Night Gallery S03E09&10 (She'll Be Company for You - The Ring with the Red Velvet Ropes)

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Now I'll check this one, if you will. Tonight we offer you these genre of fruit of the scientists failure. But there are apparently some things that can be accomplished, and there in lives and tail end hangs. The picture Business, The Night Gallery. Welcome back art lovers to Midnight Viewing The Night Gallery Podcast, where we discuss Night Gallery, Rod Serling's follow up to the Twilight Zone.

I'm Father Malone in with me here in the gallery. Other projection booths, Mike White, Dinga ding Ding also joining us. This is the Culture Cast, Chris Statue. Ladies and gentlemen join us this evening if you will for yet another disappointing tale of the Night Gallery. Tonight, we're gonna be talking about two episodes from season three those are episodes nine and ten.

She'll Be Company for You and the ring with the red velvet ropes. Now this kind is here, dark hallway door slightly at jar, a rather disquieting red room at the end of the hall, and a very large cat. We suggest to you that while feline's may look cute and cuddly and playfully mischievous, our suggestion is that you feed them a bit of milk and get rid of them, because cats are and always have been. Satan's familiar is. Our painting title is She'll Be Company for You, and it's hongy in this place we call She'll Be Company for You is season three, episode nine.

It aired December the twenty fourth, nineteen seventy two. Merry Christmas, Mister Serling. This one was written by David Raphael, based on a short story by Andrea Newman, and directed by Gerald Perry Finnerman, who is Night Gallery's resident director of photography. This one stars Leonard Nimoy, Lorraine Gary and Deturbin, and Catherine Hayes. It's the tale of a widower who must be punished for no longer caring for his betrothed upon her death.

After a lengthy and painful illness. What do you think of this one, Mike, Well, you know there's some rules in screenwriting show don't tell. But rather than show, what about how about we just use sound effects to tell our story? Shall we? Sounds good?

Oh booms? Yeah, this was an interesting one. Lennon Memoy freaking out worse than he did when he was undergoing pondfar. He's really going for it. And I did not recognize Lorraine Gary.

I don't know if it was the turban, but I was just like, this does not look like missus Brodie at all. She was smoking hot. No wonder that a universal married her. She was just a real hot and spicy number in this episode. Yeah, I agree with Mike.

She'll be company for you around the mountain when she comes might as well been the second year part of the Fucking a Horseshit title. I'm glad that Leonard Nimoy almost card him, called him Tinard Meeloy. I'm glad Leonard Memoy is in this episode, but I will say, okay, I really I fail to see how this is any different than some of the other things that we've seen in this show already. And the ending, to say, the ending is unintelligible, might be being nice. I found it to just be I don't know, after a while, pedantic.

And yes, it's funny to see Leonard Nimoy freak out with the knife, and I think that is definitely the most entertaining part of the episode, as Leonard Nimoy just going off. But what is what these widowers who are feeling consumed by guilt stories stop telling him? Why? Why? I don't even understand what the problem is here?

He feels he feeling bad? Why? I just it's just the morality of the story is also very strange to me. Frankly, Father Malone, you've been nodding your head, yes, and I'm wondering where you come down on this one. First of all, any chance to see Leonard Nimoy not as Spock in a dramatic role, I jump at the chance, and he does not disappoint here.

But to the point of the thrust of the story as a recent widower, I can tell you, for half of this episode, I thought what we were getting was a metaphor for grief as jungle cat, which I gotta say it actually feels that way, you know, the more you push it off and not confronted, it gets more and more dangerous, and I thought, wow, this is a corker of a tale, but it's actually not. What this is a tale of is this neglectful, horrible husband who needs to be murdered by his wife's best friend because he treated her so poorly and was glad she's gone. Ultimately, when the story plains out, what it is is he's been taking care of his invalid wife for an untold number of years, long enough that it's commented on over and over again, and he has had an affair with his secretary during that time, which apparently meant nothing to her and didn't really mean anything to him either.

And now it's, however, long lived, and the wife dies, and her best friend is dead set on punishing him without knowing anything about anything about like all her confrontation is about you wanted her dead either he was a fucking horrible person and deserves to be clawed to death or not. Now, as to the sound in this episode, now you guys know me. I have been a champion of sound here on nineteen I've been waiting for I'm waiting for this the whole time I was watching this episode. You have to know this. There are so many sound effects in here, it's wild.

