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the night got all right? Welcome back, our lovers to Midnight Viewing The Night Gallery podcast I'm Father Malone and with me here in the gallery are from Dreams for Sale, The Twilight Zone eighty five podcast, Mister Mike White, Have we met them before? Missure? And from Chronicles from the crypt the former casualty mister Chris statue. But what if we don't know? If the deeutsy could give, we could be good and bad. Oh, we're gonna
get to that. Here we are discussing season two, episode seven. This one aired November the third, nineteen seventy one, broken into two segments, Midnight Never Ends and Brenda's first selection, a painting suggesting solitude or at least solemnity as viewed during the midnight holler. It tells a tale of two young people caught inexorably in a recurring nightmare, with a finale on the jewelting side. Our painting with the somewhat familiar face is called Midnight Number Ends and this
is the Night Gallery Now. Midnight Never Ends was written by Rod Serling, based on a half dozen or so earlier teleplays by Rod Serling, like five Characters in Search of an Exit and a world of his own, and it was directed by Janau Schwarz and stars Robert F. Lyons Chris. He was in Transylvania six five thousand. You know, Mike hats that movie too, right, It's not just me this time around that you get to get to waggle your Transilvania six five thousand, weener as you realized I'm out numbered.
You are outnumbered this time. Heather Drain ain't here to help you, pal, and Trevor isn't I. It also starts Stute Susan Strasburg, daughter of Lee Strasburg, who starred in my favorite TV movie of all time, Mazes and Monsters with Tom Hanks, and also starts Joseph Perry. It is the story of a motorist and a hitchhiker with a strange feeling that they've done all this before. And what is that strange clacking in the heavens? Michael,
you think of this one? Oh man? I I could see that twist coming a mile away, and boy, oh boy, did I really want it to not be that twist. But it was, and I sat through it and I'm mat How about you, Chris? You know Father Malone. God, he's winding up. Yeah, I'm winding up, all right, I'm gonna it's I've been doing this for eight years now, going on nine. It'll be nine at the end of twenty twenty three. This may be
one of the worst hours of anything I have ever had to watch. For anything I've ever podcasted about, and you have been privy to a lot of bad stuff that we've talked about together, fatherm alone, and we've been privy to bad stuff that we've all talked about together on the aforementioned Dreams for Sale. This is, without a doubt, one half of the worst episode of TV I may have ever seen, at least up until this point. This
episode's twist is so foreshadowed, it's literally the painting. It's so fucking infantile in what the expectations are from you as an audience that they can't even be bothered with giving it an interesting twist. It is exactly what they say it's going to be. They don't even they don't even care about you as an audience enough to do something different other than exactly what you're expecting as an audience member. And the fact that it's Rod Serling, yeah makes sense because at
this point, Rod, I wish you would just go away. That's mean. Yeah, Well, this episode segment is fucking awful. It's minimalist in a way that marmalade Wine was, but it is as unsuccessful as the worst segment on this show, which is the you know, the next episode segment, we're gonna be talking about just the central premise. Well, okay, Rod Serling's writing a script and we're watching it in real time. Cool, But you wouldn't have your character say, oh, he's going to open that
door now, or like try to predict the future. It just is that. Why he's confused in the painting is because the characters in the thing are getting autonomy of their own. Father Malone, tell us, tell us what you think, because you you haven't weighed in on this night, Mary yet I liked it. No, you did not. You didn't you your fucking joke? Yeah, I kind of did it. I'll tell you why You're gonna have to because I wouldn't believe you otherwise. Okay, I mentioned too
Sterling scripts he wrote before that are basically the same thing. It's five characters search connection, which is great. It's a great episode. There's There's No Question, which is kind of based on an earlier play five actors in search of an author or something, Yes, exactly. And the other one was a world of his own where an author can create anything he wants, you know, and he records it on the thing a piece of tape. Remember that, And At the end, they had a little bit where Rod Serling
comes in. He's like, this is all just a joke, and he's like, Rod, you shouldn't say that, and he burns it up. The Keenan Wyn burns up the piece of tape that and Rod Serling disappears.
