Episode 6 - The Great Line

We'd be way Medias's that guy with it. He's an actor fall rise by the I only Hello again and welcome to night, mister Walters a taxi podcast. I'm your co host is always HP and with me as always as my co host, the Macho Gourmet Father Belogne, Father Belogne, how are you doing, HP. Let's skip the preliminaries and just get married. I love these little oblique, you know, references you make going into the episode.

It's great, like a little easter egg for the listeners to figure out, well, you know. I think there's going to be some surprises in this discussion, I think, but we'll see. First, I want to remind you that we are doing these shows in broadcast order and not in the order of filming. We're going over episode six, a great line, which is written by Earl Pomeranz and it's directed by James Burrows Jimmy Burrow. It seems like I think that's probably to be expected.

I think this sort of at the time, a fledgling show like this. I think the heavy hitters are kind of ushering it in through the first season. I think it's going to be I think every episode we've reviewed so far has been directed by Burrows, as it should be. He's a legend. I kind of want to do something a little different here.

I kind of want to dig into the first thing I want to dig into with this particular episode, if I want to dig into what might be the most bizarre b plot of any the episode that we've covered so far and possibly in the whole series, come to think of it, I guess let me ask you your impressions. I'm, of course, I'm talking about the Chuggalug guy who pops up periodically. Father alone. What is you? What are your initial impressions of Chuggalug Guy?

The entire scenario reminded me of a cold open you would see on Cheers, usually featuring Harry Anderson as Harry the Hat, where this random character who is not part of the show but is sort of a satellite to it, shows up, does their funny bit and disappears. So that was what I mainly took from it. What I also took from it is why is this freak show being featured? We've already been saddled with Randall Carver. Won't they leave us alone?

In this case? It's strange because it's not just a coal lopen. This character. I can only call him the chugg Lug Guy. I don't even know what his actual character name is, but but I can tell you is.

I don't know if you've done your research on this, but I did. The gentleman in question chugg Lug Guy is a man named Bill the Fox Foster. I recognized him from that that Man show that he was on. Yeah. I did not watch the Man Show at all, so I but in doing some research on the Spello, I did see that that's kind of his big claim to fame.

So he's no longer with us. He I believe he passed away in two thousand alcohol overdose from cirrhosis I think was alcohol. In his obituary in two thousand, the La Times called him quote a man of quick wrists and a commodious throat that he was. Apparently he was a singer of body songs and the proprietor of the Fox Inn in Santa Monica. Oh crazy, I had no idea.

I used to live in Santa Monica, But that's insane. Were you familiar with the Fox In at all? I'm familiar with it, yeah, but I had no idea there was a connection there. Certainly didn't know it was going to connect up to me reviewing a show from fifty someid years ago where he's the little freak on display at the beginning. I wonder how it came together they like stay to see him on Dinah Shore or something like that, and went, Oh, that's funny.

That's unanswered as far as I'm concerned, because none of the information I looked up really referenced taxi at all. It's a complete footnote in this man's life. I think he was carrying on this sort of tradition of like being a body troubadour and being just an all around party guy. He would bring people in and sing songs with them and have a good time and drink his beers and what have you. This doesn't explain how he ended up on taxi in the least.

It's still a mystery to me, and I kind of like that it's a mystery because it's so weird. So apparently Marios has or had chugg lug champion, somebody who could quaff down a beer in record time. And this man, chuggle Lug guy, was the champion, and you see him at the very beginning the gangs and marios, and Tony wants to challenge the champion, and this guy I had never seen him on The Man Show, so I didn't know about his abilities. But this guy like quaffs down a pint of beer in maybe a second and a half. It's lightning quick.

Yeah, I definitely it's even that long. Honestly, it's it's blink and miss it. He easily beats Tony, and it's it's it's amazing. It's such a prodigious sight to see. Just to wrap up a b plot, And then later Louis comes into the bar and he decides he's going to take on the champion, so he makes a bet, and right before they're about to go one, two three drink it down, he makes this offhand comment about, hey, did you long to take you to clean the taps after they got the dead rat out of there?