Even while he's there at the funeral, right before she goes into the ground, there's he has a little audio play that goes on his head and there's like a laugh track that happens, and there're just like, my god, there's so many sounds. Oka't wait to hear what Father Malone picks out. Well, okay, now there were way too many for me to single them out and put them on tape. Here, I probably cuts them into the episode. The main one I'm gonna I want to mention is putting aside the fact that what begins as an orange tabby that then transforms into a jaguar and then transforms into a Bengal tiger.

The sound effect, the main sound effect for each of those cats is a mountain lion. And then on top of that, sound engineer went fucking cuckoo with the sounds every jungle track in it and not skillfully laid out, but rather all on top of each other at the same time. Oh, special appearance by the Kuka Barra from Australia. Once again, thank you, Yes, I was so happy. Is a jungle It's a jungle out there.

Great, But why But why? But because what you didn't have enough fucking things for Leonard needmore to do, so you just have to make it busy. Yeah, the jungle sounds were hilarious because they didn't make any sense. But hey, you got a Bengal tiger in your backyard, so yeah, you got kucko bar and lions and tigers. Surprised there wasn't an elephant noise.

It reminded me of freaked when they're driving through the forest and all of a sudden there's just noises in the background. But that was played for laughs. This is not or Peee's big adventure when he's driving down the dark road. Yeah, yeah it was. Brian would call this a wall of sound.

I would call it shit, a wall of shit. It's just so much, too much all at once. They weren't going for laughs, but I sure was laughing. What I wasn't laughing about is continuing the trend on sound here. Eddie Solder has taken over the musical duties here on Nightcap.

Now we've already mentioned in the opening episode of this season, how dreadful the new theme is. It's fucking horrible. I skip the credits every time. Now it is so jarring and off putting. I let it play.

I let it play every time to remind me that somebody changed it and made a conscious effort to change it because they wanted me to hear it. So I applaud you for making the right choice. I've made the wrong one. You're just far more a massachist than I now. Eddie Solter is a detriment to the show across the board.

In this episode, I finally touched on what it is that before our composers Numbre several were scoring the episode that they were given or given they gave enough tracks that were interesting pieces of music. In totality, what Eddie Solder does is make beds, which are just scale going up and down the scales of a particular instrument in a particular key, and then you can just lay it in the background of everything. And they do so very clumsily. It's all harpsichord beds. In this episode doesn't make any sense at all, but there it is.

I don't know that he wrote one piece of music for any of the episodes. It feels like he just laid out a bunch of stuff and went here do with what you will. Leonard Nimoy must have been a menace to both props and the greens person on this episode. An item he slams shatters into a million pieces. And then watch out if you're a cabinet because Leonard Neimoy has a knife the size of Toledo.

He's set isn't safe. It was my favorite part. Just we've mentioned the rampaging out in the green, which watching watching Leonard Neimoy slashing down giant plants in his backyard is just I'll recommend this episode just for that. I will say the budget alone for those plants, like he's those are real, those have got to be real plants, and he's just yeah, he bucks him up. I don't know.

That's the only redeeming part of this. And you know what, I think it hurts obviously, Mike White and Eye we do a Columbo podcast. We just saw Leonard Nimoy in an episode of Colombo being amazing, so it's not surprising that he's good here. But it's like the wrong this is the wrong place to be setting up shot, dude, this is season three, last half of the season of Night Gallery. That this is like that fish.

It's just gasping for air. It's just I don't understand where all the originality went in this show. This feels just like the episode where oh my god, there's a guy and he's doing this exact same thing. I forget exactly which episode is. It's in the second season of Night Gallery, and it has the same feel of Oh, it's the thing with the spiders and Jack Cassidy where the spider just keeps getting bigger and it's to what why?

And this is the same thing, like the cats just getting bigger. Okay, make Leonard Nimoy a big dickhead, then then he deserves it. But he's just I can't get a beat on this. This just cast John Aston in this role, then he deserves it. We've already seen John Aston play like a dickhead husband several times on this show.

Now do that. It's very strange casting too, because Leonard Nimoy is kind of likable too, just because he's Leonard Nimoy. It's hard to dislike him. The only thing I can figure is that he comes back in two episodes to direct, So maybe it was a deal. You act in this episode, you get to direct this other episode.

