Night Gallery S03E01&02 (Return of the Sorcerer - The Girl with the Hungry Eyes)

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Tonight we offer you the summer food of the Scientists Failure. But there are apparently some things that cannot be accomplished, and there is life and tailmen flames of picture given. The Night Gallery. All right, welcome back, art lovers to Midnight Viewing the Night Gallery Podcast, where we discuss Night Gallery, Ron Serling's follow up to The Twilight Zone. I'm fallom alone with me here in the gallery are the projection booths.

Mike White. I'm just here with my goat for a little bit of dinner. And what a goat it is. Also joining us is the Culture Cast Chris Statue. I've got a pair of hungry eyes.

Everyone will be evidently. Now this is season three. We've reached the top of the mountains, the final season of Night Gallery. Now. At the end of season two, the Studio Universal decided it would produce a half season of Night Gallery, which it did, and their thought being that they would split the previous two season hour long episodes into half hour long episodes in order to syndicate it quicker.

But they discovered that that would leave them with only seventy two episodes, and you need at least ninety to start stripping. So they took another show that they were going to cancel, the Sixth Sense, which was an hour long paranormal drama starring Gary Collins. They split those into half hours, now totally baffling half hours of that show, retitled them as Night Gallery, and then they went so far as to have Rod Serling record bogus Gallery introductions for these Sixth Sense episodes. So for decades decades there have been a fair amount of people out there convinced that Night Gallery had a dramatic through line with some bizarre standalone episodes. There were some other changes this season.

Jerry Feinerman is now the director of photography on the show. Fun fact about Jerry Feinnderman. He was a feature film director of photography. Then he was in a plane crash in which he was the sole survivor and decided he would never travel again and decided he would get into television. We've got a new title sequence this said this season.

It's by by Wayne Fitzgerald, who did the original one. He decided focus solely on the paintings this year. It's not great. It's nowhere near the weird and sort of bizarre carnival vibe of the first one. It's that music.

The music is terrible. Oh my god, Mike, go on further. The music is in affront. The music is in a I was like, whoa, whoa, whoa. You do know this is annoying, right, It's not even like a question of oh, I just don't like this subjectively, this is not my thing.

It's objectively this is a bad idea and it is not only grating, but it's a choice. And when someone says something is a choice, that is never a positive way of saying it. It's almost the nicest way to say you fucked up big time. Yeah, this is the new score. It's my Ed Sonder, who was introduced at the end of last season, did a couple of episodes there.

Jack Lair had hired him for the rest of the run of the series. He now will do the music for every single episode for the rest of the run. His idea was to give us a musical cue at the beginning of the show that would induce he succeeded. It's a really bad idea. It's the only music theme that comes on that makes me want to turn the channel.

Not great, No, And I was thank goodness that Plex says that skip intro thing, because man, as soon as that comes up, I'm hitting that, I'm hitting that hard, and it makes me realize how close the original theme could have been to being grating and obnoxious. Well, it's so masterfully done the first time around the first two seasons that this is just like it seems so it seems like such a bad choice for a number of reasons. Also, Mike Road was our quasi narrator last year, the guy who came in and said on tonight's episode he's gone. Replaced by a fellow by the name of Stanley Waxman, who was also on two episodes of Night Gallery. He was an actor in the episodes of The Academy and Deer Departed.

Now, because of the shake up here splitting hour long episodes into half hours, we've decided to continue that by reviewing a full hour here. So on every episode of Midnight Viewing for the third season. We're reviewing it. Two episodes of Night Gallery. Question.

When Rod comes out and does his introduction, is he doing that for a full episode? It feels like he keeps saying our first painting tonight. Yeah, he does keep saying that. That's weird. Yeah.

I don't know. I don't know the reasoning behind that yet, other than maybe he's just used to saying it, or the scripts were written with an eye toward an hour long and then they just split it and didn't do any revising, which is very likely. When I find very unusual about this whole shakeup is that they clearly didn't want to spend one more dime on the show that they had to, But then they had a new credit sequence and theme commissioned. We all know that they don't make any sense over there in Hollywood. Come on now, it's weird to me the changes that they've made, and it's weird to me that Rod Serling is still here.

