Night Gallery S02E02 (Death in the Family - Merciful - Class of 99 - Witches Feast)

Astounding Tales of the Public Domain with Father Malone. Enhanced audio performances from the Golden Age of science Fiction, featuring tales by Brave Radberry, Miriam Alan d Ford, Robert E. Howard, Paul Anderson, H. P. Lovecraft, and Moore.

Hear it twice monthly at weirding Way Media. Astounding Tales of the Public Domain with Father Malone, weirding Way Media, Redially Pat Pignic, light and shad, Realism, Surrealism, Impressionism, end of a story and interesting behind blow a good of light shot towards the bisire. And this place is nothing if it isn't a bizarre There's no admission, no requirement of membership, only a strong of a pighting belief and depart at the top of the stairs or the things that go bump in the night the name of the place you would commit, you're actually denially out of the rank. Just a night shop. Welcome art lovers to midnight Viewing the Night Gallery Podcast.

I'm Father Malone and joining me here in the gallery. As always are the one season shows Chris Dashu, Yeah you say Hi there and Straight from Dreams for Sale. The Twilight Zone eighty five is mister Mike White. Hi, there, These are deep These are deep cut shows. The Father Malone is a reference name, the one nobody watches, the one season show.

Nobody listens to it, not even me. Nevertheless, it's readily available. Now we are talking about Night Gallery, Rod Serlings follow up to The Twilight Zone from nineteen seventy and this episode. We're talking about season two, episode two, which aired on September the twenty second, nineteen seventy one, and was broken into four segments, Death in the Family, the Merciful Class of ninety nine, and which is Feast. Now, since the creative team is pretty much in place for Night Gallery, it's the one that is going to be rotating around.

I want to take a moment to highlight a couple of people behind and in front of the scenes here that we're going to be dealing with in this case. This episode's MVP is a guy named a Jeno Juark, who is the director. He basically directed the entire episode except for one little blackout sketch at the end. He directed a bunch last season. He's going to direct a bunch more.

If anything works in this episode, it's because of this guy. He came up at the sort of the same time as Spielberg, and Spielberg obviously shot past him and took over the world. But when it was time to make Jaws two, which I think is a really good movie. That movie gets shipped on a lot, but I think it's fantastic. I think it's like Aliens to Alien and Jeno.

Swark did that. He did the only into adaptation of a Richard Mathison novel as far as I'm concerned, which is a movie called Somewhere in Time with Christoph Freed. And then he ended up on mainly on television, and I adored him, and we get to see him here and he's really creative. So I just wanted to And he did Red Snow and The Last Offender of Camelot on nineteen eighty five, twilight Zone. Listen, yeah, every piece of it.

I just left it out. I just wanted to make sure we didn't forget. Since we've already mentioned twilight Zone nineteen eighty five, I'm not pointing out that he made Supergirl either, But you know, I think you're just You're just Barbra streisand him right there. Oh boy, don't look at my house. Don't do it.

You know what this is. This is a creative guy. And given this show's deadlines, which we're gonna have to talk about a little bit more, I think he did an amazing job here, and he directed an episode of Colombo. I'm sure he did lovely but lethal, which we have not gotten to. Yea, not yet, No, no, I've reached out to him several times, have yet to hear back from him.

So hopefully fingers crossed one of these days. Let him know a little America. We got here with the accustomed accouterments to a morning, tombstones and tears and the somber look of the bereaved. We generally cry at funerals out of a sense of loss. A poor, unfortunate loved one will no longer walk the earth.

He or she will simply occupy six feet of it, never to be seen or heard from again, or at least we make an assumption that that's natural law, and we subscribe to it. But this painting here, and we admit this up front, breaks that law. It's called a death and the family. It offers up a new view of death, and it introduces you to quite a family who lives here in the night gallery anyway. Death in the Family was written by Rod Serling, based on a short story by Miriam Ellen DeFord, and directed by janau Zwark.