Something to that effect, and Chuggle guy kind of blanches and stares at his beer, thinking, oh my god, was there rat in this? Did that provide Louis de Palma enough enough moment, enough momentary lapses to get that beer down and he declares himself the new Champagne, which, in true Louie fashion it spring structurally, this chuggle ug man opens the show, and he comes back a bit later, just sits with them and does the trick again, just to reinforce it, so he get it once twice, setting it up for Louie to knock him down and be the hero at the end of this episode, which I thought was clever. I don't know this thing went nowhere, but you know, at least they've well thought out. It is rather curious because, like you said it, at some point they and this might be a record for his how long the cabbies we're sitting and drinking and marios because typically you see them in the scene and then they're gone, but they keep they cut back after commercial, I think, and they're still there for reasons we'll get into momentarily.

But yes, he does go to the He goes over to their table and he asks to sit and have a drink with them, and they say yeah, sure, and they sit down and he sits, He quashs down anto the beer, just drinks in record time, and then he gets up and says, Okay, see you later, and he walks out. And that's the joke, which again clever or just playing question mark I don't know question Mark and of the mysterians all in one man. He was quit the enigma. So let's get into this. I knew Father Malone as I was watching this episode, and I was reminded of of it.

This isn't This isn't one of the episodes that I would revisit very often because it is. It's a John Let's just say this, it's it's a John centered episode. Anyone who's been listening to this podcast knows that there's there no love lost between particularly with Father Maloone and uh John Byrne's aka Randall Carver as he's called it. The human sinkhole of emotions? Is that thinkhole of charisma?

My god, the human sinkhole of charisma? Not that there's any emotion there either. I mean, you're right. So I had some apprehension, Well not apprehension isn't the right word. I was very interested to see what Father Malone's reaction is going to be to this episode.

So let's get into it. So the gang files into Mario is They're going to have some some beers, probably after a long day's work, and John is thunderstruck I think is the word. He's just mismerized by a woman across the bar, smitten. He's smitten. How do we know that he is smitten with this woman because he's even dopier than usual.

Anyway, proceed, I can only describe it. She's ring a Dorothy Hamill hairdo, which I think was it's not a typical for that for I guess it was seventy eight. So I'm just gonna refer to her. I don't even know what her name. I think her name was Suzanne, but I'm just gonna refer to her as Dorothy Hamill.

Did you get it right? Though? And call her properly Dorothy Hamill cut, Dorothy Hamile cut. You got it? Yea.

So he sees this woman in the Dorothy Hamill hair do, Dorothy Hamill cut, drinking with some of her friends. Gumpy John can't come up with the words he's he just he's bashful. He's literally like bashful from snow white. Golly, I could you'll talk to a girl? So, of course it's Bobby, who, by the way, whose shirt is unbuttoned about three quarters of the way down his chest, declares that he's going to do John a favor, giving him a shore fire pickup line.

Do you remember what that line is, father Malone? Oh yeah, I said it at the set, which is, which is, let's skip the preliminaries, let's get married. No, no, you've forgot So Bobby's take on the line is why waste time, let's get married. But then Tony, of all people, tweaks the line. He says, I haven't even better line, and his line is, as you said, let's cut the preliminaries, want to get married, And somehow Bobby thinks that they've improved, that they've they've improved on the wheel so he says, it's going to work on the wheeler.

On the way the wheeler. Maybe that's good. This is earl Pop Francis h swipe at the upper management for rewriting one of his jokes. By the way, you think so no, but you know it's possible. So John walks over.

He gives the line, oh wait, wait, wait before you before you get there, we got to discuss something, which is when Wheeler tells him the line, he says it has devastating results, but he does it in this weird Jeff Conaway devastating results. It's like Danny Zuko from Greece. That's what he's doing. It haunts me his devastating results, Jeff Conaway echoing in my brain. As you would expect, Bobby has full confidence that his corny pickup line will work.