Frankly, like, of all the things that are surprising, the fact that Rod Serling is still here is the most surprising, because this is the point where I'm just like, oh boy, the quality it's like, it's like Twilight's own nineteen eighty five season three. It's the same thing, just like you have done a complete retooling of what this show is. And I'm not sure that a retooling wouldn't have been better than just like it, going away, going away, you know. Again, not commenting on these episodes specifically, just saying, sometimes it's better to just sometimes Dad is better, Sometimes it's better just to let the show be done. And two seasons.

Again, not commenting in a roundabout way about the episodes at all, just saying, sometimes you don't have to keep doing it. I get why they did, because money, like stage capitalism, but yeah, it is a bit of turn about. Is fair play? However, because Jack Laired in the second season kind of shoved Rout out of the way and asserted creative control, and at the end of that season Universal stepped in and said, yeah, we'll take it from here. So in the area of the old cultage, customer to preoccupy ourselves with witchets, and too infrequently we dabble on the male side of that time honored profession.

The sorcerer. On display here is a painting showing the natural habitat of this species of black art practitioner, Dark Alley, Murky Light, a few sundry skulls, and the gentleman himself on the right of the picture with the upraised hand and the funny little goat horns. Yes, indeed this is a sorcerer, and for those of you who disbelieve his existence, we invite you to check this out for a little while. Our painting is called the Return of the Sorcerer, and we're a better place for him to return than right here in the night gallery. Rod wants us check this out.

It's Return of the Sorcerer. This was season three, episode one, released on September the twenty fourth, nineteen seventy two. It was written by Holston Wells, based on a Clark Ashton Smith short story, and directed by Jeno Zwark or Jean Zwark I noticed that Yeah, he'll be known by the more sophisticated and way easier to say Jean Zwark for the rest of the season. This one stars Vincent Price. This is his second appearance on That Guy, Tia Sterling her first, and Bill Bixby special appearance by Bill Bixby and his second appearance in this one.

Bill Bixby is hired to translate an ancient text by a sorcerer. What could go on? What do you think of this one, Mike? I was very confused, but this one. I kept trying to figure out the power dynamics between Tisia Sterling and Vincent Price.

And then there's this whole talk about Vincent Price is a twin and he cut off his twins head and the head is someplace, and I'm just like, this sounds far more interesting than a translation story. And then this goat keeps showing up, and I'm like, Bill Bixby's okay with this? I mean, seven hundred and fifty dollars a week as somebody's making. Yes, I'd be okay with that as well, because that's I'd be okay with that now. In nineteen seventy two, that was the equivalent of fifty five hundred dollars.

Holy cow wow. I mean, I guess he's not going to be around to spend it. Is the thing is because the person who translates the stuff is supposed to have all these horrible things done to him. Or is he yeah, nice hand off there at the end? I mean, is it just me?

Or is it very confusing. Oh yeah, it's all over the place. It's okay, it's Clark Ashton Smith who's just trying to emulate his idol, HP Lovecraft but not really understanding what HP Lovecraft was doing. Right, That's what it felt like. It felt like Lovecraft light to me, Lovecraft light or Lovecraft two words love Craft.

You know what I mean? Oh? Oh, he went there? He went there? Can he say that?

Pull his license? For me? It ultimately comes down to, once again, we have a story of a man with a secret who brings someone else in to help him solve that secret. I feel like we've seen this story in the end of season two a lot, and now it's like their opening season three with it. And the biggest shame is that it's Vincent Price more than anything else.

Let's just get Vincent Price to mug for thirty minutes. That's what this feels like. A lot of close up shots of Vincent Price mugging for the camera, which is fine, but that's there's not a story there per se. It's just a lot of I don't know, it's a lot of gothic looking settings and not a lot of story to go along with it. I think there are quite a lot of problems with this episode, and yet I fucking loved it.