Because I'm not sure how much he had directed at this point. Of course, he would go on to direct so many things later on in his career, and he could have really transitioned to be a full time director, but he dabbled him both towards the end of his life. You touched on exactly what happened, Mike. He started this so he could direct an episode which will be his directorial debut, the first time he ever did anything. Just think what it would lead to.

So many good things like Holy Matrimony, Star Trek, Free, Men and a Baby, Three Men and a Baby, Three Men and a Little Lady. Yeah, good one with Gene Wilder, two O Sperm Bank Comedy. Yes exactly. Here's some things I liked about the episode. I loved his collar and the opening scene.

It was the widest collar I've ever seen. There were basically epaulets. And he's in his house. Every room is different color. We've got it's a wash and peach and yellow, and the invalid room is blue.

Also in the yellow room, there is the most horrifying thing in the entire episode, which is this life size yellow ceramic dog, just decoration in the room. It's really terrifying. Actually, the other thing I really liked about it, Lorraine Gary. The scene where she's interrogating him, Basically they choose to give us Neimoy's point of view, so she's looking directly into the camera and it's incredibly unnerving. Not only is she a bit of a smoke show, she's a powerhouse in this episode.

Like, I'm sad she's only known as missus Brodie and wasn't other things I only know her from, like nineteen forty one, the Jaws movies and now this, and that's a shame. Yeah, I thought she did a really good job and she's menacing while being seductive. I'm surprised they didn't go for Julie Newmar in a role like this. I think it would have been a little too on the nose with her giving this killer cat. But hey, she has that look as far as the eyes and the way that our makeup is being done kind of those the cat eyes that Julie Newmar would wear as a catwoman.

But yeah, I thought she did a really fine job with this. And if you notice in the opening scene at the funeral, Nemoy's sunglasses or cat cat's eye, they're actually those are ladies' sunglasses. Because they do. They do go up into the cat shape. So that was a nice bit of foreshadowing as well, those are the good things everything else?

Oh boy, what the bell didn't the bell didn't have a thing in it. How could he be hearing that bell all the time? Can we talk about what happened in the ending? You can talk about it. We won't figure it out.

Did he kill himself? Did he think that what I figured was gonna happen? He thought the cat was attacking him, and he did one of those I'm covered in spiders and I'm on meth, get him off of me and start stabbing himself with a knife. But that probably doesn't make any sense. But does anything make any sense?

If the cat kills him? Either the thing is it could have been ambiguous, It could have been We cut to the room and he's a bloody mess and we don't know if he killed himself or a cat killed him, and the auburn stabby is licking the blood. But right before that we get a shout of the door with two gigantic claw marks in it. It's as incomprehensible as that Jack Cassidy Spider episode. In terms of the ending, Patrick O'Neill.

By the way, Jack Cassidy, oh I thought left his body and then oh I killed myself right, Okay, got he was the astral projectory. Yeah, I for whatever reason, just imagine Jack Cassidy interacting with that spider. It would have been lively. It was great in that the problem was the spider. But I mean it's just as incomprehensible because again, again I don't understand the stakes here.

I really have a hard time understanding how this cat. Again it should have been ambiguous, because then you can get away with most of these things, but you what is going on with the cat? I just I don't understand. But yeah, oh my god, Missus Brodie's turbine is the best part of this episode, and that giant lion necklace piece that she has is fantastic. I noted that porcelain dog as well.

It kind of reminded me and hopefully father alone you're old enough to get this reference. It reminded me of when you only had forty dollars left on Wheel of Fortune and you had to use up all your money so you'd buy the Dalmatian and it was just the ugliest porcelain Dalmatian ever, and then you could either take the rest on certificate or account. Absolutely, yeah, yeah, and the ceramic dog and the rest of the gift the service merchandise. Right did I say, though, if I found like a ceramic dog at Goodwill for like twenty bucks, that son of a bitch is in my back seat coming home. Well, I'm not saying I wouldn't own that.

I Oh no, no, no, I'm just I mean, I'm sure I was making sure we're all on the same page. Oh yeah, yeah, okay. And the lamps in the living room, the lampshades are exactly the same lamp shades as the lamps when I was growing up in my folks's house, So yeah, this the color scheme wasn't the same, thank god. But yeah, very familiar furnishings in this episode. I appreciated that this felt like a different place altogether.

We weren't in that same goddamn house with that same goddamn staircase again. And if you've been listening to our show, you know what I'm talking about. That same stairwell keeps showing up and it wasn't here, So I'm glad. I wonder if we're going to see it again real soon. This item here a commentative on what aj leebling before it was the Sweet Science, obviously having something to do with the manly art of self defense boxing.