So John gets up, talks to the Dorothy Hamile cut and gives his line to everybody's shocking amazement. But the viewers watching this episode, she agrees, she says, sure, but they agreed to wait an hour. They'll give it an hour before they get married, to sit at the bar and get to know each other a little bit. By the way, I as a viewer, I was shocked that he got anywhere with her. But go ahead.

I mean, I know it happened dramatically, but you look at him and the dopiness of them. That's true. Look, I'm having a lot of fun at this woman's expense. But but you know, I mean, yes, but you know she is she is a pretty pretty woman. She's you know, she's not ugly, which I think goes to your surprise that he would get anywhere with this one.

After he scores, you know, with the line, the cabbies all applaud and Wheeler I can only describe it. He kind of does this fonsie a thing like to kind of give himself a victory lap because it's his line. And if you but if you look carefully, you'll see there's no dialogue because they've already gone to like the bumper music to go into commercial. But you can actually see Tony for a moment looks hurt. I think it's because it was actually his version of the line, so he's not getting any credit.

But then Wheeler kind of gives him a handshake and then he smiles, and clearly you know, these two geniuses have reached equilibrium. So all right, wait, I have a question for the end of that scene. Yeah, the fuck are they still doing there? It's like closing time and they're all bummed out and like and Eline just keeps going alone. They're all drunk beyond the pail, Like, just go home, everybody.

You don't need to shepherd this boy. You jumped ahead a little bit. So we come back from commercial, and you're right, like the bar is emptied out. I think only the Cavies, John and Dorothy hamil Cut are still in the bar. And even I think even like, I don't know if he's supposed to be merry or whoever.

But the guy's like putting the chairs up on the table and cleaning everything up and to your point. For some reason, I guess it's just late and they've been drinking. Like Elane gets caught up in this like thing in her mind where she's talking about how she's gonna like die alone, alone, alone, and the herd line in the opening scene while watching this drinking contest of Marons is like, you know, they told me that you're not going to have a life after divorce, but clearly here I am like living the high life looking at this nonsense. So later on when she had become more drunk and she's examining her life, Yeah, she keeps chanting alone. But Elaine, go home, what about your children there?

They're home alone? Like you have young kids, She's got to sit here for them. I don't care about that, But like, leave this bar. It's very depressing. You all seem very unhappy.

It's very depressing because at that point, I think Bobby has sort of passed out on the table. He's sprawled out on the table. I think Rieger is just frankly kind of annoyed at Nardo and her insecurities. Somebody called these a cab. If only they knew someone.

That's a good point. So and this is when that chuckle luck guy comes over and asks to sit and we already talked about got to a couple days later and John, who's back into the garage. He hasn't he's not been around for a couple of days, and the caddies are all wondering what's going on, and Tony makes a crack about being married. I don't recall exactly what he's I think he's implying that they've been like having sex for two days or something, and this sends John into a rage. He yanks Tony off of the cab that he's been sitting on, until Tony helpfully reminds him that he could pulverize, at which point, again the hay seed.

John kind of comes to his senses. Oh, I'm sorry, and god see, I know I was just like I was on an angel does there for a moment, but he smooths the wrinkled shirt. That heat nice there there right, The muscles, oh, yes, rippling so so so John confides in the cabbies that they actually went through with getting married, and the way he describes it, it was like a game of chicken that neither of them would call the other person's bluff. He's frantic about this. He doesn't really know what to do, and they all break out.

By the way, every single one of them is like, oh my god, what what You're married? Not one of them is just like, who cares? Just go get it, get a divorce, Like you stupid, you're young, and you're idiot here in New York City. Who cares? Just get it annulled?

It's ridiculous. John and Alex end up back at Maryback and Marios. They're clearly alcoholics, all of them. While they're there, Louie comes in and this is when he challenges Chuckle a guy and becomes the champion beer chuggar. Anyway, he comes over to the table and he uh tells John that the little the little woman came to the garage and left him a letter, and in true Louis fashion, I think he makes him pay a dollar before he gives him the letter.