This one stars E. G. Marshall and Desi Arnez Desiernez Junior. We just saw him last month in Marco the Rankin and Bass Musical featuring Desi Arnes Junior as Marco pol. I must have missed that one.

I wouldn't say you're missing a bob. This one is the tale of an escaped convict who takes refuge in a lively funeral home. And this also continues our longest running segment here in the show, which is please Ron Sterling no more, for he's a jolly good fellow. Week. Even my wife picked up on that.

She's like, oh God, not again. That's right. They're tearing down tim Riley's bard. That's and I've only started counting at Tim Riley's Bar. But I guarantee you if if I dug back again, there would have been another episode.

And I guarantee you there's another one on the way. So anyway, I'm keeping count Now, Mike, what do you think of this one? Yeah? Yeah, yeah, yeah. Was this the one that you told me Mike to watch for the ending because you didn't understand what was going on or was it another one?

This was the one? This was okay, I'm just making sure, Okay. I was really hoping that e. G. Marshall was going to be like threatened by cock broaches or something.

But yeah, I like the first part of it. I like when it's you know, lonely funeral home guy and this poor guy has died alone, and then they're bearing what feels like a very light coffin, so I'm like, oh, well, he kept the body, Okay, that makes sense. And then we find out that he has preserved him incredibly well, to the point where it almost looks like it's just an actor staying still rather than an actual corpse. I know that sounds weird, but it's fantastic. Not like we see that a lot in this episode.

Now. Oh boy. Yeah, when they were at the end of the episode and everybody had to not blink, it was great. And dees Ernez Junior shows up and he's a wanted criminal on the run. We don't really find out anything about him or what his whole motivation is.

He just he finds that e. G. Marshall has this corpse and he doesn't freak out appropriately enough For me, I think I would be much more freaked if I came into a funeral home and the funeral director just had a corpse sitting around with a party hat on and stuff. So yeah, and then it just kind of goes on. It feels very rambily to me, even though it's not that long of a segment, very loose instructure.

Chris, what do you think? I think? Yeah, I would echo everything that Mike just said. You know, you have Desier and as junior not given much to do. E.

G. Marshall, who, like Mike mentioned, I know him from all of one thing, which is my problem, not the show's problem. But I know him from Creep Show, which I mean that segment and Creep Show. I know how much you like that movie, Father Malone. I enjoyed as well.

That's my favorite segment in the movie. It's a good segment. It's a great segment, and Eg Marshall's acting is one of the main reasons it's so good because he plays that character so well. All of that aside, man, what like, what was the what what? What?

What? What were they going for here? Like, Okay, so he has a bunch of people that he's created a family of It's like Office Killer but not. I was thinking the same thing. It's like the same thing.

I'm making a family of corpses. To what end? Yeah? And at first I was like, is that really his father? I was like, no, that's got to be the dude that he was preserving.

So yeah, how so how does it end? Is Desi Arnes junior part of the family? Now he is? Now he is? He?

They both die in that ensuing gun fight because he goes bang and then he's like, oh, wait, I gotta shoot myself too. I think they fought. The gun was fired while while there was a wrestling match going around, shot Desiernes, and then Desiernes shot our man E. G. Marshall, and then Marshall was still alive enough to drag Arnz to his spot and before taking his own and then collapseing, oh there is in a nutshet long enough to talk to the carps and like let the cops know what's going on, and to have a moment where he's my son.

I like that moment. I don't like that he died. Actually, I thought when it when I was not convinced that he was shot and sort of jabbering away and looking crazy. I thought, oh, this is good. I appreciate an ending where someone has completely lost their mind, but now they had to throw it away and you know, punish him because Rod Serling wrote this script.