I really had a good time with it. Wow. Yeah, just beginning to end. I know this is a setup we've seen one billion times, but I think, I think as Jean Swarz is doing fucking great work here. The opening shot, not the opening shop, but the first time he steps into that house.

It's all drenched in red and Bixby is framed in the jones of a crocodile that you know he would have used a split diopter if they could have afforded. When Vincent Price mentions he was a twin, I was so excited. I was like, oh my god, we're getting two prices for the price of one. This is going to be freaking fantastic. Fern is the female character in the Sterling character and when we meet her, she's wearing a thermal shirt with a star on it.

Right star is obviously added by wardrobe. It's a slate thermal shirt with a blue star, and I think it's there to clue the audience into the fact that she has more than a passing familiarity with magic, but it also kind of subtly clued me into that famous shot of Sharon Tate from Esquire magazine back in sixty seven. She's wearing a white shirt with a red star. It got talked about a lot a decade ago because on mad Men, Megan Draper's character wore the same shirt as Sharon Tate and it was on purpose and people were thinking she was going to be murdered. It turned out to be nothing.

But it's probably a coincidence here, But I hope it's my design because they've inverted the Sharon Tate shirt and that's what this is, because we end up with this character doing the sacrificing. Anyway that might be more ominous and the episode deserved. But it was on my mind the moment she opened the door. As much as I am praising Geno or Jean Swark for that opening scene, the second scene is fucking atrocious. The lighting is the most garish lighting I've seen on any episode of Night Gallery ever.

It looked like the crew from The Price Is right lit the scene. You can see all the flaws in all of the set decoration behind Bixby and Price. By the way, Bixby and Price is my ya detective novels oh. I like that yeah. I love a plot where there's an unseen force like slowly approaching, and they do that here with the sort of sliding, the scraping sound that's slowly approaching, which my favorite thing is the Ferns character tries to explain it away by saying it's just rats, as if that's preferable to whatever else is there.

Oh no, it's just a wall full of rats. Bixby is hired to translate this book and he has to do so in this main like sacrificial chamber on the altar with seven candles burning. Could I take the book to my room? Would that be okay? They explained that other translators have come and they've done the translation, and they fled to prevent that.

Vincent Price has armed himself with a revolver. Right, there's gonna make this guy speak the thing. But makes sense. Yeah, but logically follows. You're a rich guy.

You get away with it, right. Oh yeah, you could choose somebody in the middle of fifth Avenue. He'd get away with him. Wouldn't lose any you wouldn't lose any demons involved. Now there's magic involved here.

But the thing is Bixby has written the translation down. I'm assuming the other translators did as well, unless they were keeping the entire quad train or whatever the fuck it is in their heads. So why don't they just why doesn't he just say, hand me that and I'll read it. I don't okay anyway, but that, But there's not an invocation if he just hands them a telefax and goes read it, bub you know, like that, there's there's none of there's none of the horseshit of Bill Bix feeling. You know, I'm I'm confused as what's going on and wait, what does it say?

It's like, there's none of that. If he just goes here, you go like, yeah, it's so a lot of this requires a one party to know what's going on and the other to have literally no idea. It just normally isn't the audience. We're not normally supposed to be the ones that have no idea, That's true, It's supposed to be the characters. Like, yeah, the characters.

I feel like the characters know about more, what's more about what's going on than we do, and they never get that across to the rest of us. There's a lack of exposition in this episode. Shockingly. I like how specific the curse is, Like it has a pre cursing the reader of it, and then it has a clause that seems to relate directly to Price. The situation.

It's like he thinks he's scott free until he reads the dismemberment condaicil. You know, like, oh no, even if I cut him up, God damn and laid up play alive across hot coals or something like that. God, it goes hard. Yeah, I mean at the end of the scene before the brother shows up, Vincent Price goes catatonic and he's just sitting there, and all I thought was, like, what a wonderful piece of furniture. I'd love to have a Vincent Price in like the corner of the corner, I think.