I knew where it was going and what it was going, but I just liked watching these people, and I liked those minimalist sets, Like I thought it made more sense because these are it's a fragmentary world that these characters are living in because the writer sucks and like just keeps rewriting them, and he's only ever rewriting them based on previous stories he had already included them in, so they their confusion is like I think I was a spy, but then
she was just in an earlier story that he also discarded. In that aspect, I really liked it because I understood why the characters. Look. It doesn't make sense why they're suddenly conscious, because clearly somebody's writing them to say these things. So that's a conflict that doesn't make any sense at all. But the idea of characters kind of becoming sentient to the point where they know how poor they are because of how poor their author is. I like that
idea a lot. I don't think it works overall. I think there are some shots that are kind of cool. I don't know. It didn't bother me as much as to bother you guys. I certainly would not put I wouldn't say anything in the last season, the season seven of Talis from the Crypt is better than this thing. This, like, you know, twenty minutes of whatever you got, give me that, Chris, No, I will. I mean, I'm not even going to pretend like what you said
is wrong, Like you're completely right. It's just this what in anyone's mind, you know, specifically Rod Serling, would lead you to believe that this is a story worth telling. Though, That's what I don't understand. What is the point of this story for us to go? So when a writer is writing things, the characters have autonomy and remember no, because that's just in this story. That's the case. This is not making some sort of
grand ruling on fictional characters written large. It's just this story. So it's just it seemed kind of like the twist was what they were trying to get to, and they worked backwards from the twist, which is not a great way to write a script, right, You got to the twist maybe is organic If there is one at all, there doesn't have to be one. I mean, I love time loop stories. And at first I was hoping
that this was a time loop story. I was like, oh cool, you know, like, oh, something different is happening this time, okay, and so what's the trick? What's going on with this? And then when it was the character thing. One of my favorite movies of all time is John Payss nineteen eighty five Crime Wave, which was released on video as The Big Crime Wave, and it's very much an author writing scripts. You
get to see what's inside of like little snippets of scripts. He can write beginnings and he can write endings, but he can never come up with the middle. So he's very frustrated. And he comes up with like three or four different sets of characters, and they are recast into different things, and you get to see, like Ronnie Boyle the Elvis impersonator, and this story is this other character and this other story really well done. Like I said,
one of my favorite things in the world. And then I see this and I'm just like I've seen this done so many times of these characters kind of becoming self aware and all these things that I'm just like, it's not handled well here, Like I've seen it handled really well, and I've seen it handled and like I mean even like a like a Carol Burnett's skit where I'm just like, Okay, yeah, they are in control of the narrative type of thing. Interesting but not good. And then I mean, usually
I love Carol Burnett. I just want to put that out there. But then you get something like this, I'm just like, you're not doing it right. You're not doing it the right way, you know, like make it one or the other. He is he controlling them? Are they controlling him? Are they sent him? Just it was I wasn't happy with this one. You know, even that Will Ferrell movie is better than this and
it has its stranger than fiction. Yeah, it's the same premise, like you, this character exists separate from stories or in tandem with stories, or he's trying to figure that out and how he exist. That's again and there's something to be mined there. And it's not like this is like a blackout segment and it's all we they didn't give him enough time. Half of the
god damned episode it's twenty minutes, so they had plenty of time. I just they paired the time looping thing with something else, and I think it's one high concept thing or the other, and together they just don't work very well. I don't disagree with any of that. If you're taking this on face value as the segment that it is, then you know it is kind of it is a failure. Okay, I enjoyed it, but that doesn't mean it's it is good and I would recommend it. I'm just saying I
enjoyed it. But if you view it through the prism of where Ron Sterling is right now, it's it's kind of great because it seems like he's almost commenting on the fact that he keeps doing this. He doesn't even know where these characters are from anymore. He's just rewriting the same shit, and none of it's good. And where is his place in any of this, like where he is in his career and in this series, And if this is him working out his demons about where he has found himself in the Night Gallery,
that makes me like it a lot. It doesn't work as a segment, but a sort of a socio political examination of road seting. I like it. Hey, Like, I appreciate writing things as Catharsis, but like, what Catharsis is there? Here? What are you getting at here? You write a coherent episode of your own show anymore? Yeah, we know we're watching your show, dude, Like we're watching your show, Like we know it's not coherent. I just I like you said, like, what
is he commenting on other than himself? Right? Look? Yeah, it's indefensible as as drama or as you entertainment, right as a meta textural comment on his own state of confusion, though, I think it's sores. But then we'll probably get an episode from him next time we talk about episode eight that may or may not be good. So what is he commenting on other than he can't do it and he keeps not being able to do it? So what are you really commenting on? Rod Serling? I don't understand.