But but you don't understand. The ultimate punishment is deaf. You don't get like you don't get that like, No, the ultimate punishment is everyone respecting Rod enough to not touch his scripts that he got through, which is what I assume happened here with with with with mister Jouark obviously didn't change a line and you know, followed the directions. The only sort of subversion to to Sterling's regular nonsense here is the music, which is Bonker's crazy cool and completely counterpoint to everything we're seeing on screen. It's like xylophones and flutes and it's really jaunty kind of it points to what this story actually wanted to be, which was a daylight horror story.

Like Sterling can't help wrapping it in a fucking crumbling old mansion and there's a goddamn thunderstorm going on it and I, oh, by the way, I mentioned I want to mention a couple of like someone behind the scenes and someone in front of the scenes. Someone in front of the scenes is in this segment. They've been a bunch of segments. We've already seen, gonna be in a bunch of segments. It's one of the most famous things of all time.

It's this that's called Castle Thunder, that was first hit the scene in nineteen thirty one. That sound effect was created for Frankenstein and has appeared in virtually every horror and science fiction story ever since. A lot in Scooby Doo and Gilligan's Island and everything. All right, Frankenstein, I just heard it in that this thing pops up for ever so shout out, Castle Thunder. You don't get enough respect.

And we all grew up listening to you. And I was waiting for Roddy McDowell to come into this episode given that where it's set, like there's just one set on the Universal backlot that they shoot all these gothic, oh boy, our episodes in, Like that's what this feels like. So goddamn set bound again again again again again. So what's up with the stairwell? I mean, this stairwell shows up in the next segment, But then this stairwell is dressed with all of these empty frames.

I mean, you're right. I mean I'm waiting for PORTA four me to be like, oh, let me switch these out with another photo or something, but they're empty, and I'm just like, what are we going for here with the sect decoration? Do you remember Father maloone that episode of Tales from the Crypt where it was like the writer in the apartment building and then like he was like, I want this woman to fall in love with me, and so she does. And I remember you straight up saying when we did that episode, like, man, this show is so fucking set bound. So is this show now?

Like this show needs to just like find a like shoot it from another angle doesn't work anymore because it's like we're seeing literally the same set in two segments, Like what right? And now that's us watching this show and noticing these things, and you know whatever, I'm being a geno apologist right now because I think the shot it's actually beautifully shocked. The guy knows where to put a camera, he knows how to light it. It felt as close to a film as you could get on a set and still match it with sort of the outside stuff. Speaking of the outside stuff, the funeral scene.

Okay, there's an opening sequence I'm going to skip talking about like when we cut to EG Marshall at the burial of the corpse, these fakes putting into the ground, That's where this episode should have be gone and carried us from there. And then this should have been between Desiernez and him, like talking about their situation and these corpses around, because it turns into this, Like, first of all, it's it's another debate of surlings. At the beginning in the form of EG Marshall's character seems at least close to retirement. We can agree on that, right, not his first funeral, when would he ask anybody the questions he's asking them? What what about the flowers?

Who will come in mourn? Someone must pick music? Who will care? Like that's day one at the job at the funeral parlor, right, and then thirty forty years later you're just like, give me the corpse, thank you, goodbye. This crisis that he's having is just doesn't make any sense sort of character wise.

No, he would be so jaded by this point, right, very desensitized. He would be like speaking of Tales from the Crypt. He'd be like the punishment fits the crime. You remember that episode Father Ma Alone where it's the funeral home and it's the guy who's like swapping out legs and doing all kinds of terrible shit with the with the sneakers walking down the stairs. Oh my god, that's the way the characters should be, like super disillusioned with all this.

But then, but then you can't still tell an empathetic story about this crazy person who has corpses in his basement. Like I could have gone with an empathetic eg Marsh who also has bodies around because he's a lonely old man and like, you know, thought they didn't get a fair shake in life, and he's going to give him another one. That's not the story we got here. What we got was okay. I just want to say when Desiernez first comes through the window and he's sopping wet and he looks like the nineteen seventies, like Jarring on this show now, like you know, as much as Jark is sort of pushing against Sterling's need to keep everything nineteen fifty five, which the episode, I mean, until Arnez pops through, if you told me it was fifty five.