My speaking of furniture, my favorite piece of furniture was the hands with the candle sticking out of the walls. That was a nice piece of set dressing. Though though again, if they were trying to go for the interchamber of Anton Levey, I don't know how well they managed, because I'm sure his room was very red. But yeah, I don't know. It looks I like the main chamber, but it is a little on the nose.

I feel like that felt a little wonka e to me right, Like it's over the top. Here's the kid's version of Satanism maybe or as a top maybe, or any number of names we're gonna we're gonna speer out during the during this episode that when Bixby and Fern first get together, now before we figure out what Fern's intentions are here, he says to her at the end of the scena, I depend on you as a friend, And I thought, like, are those words magic? Because it's the easiest pickup line I've ever seen. She immediately like falls into his arms. I'm like, WHOA, Okay, I guess friendship means a little something different in their house.

A friendship is magic. I can't not love this and recommend this segment this episode because it has one of my favorite exchanges in the entire exchange and transition in the series, where Bixby says what makes you think I'll stay and Vincent price is dinner, and then it cuts to a close up of a black goat eating from a plate, sitting in a carved wooding chair at a table that wouldn't be out of place at like Wayne manor Oh, by the way, falling Tower, I called it a goat, forgive me. His name is Falling Tower and he's Vincent Price's father. And then that's the last mention of that fact. That's the best part of the entire episode is the goat eating at the table, Like that alone is a visual that's worth seeing, especially that transition, But it never lived up to the lofty goals of a goat eating at the table, you know, the heights of a goat consuming whatever, like fucking Risotto is never reached again.

Evil Vincent Price shows up and now they got to sacrifice good Vincent Price, good being a relative term. And I noticed that they cut to an above shot of the altar and there's a disco floor. The altar had a disco floor underneath it, lights and red and blue and yellow just flashing away like wow, some nights at a disco, Some nights sacrificial chamber. If Vincent Price knew Fern was the culprit, knew she was pulling the strings, what was all this charade about? That's the confusion, Mike, Like the power ends up being like what is happening here?

And here's a fun fact. If you read the original short story, Fern isn't in it? Oh really? And the Vincent Price character and then the Vincent Price brother shows up and then that's it. You don't suppose there's anything in that preamble about the reader being dismembered.

You don't think there's anything to that, do you? No, Bill, You're going to be fine with her. She knows that that actress knows how to hold a frog though, or toad, I guess walking around with that toad in her hand that whole scene. Last season we had Richard Thomas, and I mentioned like I couldn't tell if he was giving a good performance or not. I feel the same way about her.

She reminded me a lot of life Dianner for some reason. While she was talking like facially and that sort of that yeah, that airy demeanor. But I couldn't Sometimes I thought she was really good, and then sometimes I was like, God, she's awful. I mean, I can't imagine how much they spent on candles for this episode. Where's any of this money coming from?

I got, well, I was gonna say they spent all the money on candles that they didn't spend on the sound effects, because no, owls and hooting. No were wolves know nothing in this episode, lack of fun sound effects. Even they weren't. He did get Castle Thunder briefly at the beginning, Oh right, once. That's just because that's a Union thing.

Castle Thunder has to appear at these once. I was just waiting for like a hooting owl or something just in the background incessantly, because you know the show likes to do that too. So we did get that scraping slurpity. I'm coming to get you. My feet and hand are coming to get you.

That was a good effect. By the way, those the dismembered hands, and they looked pretty good, like crawling and stuff. It looked great. The foot looked fantastic. And when he's there at the end and apparently the dismembered head is now back attached to the body and his face is all like corpse like.

I thought that looked really good. I thought it's a Vincent Price. He knows how to hold his head and all that to really up the creep factor. To me, this is a redemption for Vincent Price because the last time we saw him was in that Class of ninety nine episode where he was just a moderator for the robots. Yeah, it was a waste of Vincent Price.