He gets the letter, and the letter proceeds to tell John that it's from Dorothy Hamill Cutt to John get it next to Judd hirsh John sitcom guy. Oh my god, world's collided. It was like a black hole opened up. It was incredible. I had that same because I hadn't occurred to me before.

As I watched this, I go, wait a minute, it's a Dear John letter and Judd hirsh future star of Dear There he is speaking of black holes. In the previous scene, Randall Carver upgraded himself to a black hole of charisma as he was describing the the hilarious tale of how they ended up married. Well, first we went to Maryland and then we went to play this guy. It's just there's nothing there. There's nothing there.

I don't get it anyway, Prissie, that was a little much. When he was sort of feverishly recounting the tale to Alex, she says, in the letter where we should just get in an element. This was a mistake and you deserve better. And Alex is excited. He said, look, there you go, there's your out.

I'm sorry before you continue. Yeah, Alex reads the letter right yep. And at the end of it he says, it was a nice letter, and I read it nicely. It's the funniest line in the entire show. Oh, it made me laugh out a lot.

You can hear the audience reaction as well. It's effortless. It shouldn't be funny, it's a it's a nothing. But it's Judd Hirsch in this scene, like actually bringing something to the scene that Randall Carver is incapable of bringing. It did feel a little bit like he was kind of showboating, Like it wasn't about Alex reading the letter, it was about Judd Hirsh saying, Yeah, that's how you act, kid, that's how you do it.

I didn't get that at all. I see, I got that. It felt a little too offhand. That's just because Randall Carver is terrible. Anyone next to him is going to look like this show, but Tony Danza looks like he's showboating next to the guy.

Doesn't make intrusive tom fashion. Even though this is exactly what what John wanted. Now he's freaking out because he believes that she's such a great girl. He has to get her back. It's dumb, so so now he's inveigled Alex to go to her apartment or it's her parents' apartment where she's living.

He has to go to the parents apartment and try to get her back. Quote unquote. So they go to the apartment and they're greeted, and now here's my just spoiler alert, here's my favorite part of the episode. There they are greeted by mister Carruthers played by none other than who father alone. I wrote in my notes, Ah, Dolph Sweet exclamation plane.

I was so excited he was there. The episode begins when that door opens. For me in this episode, one hundred and fifty percent agree with you this. Up to this point, if we were going to grade this episode, this would have been and we'll talk about yellow lights in a minute, but up to this point, if you had asked me my grade, I would have said, this is a one yellow light. This is terrible.

It features our least favorite Cabby in such a formulaic sitcom premise that I have no choice. But as you said, once that door opens and you see Dolph Sweet come out there, all is forgiven. As far as I was concerned, the man is such a treasure. Despite a career for Dolf's Sweet that stretches back to the early sixties, clearly he's always going to be best known as the dad from Guinea Break. I think we can all agree with that.

But here he is just so delightful. His for me, his deadpan line readings recalled Philip Baker Hall as Bookman in Seinfeld The Library Cop. He's so like, just deadpan and serious, but he's just perfection in an episode that is really anything. But here's here's my relation to Dolf's Sweet. As a child, I watched Give Me a Break, Right, and then I watched Bad News Bears.

In Breaking Trainings, the sequel to The Bad News Bears, where they're trying to get to Houston, to the Astrodome and their new coach, and the opening scene is Dolph Sweet playing Dolph Sweet, which is hard ass, sort of not going to take shit from these younger people who don't know good enough. And when I saw him walk onto the field, my tiny brain realized, Oh, that's what acting is. He's the guy. The guy from that show is now in this movie playing different roles. The actual concept of acting came into focus for me thanks to mister Dolph Sweet.

Dolf Sweet always manages to play a hard ass character who isn't sort of soft and lovable, but he's likable. He avoids the cliche of the teddy bear underneath the gruff exterior he's exactly the gruff exterior, but you still like him anyway. Yeah, he is really, really, really good. He takes this episode from a very low lull of energy and to me he will clearly to the both of us, he just makes it once they arrive. Except for a little wrap up between John and Dorothy Hamill cut, it's really all about Alex trying to explain to mister Carruthers why they're there, what's going on, and you know, setting the stage for because the parents have no idea that their daughter just got married.