I believe you, because nothing else tells us that we're in the modern age. The speech Arnez gives him the couch. It's like the perfect distillation of everything I know. I keep kicking Rod Sterling guys, but he keeps doing it, so I'm gonna keep hitting back. It's the perfect distillation of Sterling's sort of dialogue, which is the character recounts everything we've just seen and then tells us what it means rights.

It's like it's asking the audience to be wistful about something we just saw thirty seconds ago. So it's like a guy like me, a convict on the run for murder, and I end up here at a funeral home and it's run by this cuckoo old man who loves life more than anything. Like you know, I gotta throw a little hip lingo for the kids because Rod's connected still like but like like all that's and by the way, speaking of ar Nest and at the risk of offending the guy who has Automan's number, Desi Arnes Junior is like the perfect distillation of what you expect the child of actors to be like when they're actually performing. There are exceptions, right, but you know, for every Michael Douglas there like twenty Eric Douglas's right, they're like and it's it's they're so earnest, you know, and you don't want to fault them.

But like like acting is like mimicry of life and the way actors kids act, it's like mimicry of acting. Does that make sense? I don't know. It's they I mean it, mister, get out of the way. I mean it.

Like at the name, we weren't. We weren't singing the praises of desi Arnez Junior on the Marco podcast. On the Rank and Bass show that Mike and I host with our dear friend Richard had him. We were not singing his praises. He was the worst part of that movie.

He's real bad here, it's there. Yeah, had he flown on a kite, that might have been something else. For the whole time, I might just in the air, like, hello, old man, you crazy rule. I'm gonna get you. I hear everything that you're saying for them alone.

But I have to say, Class of ninety nine is worse. Oh it's worse, is it? Yes? I think it is all right. I mean, but that's like, you know, Chris always talks about the world's tallest dwarf.

It's like, whoa, yeah, yeah, I know, I get it. Uh yeah, yeah, I just uh, I think there's something maybe this Look, this was ultimately just a Tales from the crypt bla blackout, like you know, yeah, this is what Rod thinks. He's really shocking and like, and I'm sure there was some problem with standards. You know, you want to show up like a house full of corpses all setting up happily, like they couldn't go too far with it, but they didn't go at all far. Like you said, It's like it's clearly just a bunch of actors holding still, so there's no real scare there either.

Anyway. Oh, also, did anyone noticed the last shot was reversed? Yes? Right, it was really unusual and off putting, but in a good way. Like I I rewounded back.

I was like, what the what what was that like to look if the candles were flickering backwards? But I was like, right, the first time the comps backed out of the room, I went, wow, they I guess they were really shocked by embogie. I was happy to see James be sicking in this. I always enjoy him even though he was so young in this. It's wild.

Can you imagine? I mean, this was when did this one come out? Again? This was in nineteen seventy one September. Wow, just three years later the Texast chainsaw massacre would just copy this so much.

Yeah, Toby Hooper is on record as saying, yeah, Night Gallery. I was very inspired by the Death in the Family episode from Night Gallery. I knew it. It sounded like Toby Hooper was here, but no, he's still dead. That was just me doing a spot on Toby Hooper and personally, that's pretty good man.

You really invoked him. It was an evocation of him. Yes, yes, all right. Our next segment it's uh segment. It's The Merciful.

It's a minute and a half long. I know. It's written by Jack Lair, based on a short story by Charles L. Sweeney Junior, indirected again by janeau Zoark. This one is stars imaging Coca and King Donovan.

It's basically just a twist on pos Cask of a Montiado with a wife or a wife you know, breaking her husband in Maybe I mean yeah, And I mean night telegraphed this so early on. I was just like, Oh, he's not in the room. She is, She's bricking herself in. Yeah, And then it just goes on forever. I'm like, oh, god on and yeah, fantom of what santom of?