I liked that story, like thinking back about it, but h yeah, why him of all the people to have in that episode, Why Vincent Price. I think that was a studio thing where they were really pushing the guest stars. But that's the only thing they could think to help the show that they did never understood to begin with. Two out of the three here are pretty big stars. I mean Bill Bekesy and Vincent Price.

So starting out the third season at least in terms of like visibility of who it is pretty strong. So let me welcome you to this parlor of paintings. We offer them to you for your enjoyment and edification. Feel free to dwell on them at your leisure and in your own good fashion, but kindly don't touch because here they frequently touched back. Our number one painting in tonight's exhibit, this intriguing portrait of a young lady, curiously photogenic and pointingly formid.

Year recall seeing this face. You've seen it on bill boards and magazine ads, on television commercials. Oh yes, you've seen it, but there are people who, having seen it, whish they hadn't. Our painting is called The Girl with the Hungry Eyes, And should I have failed to mention that this is the Night Gallery. Do we recall seeing that face?

You bet we do, Rod. She's been in every season, The Girl in Question, The Girl with the Hungry Eyes. This is season three, episode two, aired on October the first, nineteen seventy two. Written by Robert Malcolm Young from a short story by Fritz Leeber. This one is directed by John Badam.

The m is gone. Everyone's shedding things here in the third season, it's just John Batham now. This one stars James Farantino, John Aston, Kit Niven, and Joanna Pettitt as the Girl with the Hungry Eyes. This one features a photographer searching for the world's most alluring woman and he finds her and it doesn't go well. What do you think, Chris?

I think Joanna Pettitt was better the last time she was on the show. I don't think she was better the first time versus the second time. But I think that this is just I don't know, it's not much of anything. I don't it's just fine. I don't.

It feels like a Twilight Zone tales from the Crypt episode. I feel like I've seen this story before, I guess is the problem. It doesn't feel unique or interesting or exciting. It just feels like it's just waiting to get to the twist at the end. Joanna Pettit's fine, and her chemistry is fine with James Farantino, but again, he just has to play this very specific kind of character, and she has to play a very specific kind of character in this story of she's absuckubus or something to that effect.

It was fine. It was better than the last episode, that's for sure for me, at least with these hungry eyes. One look at you and I can't disguise I've got hungry eyes. I feel the magic between you and I. I couldn't stop thinking of the Eric Carmon song for the entire thing.

Surprise, surprise, I really liked this one. I was very happy with everything that took place. Yeah, it's a little muddy at times as far as what are her powers and these kind of things, But man, Amanda, I like John asked them in this when he starts talking about how there's that face that he's looking for for his beer ad and it has to be this kind of construct that all men have put together and it's this perfect woman, but yet you feel scared and all of these emotions whenever you look at her. And yeah, that was kind of cool. I liked him showing up and it was very unclear at the end that she kills him, kind of just thrown out in dialogue.

But I did like James Barantino and especially his buddy when he's just yeah, no, you can't talk with this chick, and his buddy is so mad at him. Richard is that his friend's name? Yeah, kid Nivin is the actor. Yeah, and then he gets killed off the maybe murderer in the Park. I did enjoy that one as well.

Yeah, I really actually liked this episode. I'm with you, Mike, I really liked this episode. I can't believe season three is shaping up for me the way it is. Chris, you mentioned that you've seen this story before. You've goddamn right, We've seen it one million times.

This is basically just the old Japanese Yuki Ona snowwoman tale, which, if you don't know it, it's a man meets a demon in a storm and she saves him from a blizzard, but swears him to secrecy of its existence. Years later, he meets a woman, They fall in love, have children, live their life. He tells his wife the secret. The wife is the demon, and there are many variations in the story. Either she kills him and the kids, or she kills him and takes the kids, or she leaves both them and the kids.

It's been It was adapted back in sixty five and a gorgeous supernatural anthology called Kwaidan. It was adapted in nineteen sixty eight in a movie just called Snow Woman. Akira Kurosawa had an anthology film in nineteen ninety called Dreams. He had a segment that also featured It's also called Yukiyona. That same year, Michael McDowell, the guy who wrote Beetlejuice, adapted to the same story for Tales from the Dark Sides movie.