I can't do it, but I'm gonna keep not doing it and wasting your time. Yeah, if this one, this last episode, though, it would be great, right, Oh for sure. You know we kind of ran into a similar thing on Barney Miller where they had Jack Sue kind of they had an opportunity for him to be done with the show and they didn't take it. And this would be if this were Rod Stirling's final moment on the show, like then that would be a masters stroke, but it's not.
So it's a prout as far from it it being his last thing with the show as possible. Yeah, this is chift that shuffled this down to the end of season three and then right could question could this have worked as a Twilight Zone episode. It did. It worked a couple of times. So there you go. There's I think it's just I think it's also maybe the third or fourth retread of it is just old news. Now, dude,
Like, come on, hold the horses statue. They're held, okay, because you know, in each of the episodes, I'm trying to shine a spotlight on some of our lesser known members of the Night Gallery family in this one. Don't hold it. Don't hold the next segment against him because his writing is not bad here, But I want to talk about Douglas Hayes
because this is his last contribution to Night Gallery. He wrote and directed The dead Man in season one and wrote the Housekeeper under his um The Housekeepers one with Larry Hagman, which was really kind of fun and weird. Oh yeah, yeah, now this guy, Doug hay is. One of his first gigs writing and directing on television was First Circus Boy, which is a deep, deep cut for monkeys fans. Gelins is a little Boy. He spent the majority of the fifties writing Rin Tin Tin, which is forty six episodes
of that. He was actually nominated for WGA Award for that. He was also nominated for a WGA Award for his work on Maverick, the original Maverick television series. But his relationship with round Sterling began in the sixties on twilight Zone. He directed The After Hours, he directed I of the Beholder, he directed The Invaders, and he directed my absolute favorite episode of the Twilight Zone, The Howling Man. When Twilight Zone went away, he started writing
features and directing them. He wrote and directed Kitten with a Whip, the sixty six version of bo Jest, and then wrote the screenplay for Ice Station Zebra, which is a great fucking movie. Later on in his life in the in the eighties that remember that North and Mouth mini series that was Douglas
Hayes. He was a sculptor and a painter and a novelist, and he also produced Douglas Hayes Junior, who is an actor and writer, and he wrote a bunch of episodes of Far Escape, Rockney O'Bannon's TV show, which is to me the gold standard in science fiction. Anyway, just wanted to shout out to Douglas Hayes, and I'm sorry, mister Hayes, because we're now going to talk about Brenda. There was something rather remarkable in the scope
of imagination, peculiar to children. They project and dream and fantasize with duty and simplicity and faith and amount of it somehow eludes this as we grow older. This is Brenda, and Brenda has a playmate. It comes to her in part because of loneliness. And what I wish for you is that you'll
never get that lonely. This was written by Matthew Howard, Douglas Hayes's pen name, based in the short story by Margaret Saint Clair, who also provided the story for the boy who predicted earthquakes at the beginning of the season, and it was directed by Alan Rye, who was also a Twilight Zune directory did mister Denton on Doomsday. It stars Laurie Prang, she's nineteen here, Glenn Corbett, he was Zephy from Cochrane once first the Ogs that from Cochrane.