It's watching two pros, Judd Harrish and Dolf Sweet kind of trade lines back and forth, which really made the episode for me. And it sounds like you had the same reaction. Yeah, because Dolf Sweet comes to play, he's playing a hard ass. He consistently plays hard asses. But you know, make no mistake, Dolph Sweet is a very funny, comedic actor, like you could throw him into any scenario and he brings up the level of the other actors and matches the asked of who's there.

It's like you said, watching him and jed Hurst together is a joy that everyone else in the scene fades into the background. Basically. And that's a great thing because the other guy playing in the scene is he's like, he's like the anti Sam Malone. It's it's Randall Carver. Even when they're at the table at the very beginning, all the cabbies are gathered together, including John, and they're they're talking about the great Line and all this stuff.

It's so clear the charisma that comes off of each and every one of them, except for poor John. You know, they don't have a lot of lines. I don't think Tony says a whole lot except for his streamlining of the great line. But as a viewer, you're watching this, you can't help but think to yourself, Wow, this is an amazing assemblage, except for, as you put it, that that black hole of charisma right there in the middle that unfortunately this episode. But you couldn't.

The thing is, you couldn't base this episode around anybody else because it requires that kind of bashful hay Seed to be the one who, without guile, delivers this line. He goes on this sort of adventure, right, who could have done that? I don't know. Laca maybe yeah, but he wasn't as well formed as a character yet it should have been a Locka episode. This is a woody episode, but it's ten.

It's in a seven years too earlier, eight years too early. They weren't ready, Like Loca is still at the point now where he is being kind of deployed with very much, with a lot of restraint. I would say Banta, but Tony could probably just pick up any early one didn't know. Yeah, he's no sludge when it comes to women. So you couldn't build this around Banta.

It would have to be someone like John. It's still too early for Locker. I would have preferred to see the failure of the Loca episode than the abysmal failure of the John Byrne episode. Is it burn Am I saying that right? I think it's Burns with an ass.

Let me let me praise Dolf Sweet again. In the in the Tale of that scene, Alex Rieger is laying out that they were going to get a divorce. Now they're not going to get a divorce. Now they are going to get a divorce, like raising the spirits and dashing them of the parents, And finally Dolph Sweet says, kind of incredulously, is this fun for you? Oh my god, it's the other time, I laughed.

In the episode he and Jed Hirsh works so well together. To your point, Dolf Sweet came to play and Hirsh being the consummate pro like. At one point they first get there and Alex says something to him like, look, are you, sir, are you the kind of person who likes things straight into the point or do you like them? You know, gilded? And you expect somebody like Dolf Sweet to be like a straight arrow, and it is response is gilded.

So you know, they're happy in the situation where their daughter has told them nothing since nineteen seventy one and that makes them happy and that allows them to get along in life. That's just so funny to me, and it's a total version of what you would get in a sitcom that, you know, the family that's totally involved in every aspect of their daughter's life. Like they're like, no, we don't know, we don't want to know you. That's exactly. It's it's the fact that you see dolf suite.

You see him and he seems like the stereotypical, you know, hardass father who's going to protect his daughter at all costs, and in fact it's it's an inversion of that, like you said, where you know he'd preferred to be in the dark. He'd prefer you to guild the lily as much as you can so that he doesn't really have to delve into the sticky situation that he's presented with. It just sorted out. I'll be in the other room. I can't even be in the room for the solution.

But please come up with a solution. Then don't tell me your solution. It's again the third act of this of this episode deserves its own episode. Yeah, like those should have been like Elaine's parents or something like they should have worked them into it, like a whole other thing. Like it needn't have been this silly courting Froggy when a Courton he did ride sinkhole if this episode.