But if the Marcus of Queensbury Mayhem doesn't particularly turn you on, don't turn this off. This painting tells the story infinitely more intrigue and a couple of fast boys mixing it up. It's called The Ring with the Red Velvet Ropes, and it tells you the tale of precisely who is the real heavyweight boxing champion of the world. And I think you'll be surprised. Surprise happens to be our stock in trade, because this is the night Gallery, all right.

Ring with the Red Velvet Ropes. It is season three, episode ten, Originally aired on January the seventh, nineteen seventy three. This one was written by Robert Malcolm Young from a short story by Edward D. Hawk and directed by Jean Zwark. This one stars Gary Lockwood, Chuck Connors, Joan van Ark, and Ralph Manza playing Gary Lockwood's manager.

In the opening scene, for once, He's not playing a show, for he is Banichik's major domo and the entirety of the of that series, and every other time I've seen him pop up on a show he's played a show for You're not watching enough Barney Miller Baby. He plays a blind guy most of the time, or someone who doesn't understand a lick of English. Or my favorite Ralph manzerl nineteen ninety nine Fishermen running away from Godzilla on the Pier, which is my favorite Ralph Manze. Now I'm gonna have to look that up. Geez.

That's from the trailer where like Godzilla's coming through the water. The person who's fishing is Ralph Manners. No, yep, there's like an older guy fishing at the end of the pier. That's Ralph Manze. Wow, You're welcome world and Ralph Manze, who I think passed long past.

This one is about a boxing champ who learns hees not the champ. Maybe supernatural could be. I don't know what do you think, Chris. I like this idea, but we've seen it better when we did Dreams for Sale, we did that pool episode or was this no? Was this show?

Oh, we've done it. Every time we've done an anthology show, there's one of these kinds of things where it's you're fighting the opportunity, and most of the time the setup makes more sense. The setup here doesn't make any fucking sense at all. Normally it's you're dead and you're going to face the person and you get something out of it, or you're alive and you're facing the person and you end up being damned because of it. I like the setup, but boy, it's like they jumped from the ground onto the pommel horse and then broke their back immediately.

I just do not understand how they fucked up. What is again, in my opinion, an easy concept. The ex champion is facing the current people, but he's dead or I don't even know. They don't even seem to know here, so it's rather unintelligible. But it's at least, again an idea that I can understand where they were going with this.

But they really fucked it up. I think you're thinking of Game of Pool over on the Twilight Zone. It's the same setup. I'm the champ, all the spectral Champ to comeplay me in a game of Pool anyway, Mike, we good makeup effects. I really like the effects on these guys's faces when they get the shit kicked out of him.

That's pretty good, especially the African American gentleman who visits him as a I guess a specter after he beats him at boxing, but a two kombuka. Yes, and I did watch an interview with him earlier today, which was very interesting. Yeah, he has been in a bunch of stuff that I really like, and it was great seeing him show up. But he was in here for so short and then Gary Lockwood. I'm pretty unfamiliar with him other than I want to say he was in a Jacques de Mei film of course two thousand and one, a Space Odyssey.

He looks so shaggy here, it's kind of wild. He almost was unrecognizable because I'm used to seeing him with the tighter haircut. Chuck Connor's always amazing. But yeah, I also don't really understand everything that's going on. I'm so surprised that Rod didn't write this screenplay because I know he likes boxing.

So it reminded me two of what was that called the was it The Way of the Gun or The Day of the Gun? The Star Trek episode where they ran out of money so they were using like big like colors behind them and things. That's very similar to this boxing ring at the end. I actually expected Frank Drebin to walk in at the beginning of the episode because it looked like that same boxing set from one of those police squad the fight. Yeah it was.

That was universal too as well, So there's a distaked possibility that could be the case. But you know, we kind of mentioned it on the last episode. I want to mention it here. The set design, we can comment it every now and then, but not often. Set design is in these two episodes is fantastic, like genuinely feels like they went out of their way to do something different.

Story doesn't live up though, Oh I disagree. I fucking loved this one. I feel that it would have been really good if it was a lot shorter. I think half an hour was way too much for this. I like the idea of I guess it's the very first.