What opera? This is not? Yeah? Yeah. As she puts the fine brick in and it just becomes completely soundproof, I was like, is that really how bricks work?

Also, doesn't the whole idea of the cask of Amontiato completely hinge on the idea that in the story he's tied up to the wall too, Yeah, because I don't know how much carpentry and bricklaying you all have done, but you can knock a wall over pretty easily, especially if now I'm just putting this out here, it's not dry yet, how unusual. But she's pretty willing. Well yeah, but in this, in this, in this story. But my point in version, you get you get it right? Yeah?

Right, and it's get it yeah, so dumb. So I actually felt a little weird watching it, like like imagining myself in this situation. But this is nothing that that they did on screen. I just started remember wreaking yourself into it. How good it is.

The last line of that that star is like one of my favorite interactions of all the time because uh, Mantrosoris the one being walled up, and he says for the love of God, and he says back very calmly, yes, for the love of God, and then he puts the last brick in. It's It's such a good line, and anytime they film it, they always shout the line and I'm always like, no, just saying anyway, that was the Mersey Imagene Coca and King Donovan husband and wife. By the way, imagine Coca very very familiar to me, but not through regular channels. I think for me, it's her role as Shad or Shag and It's About Time was my trey into imaging Coca. Wow.

I grew up knowing her only from National Amp Vacation and then later got to see a bunch of Sid Caesar's Show of Shows. Oh she's amazing. Yeah, but uh, It's about Time probably one of the best TV theme songs. I mean, it puts uh the other Shortwood Shorts film Sorry series to shame. Really, I I've known nothing of this show.

It's about Time it's about space. Yeah, it's pretty great. I was just disappointed they didn't say requiem at the end. I was waiting for it. Come on, give the give the goddamn source material a little bit more credit because it's good, because it's good.

This isn't Yeah. What I think is funny is that this is based on a short story by somebody else, like okay, like yeah, yeah, right, yeah, it was just read guys. Yeah, what if? What if it's a husband and wife and she's doing it voluntarily? Fair?

I wrote, I wrote the story. Now onto Mike's favorite segment of this episode, This is Class of ninety nine. I'm almost done news your own graduation at ercise. No, it's titled the Class of ninety nine. A set of numbers and a pair of eyes.

We'll move behind them now to give you an idea. Why we call the place you're in the night Gallery. This is an original script by Rod Sarin. Can you imagine? Oh I can?

It was direct directed by Jano Swark, starring Vincent Price, Brandon Wild, Hilly Hicks, and Randolph's Mantooth. This concerns a graduating class's final examination and plumbs the depths of what it means to be human. It's plumbing something. It's plumbing it all right. Wow, Yeah, I had no idea what they were going for through most of this skit, and I'm just like, what is happening here?

Just this Benson Price as this proctor for the final examination and asking all of these very bizarre questions. And I mean, I mean it was pure serling when it became all about race for a few minutes. I mean it really was about race, Fred say, two thirds of it. Once they started talking about this black gentleman that's in class and they start slapping each other, and I'm just like, what am I watching? What in the world is happening here?

I was very happy. My wife was all about mister Mantooth. She's just like, oh, is that is that Raymond Mantooth? And I'm like, what the hell's Raymond mantooths like he was an emergency and I was like, Wow, Okay, I can really tell our age difference right now, Honey, Mike, please tell me you caught one for that. I think it's because you're older than me.

God, that's what you get from marrying the cougar, an actual sugar. You're married to an a Yeah, how do you think I got these scars? My bad to fans name is that's all. I felt like. I could hear Rod Serling clucking his tongue at me while I was watching the episode.

I'm glad he didn't use any pejoratives. I mean, that was my concern was he was gonna say something offensive or have one of the characters say something offensive, because it like verges on it right he wanted to I want to say the say it. Yeah, what you're saying, Mike, it seems like heavily freighted towards the racism side because what all of said and done. What we're dealing with here is a bunch of robots who are going to be sent out into Earth that has been devastated by some sort of apocalypse. This is the year nineteen nine, and they're going to repopulate the earth just the way humans would.