Except in this the guy is a sculptor and the snow woman is a gargoyle. It's the exact same story we get here. In fact, she even says lays down, not the not don't tell anyone, but don't follow me. It's so same sort of pattern here, which I instantly recognized and I liked. I like what you said, Mike, like the John Aston speech.

This sort of idea of like mass consciousness focusing something into existence is a really great idea. I love it, and I love it that it was used here, like in conjunction with an old kind of myth. This, I think is the best directed episode of the entire series of Night Gallery. It is really spectacular transitions alone. That scene with John Aston.

The scene ends on a model of a billboard and they dissolve to a real billboard and it's perfect. Yeah, it was so spectacular. There's an entire sequence when we first meet Joanna Pennitt. It's a photo shoot sequence. The editing in it, the camera work ever, it's just it's really a sight to behold.

James Farantino's best friend. He mentions one of his clients is Bimini swimwear, and I just kept repeating that phrase over and over again, like that does look comfortable? What are they Beimni swimwear, Bamiti swimwear, y'all. Anyway, this episode has now made me officially embrace day for night. I'm just considering it a house style here on Night Gallery.

I'm complaining about it anymore. I'm gonna be excited from now on when there's a day for night. I'm just gonna be like, hey, just say that day for night. It was great. Speaking of those transitions, this isn't even a transition.

Late in the episode, there's a character standing on the street and there's a print ad of Joanna Pettitt like sticking off of a newspaper stand, and then she steps out from behind it. It's exact. It's perfect. Once again, given their budgets, given their timeframe, this is a marvel that John Badam pulled this off. I'm gonna have to reassess all of John Badam's films from now on this one.

This episode really impressed me. Al is pretty great. There are those movies where you can feel like he's done for hire, but then there are the other ones where you're like, wow, he's putting a lot of style behind this. One of the most throwaway movies that you could ever have is that remake of lafem Nikita A Point of nor Turn with Bridge of Fonda. I really like what he did with that movie.

I do too, And it seems like some sequences seem shot for shot like remake. But then and then John Batham takes over and it goes into a whole other direction. I agree. I like that movie as well. Are you familiar with Fritz Leiber, Yes, yeah, I figured you would.

And it feels like he had either done this story before or it was maybe another adaptation of it, because I was looking up some of the other adaptations of his work and there's one called I want to say It's like Weird Woman, and it's basically it sounds like it's from his novel Conjure Wife, and it's let me read the description. While on the South Seast trip of Professor falls in love and Mary's an exotic native woman. What he doesn't know is that she was raised by superstitious natives who believe her to be some kind of supernatural being. So I imagine there's probably some he's working that out. Yeah, yeah, that's a theme that I wonder what his wife was like.

My goodness. Now, the problem with this episode for me is, even though as much as I like it is it's the same problem with every version of the UK own his story, which requires a time jump that just strains This is basically a blackout sketch, so we're already straining it to the point of snapping, and then when we meet her. At the beginning, they're looking for the girl, and the next time we meet her, like the campaign is like a wild success already, and then we meet her again later. I remember when I saw Tales from the Dark Side in the theater. There's a time jump in that with a title card that comes up and says ten years later, and somebody in the theater went ten years, as if they spoke collectively for all of us.

Now you're pushing it, We can't go there with you. You can only ask so much. Yeah, when you're reading it on page that's one thing, Like we're already invested in those characters a little bit. There's only so much makeup and gray you can throw on people. At the end, when Farantino has okay, he's finally decided.

He figured out the negatives. If he burns the negatives, he will destroy her. It's a good sequence and it's a beautiful sequence. The effects are all weird and wonderful, and the effect of her burning and solarizing and becoming a negative herself was really kind of cool. But at the same time Farentino is like yelling at her about how she's feeding off of our love, piss up a rope man.

We're talking about a creature here that was like created out of lust and desire by a bunch of men. They were getting exactly what they Fuck it, she didn't deserve a morality lecture from you, as she's on fire. Fuck off, he burns the negatives. She's on fire. He looks out the window and sees her billboard.