Also Robert Hogan and Pamela Ferdan, who I think we're going to talk about a little because she is I think the best thing in the episode, and it's a real goddamn shame she's not the lead. It also stars a gilly suited trash heap, and it tells the story of a lonely young girl who's befriended by a creature who is just as missus misunderstood as her possibly or perhaps she's a fucking asshole, and like calls to like, what'd you think
about this one? Chris? You know, there haven't been a lot of things that we've watched that I would consider an affront to my ability to enjoy things. But Laurie Prang's performance in this is some of the most obnoxious act
acting choices I think I've ever seen in anything. The voice that she's doing, coupled with the dialogue that she's being asked to deliver, right when the tide was so low you can walk across along with a beyond meandering story that it serves no purpose other than two I don't know, frankly, uh show us that. Yeah, like you said, assholes attract assholes? No shit? Uh? Like I wonder why or how anyone could have watched the dailies and said, yeah, this is okay. People aren't going to find this
to be a complete nightmare to watch. But it is. And you know, I have seen nothing else with Lori praying in it. I don't know if this is her this is her thing. I don't know if this is what her acting stylings are, but this I think is for me, the worst segment of this show up until this point. This is just some of the most horrific child acting that I've ever seen, and her dialogue just made me want to turn it off and save Bottomlane. I tried, but I
just couldn't do it. Oh, you missed your chance. You got one pass. No, I didn't even want to take it. I suffered through this for you. Okay, Well you let me know when you get to that point. Mikel I really wanted to like this. I was so excited to see the prequel to the Pierre malfay story in Cold Check that I was just like, oh wow, this is fantastic. We get to see where
he started from before he went to Chicago. This is great. And I was really hoping that he was gonna eat this braddy little girl after she's teasing him and gets him in this like pit and everything, and then it just goes off the rails. I mean it was already off the rails to begin with. I mean it's such a bizarre story, this whole thing of like, you know, the way that she's kind of a dick to Pamela ferdin using that bizarro voice and all this stuff, and then suddenly this monster shows
up and I'm like, Okay, what am I watching now? I know I'm watching The Night Gallery, but this just this weird left turn. I almost got whiplash and the creatures caught in the pit. I'm like, Okay, is she gonna feel guilty or something? Is she going to do something
to this creature? The moment when she comes downstairs and her dad, who doesn't do anything other than yell at her, when her dad and the other guy are there with like torches in the living room, and I'm just like, what am I watching Oh this is not good at all, and then the whole her with the doors and what's good what's evil? I'm just like, she needs to be put away. She is a complete sociopath. She doesn't know what's good and what's evil. This was actually a prequel to the
fourth episode of the fourth season of Sherlock Mike. This is actually just Sherlock's long lost sister, and this is the highland that you're stranded on with the giant trash goblin monster the entire time. This is the actual mind palace. This is what I'll let you goes off the rails for me. But yeah, the father yells at her specifically about good and evil at one point, like, oh, yeah, one good, one evil. You can't make up for good with evil or evil for good. You gotta pick one than
the other good. How do we know if it does a close? You
know, they've had this conversation so many times. There should have been a moment where they go out to look at the rabbits and they start talking about feeding the rabbits and her dad just puts a fucking it's one in the back of her head because it's just like, what in God's name was anyone thinking when this character was concocted from the muck of the you know, the amniotic fluid of creation, Like who was saying to themselves, I want to create
the most obnoxious child character known to man like that. If that's not what their intent was, I can't imagine what they were thinking. Either of you happen to read the short story by Margaret Saint Clair. Now, most synopsies you'll read will tell you it's exactly like what happens in Ni Gallery, which leads to me to believe nobody's read the goddamn short story. Because she's a
rambunctious young girl not on vacation. She lives in like a six family community, and she kind of marches to her own beat up and nobody likes her, and she's very, very lonely, and then this creature emerges, who is probably a manifestation of either her loneliness or the fact that she's a child
transitioning to an adult. So this monster is kind of menaces everyone but her, and then they capture it and they put rocks in it, and then she sits by it like a year doesn't go by, but she sits by it, telling it that she still loves it, and like wait, it will wait for it. That seems kind of like a nice story. It's not spoon fed to you, you know, you just get the idea.
