:56:02.760 --> 00:56:05.360
<v Speaker 2>is stuck with the notion that everyone has said to him,

1092
00:56:05.440 --> 00:56:09.000
<v Speaker 2>you shouldn't be encouraging this in her, and the doc

1093
00:56:09.039 --> 00:56:10.639
<v Speaker 2>even says to him, she's got all these things, what

1094
00:56:10.679 --> 00:56:10.960
<v Speaker 2>do you have?

1095
00:56:11.320 --> 00:56:11.920
<v Speaker 1>I've got her.

1096
00:56:12.280 --> 00:56:15.199
<v Speaker 2>So the horror here is that now he's caused this

1097
00:56:15.239 --> 00:56:20.440
<v Speaker 2>thing and this crisis of supernatural conscience. This, I don't know.

1098
00:56:20.719 --> 00:56:22.800
<v Speaker 2>It bothered me. It worked on me at this ending.

1099
00:56:22.800 --> 00:56:23.559
<v Speaker 2>What can I tell you?

1100
00:56:25.320 --> 00:56:29.519
<v Speaker 4>I get it you and passionately describing it I think

1101
00:56:29.639 --> 00:56:32.400
<v Speaker 4>made me appreciate it a little bit more just now,

1102
00:56:33.000 --> 00:56:36.400
<v Speaker 4>because it did a very poor job in expressing.

1103
00:56:36.960 --> 00:56:40.239
<v Speaker 1>It's Dean stockwell Man. He's just so goddamned expressive.

1104
00:56:40.440 --> 00:56:41.679
<v Speaker 4>The best part of this episode.

1105
00:56:41.719 --> 00:56:45.159
<v Speaker 2>Oh my god, he's amazing. I enjoy any chance to

1106
00:56:45.159 --> 00:56:47.559
<v Speaker 2>see him, and he elevates everything. And I don't think.

1107
00:56:47.800 --> 00:56:50.039
<v Speaker 2>I don't think the script does him and deserves. Too

1108
00:56:50.079 --> 00:56:53.480
<v Speaker 2>often on this show we've had really like Powerhouse guest

1109
00:56:53.480 --> 00:56:56.039
<v Speaker 2>stars who have been ill served by the script. I

1110
00:56:56.039 --> 00:56:58.639
<v Speaker 2>don't think the script will served anybody here. I know,

1111
00:56:58.719 --> 00:57:00.840
<v Speaker 2>I understand the problems you guys had with it, and

1112
00:57:00.920 --> 00:57:01.639
<v Speaker 2>I understand them.

1113
00:57:01.800 --> 00:57:02.159
<v Speaker 1>I don't know.

1114
00:57:02.199 --> 00:57:05.199
<v Speaker 2>I just this one just vibrated on a different frequency

1115
00:57:05.199 --> 00:57:06.039
<v Speaker 2>with me for some reason,