It feels like the very first champ is still kind of boxing. It feels like after Gary Lockwood, after somebody else becomes the champ, Gary Lockwood's going to have to face him and then he'll die in the ring or something. I'm not exactly sure what's going on. So Father Malone, since you do like this one a little bit more than us. What is going on with that?

Okay, it is exactly that it's now he's no longer he's some supernatural being at this point who has to be the champ, and he will be the champ until he loses, and then he will die because he will have aged. However, you know, however long so it's not necessarily that he was beaten and Chuck Hunters was beaten to death. It was that he was beaten. They could have been a little bit more clear, certainly about what was actually happening here at the end. Nevertheless, there was a lot that I liked about it.

I liked that teleportation shower he got into with this game, Oh my god. And then when he stepped out for a moment, I was like, wait, is this a time travel episode? It was like a throwback or is he changed bodies with somebody he's in versay? Is what it looks like. It's a very It's strange and unexplained.

Literally, never thought he was going to visit Dave Bowman in the two thousand and one you know, Lockwood. I agree, I don't think I've seen him this shaggy, But I liked it, and I liked him here. I thought he was really great. I thought he was so good because when he finds himself suddenly trapped in this mansion and he knows he can't get out, he gets rather amused by the whole thing, whereas I think any one of us would have started punching everybody out and trying to knock down doors. And I believed it.

I think he carried that off. I like that. This season, we've had a lot of we're waiting for characters to arrive. Roderick is coming. I remember they had that kid with the horrible haircut coming to kill Ross Martin, like he's on his way.

Oh yeah, and then the Sorcerer of the same thing. I hear my brother, my brother is coming. This is a year for watch Out. I love that crazy highlight Chuck Connors gets right before we go out to that weirdo room. Was that a room where the statue is with the ring of fire on the ground, And speaking of rings of fire, why didn't they box in a ring of fire?

But anyway back to the other thing. Was that an outside area or was that in the house. Yeah, when that ring of fire started, I was like, oh, this is the boxing ring. Oh cool, that'll be awesome, No, I want no. Unfortunately sad where they box is pretty good though, that is true.

I do like that. And there's a great shot of like Chuck Connors staring down and he just looks proper fucking menacing. I mean, having spent a fair amount of time watching that Werewolf TV show that featured Chuck Connor's where he has to be menacing for like the two episodes he's in, but then his body doubles in the rest. He's great. I loved him here.

I don't not sure if I believe Gary Lockwood could actually beat a big dude, gotcha. Connors looks gigantic next to Gary Lockwood. He's fucking gigantic as a human being, obviously, but Gary lock would obviously. The disparity in height between the two is a parent When you kind of get those wide shots of the ring, well, you see him standing next to Joan van Ark when he walks into the scene, he's like twice her size. She's like at his raist.

I was like, Gary Lockwood is dead. I don't know, but I do like how his makeup starts out really good and then he starts looking more and more Neanderthal as the match goes on, he gets a little Neanderthaly right at a little too much on the upper brow. I like the idea of the story. I just I wish I understood the steaks. Yeah.

The thing is, I love the setup where he sees a ghost and it's because that person has just died in another location and they're appearing to them. That's such a great setup. And and when Kombuka appears and it's really accusatory, it seems like the champ has been up to no good or something, and like, I know from beyond the grave what you've done. In fact, it was a warning, which is what I don't get. And did he have a fucking aneurysm in the shower and die?

And that's what's going on here. It's just I need I would like just a little clarification as to why this is happening, other than the fact that does everybody who becomes the champion have to go fight this guy? So then there's this moral conundrum. You are the champ, right, nobody can beat you. The only way you can continue to live is to throw a fight and then go on living a lie.

That you're the champ. Meanwhile, the guy you're fighting probably can't beat you. It's actually a really great setup. I'd be curious to read the short story for this one. Yeah I did not, but yeah, it bears investigating red velvet ropes, red velvet ring, red velvet everything there in the last scene, My god, Chuck Connor's is red velvet draped.

It's the good stuff. I like the warped bell for the round changes, the sort of slightly off kilter bell. There is one fucking spectacular transition Jean Zoark, I love you, where it's Chuck Connor's training and he's boxing, and it's just a silhouette and the whole thing washes out red, and then we zoom in on the speed bag a silhouette, and then now we're in the into the actual match at the end. I love that. Anything else that I love, I don't know.