So they're being taught to hate irrationally. And so when when we get the first hate thing, it like the first example of it, it is, it's like it's a sort of black and white thing, like give me a ridiculous reason to hate this guy, Like, well, he's black and I don't like him for these reasons. Then the second one it becomes about monetary or just sort of a little more aloof, and then the last one is supposed to be the this makes no sense at all, like reason to hate somebody, and he it just folds back to racism because he picks an Asian kid, he picks Chang, and like he says, well, there's no reason to hate him, but I hate him sort of specifically. So it what we're getting is a parable about race, and we're being told by Rod that racism is in hatred is taught.

Like, oh my god, Rod, we get it, Rod, we get it. I'd be like the meetings were just like Rod, you can't do what you used to do. Man, Like it doesn't work anymore. It hasn't worked since the last time the show worked, and the show worked, but it didn't work all the time either, And it's shocking to watch Rod Sterling fall and continue to fall. He's not it's not Rod Sterling's Midnight Gallery anymore or the Night Gallery, but he's still involved heavily, and I wish he wasn't, Like I wish he wasn't.

That's where I'm coming at when I watch a segment like this, It's like, what the fuck is the point this script got through? Two of his scripts got through here. He complained that like a lot of his scripts are being rejected or rewritten here. By the way, that's also a fallacy I've come to find out in further reading, like like two of his scripts were rewritten like sort of ground up right like and everything else it's minor change. It's always sort of like dialogue or an actor improvised on the set and they allowed it to sort of go through.

So basically, what he's dealing with here is his script either gets through and gets made or gets rejected. This is getting through what's getting rejected? Right? I would question and were the professors Were they robots? I think Vincent Price, Yeah, no, they have to be right, because the whole I no, no, no, no, Vincent Price is a human and then they turn off the class.

So I think they were human because they mentioned in the really clumsy giant exposition dump of a finale at the fucking graduation ceremony, god Man, like if he had just you know what, if they had left this ending ambiguous and not had the finale thing left, were left going like what the fuck was that It might have been something, but anyway, No, he has to hit the nail on the head. So he says that these androids or machines have been remade in humans image to repopulate the earth for them by that, Like, so I think there are still humans teaching them how to be properly human like in this, you know, vicious and horrifying manner. So I think Vincent Price at least was human there. I was so glad they had Vincent Price in an episode of the show.

And he did he did nothing. And this is the only episode segment he's in in the entire show. Yeah, it's good to waste him. It's really good to waste Vincent fucking Price. Yeah, not Randolph Mantu, No, no, no, Vincent.

Why why cass Vincent Price? Like, why why anybody could have played that role? It doesn't lean on his strengths as a as an actor. It actually is completely devoided the charisma that he normally has. I am shocked that just as the first segment was ripped off here we have a reverse of this with Mark L.

Lester's Class of nineteen ninety nine, which came out in nineteen ninety where it's the teachers who are robots and the students are all people. Oh my god, where's the where's the outrage about this? People? Come on, Reparations are necessary. Intellectual property has been stolen.

Oh boy, Rod, oh, I will say if there is anything impressive about this episode, like I thought all the performances really good. I think it's shot really well. It also should be noted that this entire episode, beginning to end rehearsal to final take, was half a day of filming. Oh wow, Now that's how much they take the time they gave shocking shocking, So that means they spent like a couple hours maybe rehearsing, and then another two and a half to three filming. And this is where we go in that regard.

This is fucking incredible. Oh yeah, yeah. If you were to turn the sound off and not have to listen to anything they were saying, and you will be like, yeah, that's pretty good. Anyway, anything else on this one, gents, Oh, I did really quickly want to go back for a second. I apologize about this severely.