Yeah, and I'm not going to spoil it, but its episode gets any more than when Yellow Light. It's entirely due to the efforts of dolf Suite. I'm not sure what what this episode would have been had you not had him rescuing. Let's let's talk a little bit about the good and the bad in this episode. Let's start with the good Father Malone.

We've talked a little bit about the sturdy, but why don't you go into what you liked about this episode, what you thought was worked well. I think judd Hurst shone as usual. I think the third act is pretty great. All the performance is pretty good in there, except for one because the mom is good and Dorothy hamil Cut is good. Obviously, jed Hurst and Dolph Sweet are just swinging for the fences.

That's all good. I agree Dolph Sweet, he's a treasure writing. And the apartment scene is fantastic. It's enough to make you wonder why wasn't the preceding, you know, twenty minutes or so up to that same standard. But it's great.

It feels to your point, and you made this point in the last couple of episodes, Father Malone, that one of the things you look for when we were watching Taxi is it's almost like foreshadowing the direction that sitcoms and cheers and specifically aren't headed. And I felt during that apartment scene it started to feel like the best of what you might see and Cheers, the bands are back and forth, these interesting characters, but the writing is really really strong, and that particularly in that final scene in the apartment so since you've been talking about this, that's kind of one of the things I look for to measure it up against what's to come, and this this compare is very favorably at least the last ten minutes or so.

Jed Harsh's braid. As always, he has some all time or line deliveries. As you mentioned, the Chuggle Up guy is wonderfully weird. Probably not something you're expecting to see on your TV screen in a sitcom, So in that regard, probably a win. I was kind of second guessing was this guy a giant celebrity at the time, sort of like the way do you remember Johnny Mashida, the guy who could he would do commercials, He could speakredibly fast, you can talk really fast.

How about Ray J. Johnson or whatever. You can call me. You can call me Jay, you can call me Ray. That guy that level of celebrity.

I'm thinking, yeah, like what was he like a prominent late seventies, like somebody who might appear on Carson or talk shows of the day, Dinah Shore, You know, yeah, it's disturbing it It makes you think things you shouldn't be thinking while you're watching a sitcom, like like how drunk. Could this guy get so quickly like you're just downing an entire stein of beer one after another. My god, within moments he should be catatonic, But it really is like this guy just kind of fell out of the heavens, graced the show with his presence for all of six minutes or whatever his screen time is, and then he just disappears back into the ether and we're left with nothing but questions. It's a good thing, but it's also one of the bad things in the episode because what I complained about in previous episodes was that Randall Carver was stealing screen time from these very talented people.

Now we've got another character showing up and stealing the b plot, Like this was always going to be a sinkhole episode, and at least they could give us something fun for the for the rest of the gang to the do. And I guess you know that. Another good thing is h Louie. Obviously, Louie's whole thing with the with Chuckle lug Man is it is good. It is fun.

He does have a funny moment where in the midst of John's panic attack in the garage about being married, Louie storms out of the cage. He's angry because John hasn't worked in two days, and he yells at him and he says, you know, next time you're out of work for two days, you're fight it, to which Rieger replies, he, you know what, take it easy, Louie guy, I just got married, And in classic Louis fashion, he said, oh, we got married, and with a full Cheshire cat smile from ear to ear. He basically delivers the same lines, but in this happy Oh next time you're out for two days, you're by it, but smiling the whole time. It's a rictus. It's like like creating his teeth together in an approximation of a human emotion of joy.

To let this guy know that he's going to be fired if he does it again. It's so good that the show is still at the point where Louie is sort of like this spice that they sort of sprinkle over some episodes. There's a little more Louie in some episodes than others, but up until this point he's not been the main focus. They're deploying him very judiciously right now, and only to the show's like betterment. You don't see him much when you do see him, he makes an impact and you can be sure that Danny DeVito is going to make a meal out of whatever you give him.