And she's really really straightforward about what is happening here. What they in the scene that Mike that you're describing when she's let the thing into the house and it's menacing by just standing there and doing nothing, and they're all freaking out and yelling at each other, the parents. My note was, what the fuck is going on in this house right now? Just what? He's got
a flashlight on the thing, so it's immobilized, I guess. And then he has the wife go call the neighbor, who then takes his time to come up. This all happens in real time, by the way, Yes, the gun will do nothing. The gun will not stop it, but like, okay, they're going to burn your house down on the island for
a while. We don't know. Apparently it has like these guys are the neighbor with the rifle like knows this thing like, which makes it not part of the girl at all, just this monster that kind of comes so our only clue as to what it is is what the girl has told us it is and every word out of her mouth makes me want to kill myself. Laurie prank is nineteen years old. Okay, I mentioned the other actress, Pamela Forerd and who's in it, Pamela Ferd and was Lucy Winters on Brady
Bunch Jan's Friend. She was the voice of Lucy van Pelton basically any Charlie Brown, especially you've ever seen she was in and the Child Children Shall lead in Star Trek and guess what, she's actually eleven years old here, which is the age of these characters. And then they went, you know what, No, let's cast a nineteen year old and have her do a young voice and make all the weirdest sort of methody choices instead. That'll that'll endear
it her to the audience. Like they didn't stack the deck against the character enough just by making her a total fucking asshole. Then they cast the most unpleasant actress they could ever think of. This is Alan Reisner's fault. I guess the director of it, but like, I don't know, let's lay the blame on everybody at night Gallery unwatchable. Man. I had to watch it twice because I want to be thorough for this goddamn podcast, but like the seconds at his wits end here, I had to pass. You guys
have it, I don't. And at one point my girl Amber walked in. She hadn't seen any of it, and like she walked in watched it for thirty seconds. It turned to me, when who is this horrible person? It just walked out of the room, and I was like so envious, as if that real time battle with the monster. That is not a battle at all. It's just them yelling at each other and then they shake some torches at it. I do want to make one of those newspaper torches
though. That seems like a really irresponsible idea that I like it, but nice and dangerous, especially indoors. Yeah, you're bound to burn your own damn house down before you burn any fucking giant turd with arms. Oh my god? And what was like? I know the budget was bad, and I know it's just a Gillie suit on a giant frame or something, but hey, what you are being You're being generous to call it a Gillie suit. It looks like a bunch of trash bags. I don't know, what
do you call this creature design swamp thing adjacent. If swamp Thing was viewed by someone who didn't have glasses on, yeah, and if swamp Thing were played like they just skinned job of the hunt and put the trash bags on job and shove it out there, like that's what it was. And so anyway, my point earlier was like, you know, we spend real time with them, pausing casts and everything, but we also get how many chase scenes between worldis catch me, I bet you can't catch me. Why would
it want to catch her? Even if its intent was to kill her? Just being in the presence of her until you got to kill her wouldn't be worth it. This is the first character in the history of cinema, jenn'or
I have inclined to agree with you. I like I was saying, I can't believe that anybody saw the dailies and was like this is perfectly okay, Like somebody either somebody was asleep at the wheel or somebody thought that this was going to be really funny if it made it to air, was that it was it irony but just enjoying, Like I can't wait till this airs.
I can't wait to annoy all of America. I I that's the question I'm asking because I whoever was making the decisions, they their opportunity to make decisions should be revoked. Somebody's asleep at the wheel. That's what it feels like. Yeah, you know, I'm playing all the blame at Rod here because this is obviously an author he chose because he chose one of the other stories and Doug Hayes is one of his pounds from Twilight Zone. So I'm gonna
lay all the blame on them. And why what is this? What was this? I don't know. I don't even understand. I don't even understand the ending, Like I don't I don't understand what the point? What story were they trying to tell here? Because the short story makes sense, got it? But this like what? What? What? What did we even learn by the end that if you're an asshole, an asshole will also be found. You will find assholes in your life and they'll stone it to death
and you'll learn for it. Like and is there like is there like a time jump in between? It's the air, you know, because they they give us the trees with the leaves and then no leaves, and then snow and then leaves again, and now she's back and she's supposed to like, like we to what end? Yes, nothing, nothing at all, because why does it matter? That's why question if it's if it's a person who's feels disconnected, even if it's somebody who's an asshole, and that's their rage,
and now they've put their rage under this rock. And then they're like, but I still love you, like I'm waiting for the time, like I know you're there, and like if I need you, you'll be there. Like that could have been a story too, but that's not that's not what we got here. We just we just got a fucking asshole. I just hate her. Brenda, Brenda, Brenda, what are we gonna do with you? There's two doors, Brenda, there's two doors. There's two