The eyes are on fire. I guess the eyes are not going to burn, so they won't tempt any more men. That's great. Then we get this epilogu where he goes into his gallery and all the eyes on all of the photos are burning, right because they up. Should we also assume that in thousands upon thousands of offices and buildings and houses and condos and apartments, like everything is now spontaneously bursting into flame.

They'd call it the Day of the Burning Eyes. It'd be a religious holiday. They'd put it on calendars right, all those billboards everywhere, every magazine, every poster, because he's got those big pictures, blown up pictures of her all over his walls. Okay, it would be endless. The idea that they kept giving us was that her face is fucking everywhere now, so the whole world's gonna burn.

By the way, the scene with John Aston when we first meet him and they're both drinking out of giant ceramic stins. I loved that. It seems so surreal because I forgot that he was a beer magnate and I was just like, like, this guy's got a keg in his office and they shoot beer stains. And you gotta know, every male viewer in nineteen seventy two went when they saw that k like that exists. I want that swim where Joanna Pettitt.

She's shown up three different times and given three very different performances, and I think this is probably the best one, that's for sure, in terms of first season, second season, third season. And this also, I think is the best highlight of her abilities. I guess the one that she was in before she was having to act against her fake son. That was the whole thing was that it was her son. No, that was Sandra d The last she was in the house, the house with ghost one that's a weird little right, The one with the guy that he's he's been dreaming of her and she's been dreaming of him.

Yeah, something That one that that is the one where It's like like that was such a nonsensical episode that I just I'm glad she came back and did something that. Yes, maybe I don't. It's not the most creative thing that I've seen on this show, but it's it is better than the last time she was on here, that's for sure. No, I disagree with you because for the time before that, I guess there you go, because he came back to Caterpillar, right, right, Okay, that's what it was. Okay, Yeah, she was opposite Lawrence Harvey.

That's right. You know, like Vincent Price, in my mind, redeeming himself from his earlier appeance. I think James Farantino redeems himself from his early appearance from since aunt Ada Came to Stay, which was a nothing episode and he was not very good in it. I really like all of his directing work, Reservoir Dogs, pulp fiction, and I really like these Farantino films that Farantino. All right, with that, we're going to play a preview of our next episode and we'll be right back to wrap things up.

Our artists and artistans take a rather pardonable pride in the work that you see hanging here. Bull is this item here. It's called rare Objects and represents that potpourri of collector's items that some men are prone to acquire. But there are collectors items and collectors items alver. Do you know, an excursion into the very strange tonight's offering in the Night Gallery.

Our paintings are in oils, watercolor, acrylic, charcoal, and occasionally formaldehyde. Case in point is painting. Here it's called specter in tap Shoes, having to do with the nearly lost art of tap dancing. I said terms occurre in pursuit taking on an intriguing dimension when the dancer happens to be a ghost, as is so often the case, and the sort of thing that you view in the Night Gallery. That's right on the next Midnight viewing, we'll be taking a look at season three episodes three and four.

Those are Rare Objects and Specter in tap Shoes Midnight Viewing. The Night Gallery podcast is a proud member of the weirding Way Media group, and our theme song was composed by HP. We've got a new theme song in addition to everything else season three related. I hope you enjoyed that. Until next time, what are you working on?

Where can people find it? Chris Statue, Weirdingwaymedia dot com. That's where all the things that I work on can be found, including but not limited to the culture cast, scary stories we tell, cold check tapes. All the things that I have worked on for the last almost ten years now can be found at weirdingwaymedia dot com. What about you, Mike White?

You know? Hey, me too? All right? Whoa, ladies and gentlemen, thank you for joining us here at midnine reviewing. Hey, you know what, I never do this.

Why don't you subscribe to us and give us five stars and all that kind of business? Because there's evidently algorithms involved. I don't understand action. Yeah, please share this, give it to your friends. We love you, good night.

Yes,