So he is a very big I agree, he's a very big plus in this episode talking about the bad. Now, it's a problem when the person that you're building the episode around the main character, gives you nothing. I was trying to figure out his appeal in this episode because he speeches so heavily, so I'm watching him with an eye towards like, what got this guy the role? Why was he the right actor to portray this character? And I think the thing is he does fit the role that they wanted, which seems like a dead Ideokel.

The problem is this show does not need a dead Ideokel. The scene that you're describing where Louis comes and saves the day comedically, is also the scene I mentioned where everyone in the garage is excoriating John for getting married, And that was the moment that I realized, Oh, you know what, this show is missing Reverend Jimmy Naktowski, who would have had a more Lais affair who cares or something completely irreverent take on it, and it's missing here in this episode. Not that anything could have saved this episode. I'm just telling you my thoughts. So this episode, I agree, this episode made me think about John and kind of trying to get to the bottom.

We might have talked about this a little bit in earlier episodes of this podcast, but clearly the intent, I believe was because they had all of these sort of street savvy New Yorkers as characters. You have Bobby, you have Alex, you have Tony. Elaine is no slouch, she's streetwise, she can hold her own. It's about a bunch of New Yorkers anyway. Yeah, they needed somebody to counterbalance all of that sort of New York energy for lack of a been a term somebody who maybe and I know we talked about this because I think we even use the term like proxy, audience proxy.

But this show, to your point, again, doesn't need that. As forward thinking as this show is, it's still a product of the previous decade of sitcom writing, and the way you get an audience to as a through line or ease them into the world is to have this kind of a proxy character. By the time they figured out Chairs, they didn't need it at all. The character that leads us into chairs is the most defeat snobby, like unapproachable character ever. So you know, like, you don't need the character that we can relate to and we can see through the eyes of it's irrelevant.

And plus, if you're going to do that, those eyes should not be dead and cold. This episode never really had much of a chance. I mean, it just didn't because it already had two strikes against it by featuring prominently John Burns our least favorite Cabby and I think by extension, the viewers least favorite Cabby. It's just I'm sorry it had to be that way, but here we are. Oh we should probably mention, by the way, that at the end of the episode, John and Dorothy Hamilcott decided to stay married.

I don't know if you mentioned that, but that's the resolution. So for the bad anyway, besides the fact that it features the least charismatic of the Cavies, there's not a lot of aside from some high jinks early in the episode in a stellar turn by Judd Hirsch, there's really no room for the rest of the caves, including a lane, which is which is a shame, and ultimately it's just a rather minor episode. Let's talk yellow lights. What does he allow light me? Okay, to remind you, we are scoring on one yellow light being the worst, five yellow lights being the quintessential taxi episode, and no half lights Father alone.

How many yellow lights do you give this episode? I give it two lights. It would have been one if not for the presence of mister Dolph Sweet, who is an illuminating figure and therefore deserves his own light. Once again, we're in total agreement. I also gave it two yellow lights.

There were some real laughs in the third act, despite John being the focus. I left the episode feeling, you know, I had some laughs. I felt pretty good. It wasn't a total loss. Two yellow lights from Fathom alone and two yellow lights from myself HP.

So there you go. But I'll do it for this episode of Night mister Walters, I'll Father alone. Where can our intrepid listeners catch your other on activities weirdingwaymedia dot com for all the podcasts I do like Dark Destinations, Astounding Tales of the Public Domain and Midnight Viewing, the Night Gallery podcast, and Oh Wolf and Raisin the Banacheck podcast I do with HP. Here do it. That's all at Weirdingwaymedia dot com and I got a bunch of video stuff you can find over at father alone dot com.

Absolutely check it out. And as for myself, you can also find me in many of the same corners of the Internet. I'm also proud to be one of the galaxy of stars on weirding Way Media. You can hear me, as Father Alone said, co hosting the Wolf and Raisin Bana Chick podcast with my esteemed co host here. You can also hear me on Noise Junkies, and you can also hear me here and there on the Culture Cast, and some stuff here and there on Dark Destinations.

So check it out. So for myself and for Father Alone, thank you so much again for hanging out in the garage with us, and we'll see you next time. Thank you, thank you,