Chris, our good friend g Nome Pitlick is in the Death and the Family episode. The man who has given us so many hours of entertainment as the director of Barney Miller episodes and also the director of Taxi episodes their father alone. So he is the driver in the death in the Family segment at the one at the beginning, the one dropping off the corpse. Yeah, oh wow, the one who I went, oh my god, is that Frank Stallone? And then started he started acting really well, and I went, oh no, it's not sorry, snapping his fingers.

Take it back sixteen yea even an acting powerhouse. Then yeah, of course, thank god he wasn't all right. Our last segment is called which is Fees. This is a black out sketch, but a little bit longer than a regular that blackout sketch. This is written by Night Gallery, who's resident gag man, gene Kearney and directed by Gerald Freeman.

We're gonna talk a little bit more about him in the next episode. Uh it's now. If you have the DVD of Night Gallery, you've seen it in syndication. This is the part where you're going to tell us that we're insane because they're supposed to be a scene with King Tutt here. That was Satisfaction Guaranteed, starring Victor Buono and when the When this episode was rebroadcast on syndication and then of course on the DVD, it was replaced with the one UH was replaced with the Bono one, But this was the actual one that aired, which is based.

It stars Agnes Moorehead or Ruth Buzzy fran Ryan who is uh under all that makeup. Turns out she's the woman at the beginning of Stripes takes the cab ride with Bill Murray the ringer ringer. I shouldn't have had all that And Alison McKay this is just about impassioned, which is covins. I guess they need a coffee break too, or sandwich break or something. Yes, so controversial, we can't show it again.

I don't. I have kiss why the switch, but like I don't because the thing that they switched it is actually fucking weird. Because I watched it. I watched Satisfaction Guaranteed and just just so I could know what they replaced this way, because it you know, to know what which is Feast is is one thing, but to understand what they replaced it with, and I think it is just as important. Satisfaction Guaranteed is strange and creepy and off putting and fucking weird, and the twist at the end is bizarre.

In this, it's just like just like that Leslie Nielsen Phantom of the Opera thing. It's just fucking dumb. It's just dumb. It exists to be five minutes of the he chuckle fux and then that's it. Like there's no substance to it.

So why who was offended? It's like the episode of The X Files Home where they're gang banging one another underneath the bed and having incests babies, Like who was offended? Like, I'm having a hard time finding what the controversial or offensive nature of Which's feast was? Because Satisfaction Guaranteed is actually upsetting and weird and strange. But it is better across the bar, which is feast or satisfaction guaranteed.

Satisfaction Guaranteed. I think they're both terrible. I like satisfaction guaranteed. Who no man, I can do anything? So that's I mean.

I like Victor Buono. I just like the twist in that is. I like that joke better. I like that he's like reviewing these ladies just because he's deciding which one to eat. Spoiler spoilers for satisfaction guarantee.

Is it a spoiler that it's just like I'm gonna eat her like okay, no, but that works. It works better than this joke, which is this is like you just not victor like thick ladies. What's wrong with that? It works on both levels. We never see how he eats her.

He pulls a knife, and he pulls a knife and a fork out. We see how he eats her. Well, that's just because that was in his pocket and he didn't want that to interfere with Oh he got eating her to it. He's not going to eat her ass the way we're talking about. He's going to eat her ass literally that you're so graphics, sir, No, I'm not that.

What is Witch's fast other than just like a bunch of witches talking about the food that they're going to eat. Like yeah, you know, Mad Magazine had like a segment every month called like the Lighter Side of Hippies or the Lighter side of whatever. Like these segments are like the lighter side of horror. It's just like they're just like us, you know, like they're waiting for their sandwich delivery, Like right, we get it, and like again, maybe in nineteen seventy where horror wasn't coming to you every week and every possible direction through every media, like this little brief thing was really funny or so, I don't I doubt it was funny then, but you know, it at least was probably a little more impactful then here.