I just really enjoyed this one. I know it wasn't as it wasn't enough explanation as to what was going on, But for this one, I was able to fill in enough myself where it didn't feel like I was it was a cheat. I get I understand that. I genuinely just it wasn't explanation as much as I think the episode needed a clearer direction of where it was going because at the end, yes, I understand the conundrum that he's in, but does her Yeah, there needs to be that conversation maybe right, like do you understand what's about to happen here? Dude?

Like, well no, because he's such a bulldog. He's just like, I'm not throwing I've never thrown a fight. I don't care. I'm just gonna go in and box that guy. And then he does, and he wins, and he doesn't seem that upset about it, honestly, No, and I don't.

Are we supposed to root against his characters? That's what I didn't understand, Like, we're rooting for him to win, and he does, but it comes with a price. And he's yelling at the guys like why didn't you stop the fight? When did you stop the fight? I'm like, well, you could have stopped beating up on the guy too.

Yeah. The wait staff as audience, but central casting. Here's the chef, here's the chauffeur, here's the maid. They're all just watching the match. What like, what's their story?

Well, how are they so condemned to eternity that they have to wait on the fake chat. Yeah again, I'd love to know more of this stuff. Yeah, it's interest like, there's a lot of interesting stuff going on here that just is not Again, it's not that it's not explained, it's it's not even hinted at what's going on? This could this Once he transitions from the shower to the villa or whatever it is, it's like he just goes from a real place to a set is what it feels like. He's removed from everything and it feels like on reality and they never explain what it is.

So I have no fucking clue where anything takes place. Beyond the beginning of the episode, he has a lot of conversations with Joan van Ark and one of them might have been what is this place right right? That would be a first fucking question, Like why can't I use the phone? Why can't I leave? Are people looking for me?

Did I just dislike? That's the other question. If all these champions are going and fighting, this guy or this champions just must be disappearing like just it's yeah, it's a strange setup. I do like the guy that they got to play dead old Chuck Connors though, slam that fucker with some pancake makeer. He's a white.

That was another man, right, That was not Chuck Connors himself, was No, I would assume it was someone else entirely. I think he would have been gone back to Jack Johnson Days or something, the Marquis of queens Bear, Queensberry or whatever that is. And you can tell it's not written by Rod because it doesn't have some sort of like tongue clucking morality horseshit that he likes to do. He would have had that scene where he's like, oh, you know, you should know better. You don't do it, you know better.

There's none of that, So it's not written by Roads. Really, that's the price you get with the over explanation. Rod also would have told you exactly what that place was, right, but everyone's motivations, but it comes with everything else. All right, we're gonna play a preview of our next episode. We'll be right back to wrap things up.

All this painting, for example, stairway inspector, cobwebs and darkness. It's called something in the woodwork. It tells you what one might look for when purchasing a house, because that creek you here, and the dead of night is not always an errand rafter. Sometimes if you walk up those attic steps, you'll find yourself face to face with the very thing that goes thump in the night. This, ladies and gentlemen, is the Night Gallery.

We are for you, both tricks and treats in this special realm, where the national dish is pumpkin, national flower is wolf bane, and our national anthem is the funeral March, which should give you some definitive idea as to the nature of this place. We show paintings like this one in a color scheme of blood red sky with corpse white moon. This, we tell you up front, is the story of vampires, and of course this must conjure up images of Bela Lagos and Christopher Lee somewhat frigid, malevolent, monstrous creatures. But reserve such all conclusive judgment of the living dead until you hear the story of a particular vampire, the kind you might find in a place like this the Night Gallery. That's right.

In the next midnight viewing, we'll be taking a look at season three, episodes eleven and twelve. Something in the Woodwork and Death on a Barge. Midnight Viewing. The Night Gallery podcast is a proud member of weirding Way Media Group and the theme song was composed by HP Until next time? What are you working on?

Where can people find it? Mike White and I always find me over at Weirdingwaymedia dot com or at Projection Booth podcast dot com. About you, Chris Stashue, You can find me and everything I work on at weirdingwaymedia dot com, along with a whole host of other things. ADCV Ladies, Dreams for Sale, the Coal Chac Tape. We've mentioned some of these things before, I'll mention them again because that's part of this.

So yeah, Weirdingwaymedia dot com. That's where you can go to find all the things that the three of us work on and who will host other people that we call not just friends but podcaster. It's a trifecta. Go to Weirdingwaymedia dot com. Everyone, Thank you all for joining us here at Midnight Viewing.

The Gallery is now closed.