doors in life. Come on. Yeah. He does yell at her a lot, doesn't it, Like, oh my god, the dad is like the dad is just that, that's the crazy thing. Everybody in that family is just a fucking miserable shit. Yeah, the dad is just like, you know what, I can understand why she's mentally unhinged. Her dad is pretty unhinged too. He has he's just screaming the entire time. Listen,
are you dumb little bitch like Jesus Christ too? Chill out? I don't know though, if he's always been like that or if she just broke him because she's awful. I got that. That that the conversation on the beach, Like how many times have I had to? Yeah? I like, where did I go wrong? Like I don't even want to deal with this? And alright, like even when he comes home but they they've fended off the monster and buried it under stones, and they're walking home and he sees
her in the window, What are you doing? I want to know. If I think you need to know, I'll tell you. It's Yeah, he I guess he must just be at like WIT's end. Yeah, pushed to the limit by Brandon. We all were, and we well. And what I don't understand is like, how are we jumping a year forward in time and the dad hasn't just murdered her? That's it turns out it's her graves down right, right, or it's the way it should have been a year later and it's her grave next to the creature's grave, right, and
the dad just being hauled off to jail. Even that would not justify the previous whatever that we had to walk. Ultimately, they needed another segment to go with the Midnight Never Ends segment. But why did they even film this? I genuine like the fact that we can't even suss out what the point of this was, I think is just shocking to me. If they had put this as the first segment and then followed it with The Devil Is Not Mocked, I would love The Devil Is Not Mocked. Yeah that's fair,
Yes, yes, that's fair. Yeah, it would have been like the best reprieve known demand. Right. Oh, I get to spend time with Dragula, thank god. Yeah, as opposed to the walking trash bag. Yeah. And again like even with the how terrible she is, Like the creature design is an affront in and of itself, it's not. It's just like what like we you know, Mike, like you mentioned with the Pierre
Malfe from coal Check, Like we dragged that in cole check. Yeah, like and then you know what, it was well lit here it's like out in the open, walking around showing every defect. At least, don't light it very well. For fuck's sake, keep it in the dark. Yeah, over and over, like it's a conversation between her and the thing, like we need to see give it some eyes, give it some facial features
of some sort. Yeah yeah. I mean when I first saw it, other than Pierre Malfey, the first thing I said was, it's a shambling mound. I mean, that's what it looks like. Is the old D and D shambling mound in the short story she comes upon it and it is. It's completely like humanoid. It's just a mossy thing with eyes and us. It has a dead bird in its hand, it has digits, and
it's just a weird creature. So I don't know why that it takes some skinny guy and slap a bunch of mud on him and go there there it is. There's the muck. Mons could have been the guy from Twin Peaks season three. We could have been like, want to light for God a light? Sorry whichever. Yeah, I just I want to thank you Father Malone for sharing this with us. One of the worst things I've ever seen.
Like nuinely, by the time this was over, I was like, I can't believe it, but this may be the bottom of the barrel. Remember season seven of tennis from the crypt or right back at you. Maybe I think this, I think this might be worse. No, no, just just for sheer volume, that's fair. This is only twenty just week after week this. You guys watched it once and you were happy that it
was over. Yeah, this was like what the happiness came from, the lack of like, oh, I don't have to do that again, whereas I was like, fuck, if hell exists, Hell is just having to watch this episode on loop. Yeah, it's just playing scenes, just her voice over and over again. If this is this seems like the bottom. We can only go up from here. Now kill it with fire, God
burn it. Just make sure it never comes back. All Right, We're gonna play a preview for the next episode and we'll be right back to wrap up. Subject a common enough item utilized by teenagers and tycoons, the daily journal, in which we notate the happenings of our day to day existence, but in this instance, a unique periodical that doesn't record what was, but rather predicts what will be. Its title, the Diary. It's our initial
offering in the night gallery. Our painting reminds us that there's a strange fascination of digging holes alongside ancient oaks. You give the average man a shovel and an excento map, and the fantasy has come thick and fast. Pirate gold, hidden, Confederate treasure, and sometimes the unexpected and sometimes the unwelcome. Hence the title Big Surprise, our final offering, a study in depth of a gentleman from the acade, seeing here at the lectern, delivering a most
scholarly treatise this particular class. I don't think you want to cut the paintings title. Professor Peabody's Last Lecture. That's right on the next midnight viewing, we'll be taking a look at season two, episode eight that's broken into four segments. Thank god. Those are the Diary, A Matter of Semantics, Big Surprise, and Professor Peabody's Last Lecture. This is my favorite episode of night Gallery. We're going to be watching and it contains my single favorite segment
of the entire series. Wow, no pressure, gentlemen. Until then, Where can people find you? Chris Stashu Weirdingwaymedia dot com. That's where you can find this show, Father Malone's show, Mike White Show, all the shows, all of them can be found at weirdingwaymedia dot com and if you can't find him there, you probably shouldn't be listening to them. Do I have to ask you, Mike? No, right on. Thank you all
for joining us here at midnight viewing. Go to weirdingwaymedia dot com and the gallery is closed