It's just kind of there. You know, it doesn't hurt, you know, it's nice. The streets. The streets were full of people with their signs saying no more, which is feast no. But I don't know why it got switched, like we were there protests, like I'll find out somebody was upset, well, like I think it might have been they were upset with the quality of it.

They went, you're putting this back out? We have this, just put this. I mean it might have been just a creative decision and like, yeah, the people who have been complaining, the people like us, were like put that back in chronological orda, you know, like no, no, the other thing is better. I mean, where did s Faction Guaranteed come from? Because it feels like it's just kind of a an oddball thing, because I don't think it's part of an episode technically the last episode of this season.

Yeah, that's what I think happened. I think they I think they probably filmed it and had either too much space or not enough space in another episode and went, well, right, we've got this leftover now kind of and like we'll just put it on that that wasn't very good. Yeah, well, because it's a good way to treat something it's got this leftover piece of shit? Who can because it's weird because on Wikipedia, which I know is never wrong, I mean, it's listed as Segment twenty two C, along with The Caterpillar and Little Girl Lost, which I'm not looking forward to seeing another version of Little Girl Lost, but the air date is three weeks after the other two, so like the Caterpillar and Little Girl Lost or listed as airing March first, nineteen seventy two, and Satisfaction Guaranteed March twenty second, nineteen seventy two.

So it's like, well, that might have been the first rerun of this episode, oh, because it because that's how always how it's listed, Like when they when they reran this show in the spring, they replaced it with this, and then since then they've just left it on there, so it might have. I don't know what the initial impulse in switching it was, but clearly, either through oversight or purpose is satisfaction guaranteed is usually the end that would make sense. And what's equal and what's equally as weird is they had a segment called din Now Pay Later that they didn't put into the first season to the show, right, And they didn't put into the second season to the show either, right, even though they needed something in addition to what they had already.

Have you seen Diana Pay Later? No? I am, I have. I'm glad they didn't put it anywhere. I mean again, it's it's like this, it's it's the sort of same like One Joe, but that one is painful because it has slim pickings in it as kind of a straight man forwarding the One Joe for too many minutes.

Oh boys, So yeah, at least they shed some restraint here. Jack Laird and by the way, Chris Vincent Price will return in the first episode of the third season. Oh really, Oh well good? Never mind then with Bill Bixby people returning with sorcerers and sexual and Jane Swart. There you go, baby, I'm I'm gonna I'm gonna keep saying Joss, but not on this program.

I'm not finding any favor anyway. I'm gonna go ahead and play a commercial for our next episode. This item here is called Since Nate it Came to Stay, and Aniate is the most memorable character. You may not like her, but I seriously doubt if you'll ever forget her. Be thankful you've met her.

Only in the ninth Gallery. We refer to him by different names, Lucifer, Mephistophel's busy, but by any other name, he'd smell with brimstone. These the ingredients to a one man stool at this junkie or radio show and painting we call the Flip Side of Satan. That's right on the next episode of Midnight View, and we'll be taking a look at Night Gallery season two, episode three that's broken into three segments, Since and Ida Came to Stay, with apologies to mister Hyde and the Flip Side of Satan. Until then.

Where can people find you? Chris Stashue Weirdingwaymedia dot Com. That's the podcast network that we created nineteen shows and counting. That's not the name of a show. That's how many shows that there are I'm on nineteen dot com, but there's plenty of shows over there for you to listen to, and if you can't find something to listen to, there's a chance that we're adding it anyways.

So weirdingwaymedia dot com. That's where you can find all the things that I work on, like literally everything, and most things that you'll work on too. Don't even bother asking me because it's going to be the same answer. Yeah, me too, everybody anyway, everybody, but also go to fothermlone dot com because that's where that's where Wolf and Raising can be found. Oh I blug fucking gab gab.

Okay, all right, thanks everybody for listening, and we will catch you here in the gallery next time.