All right, listen up, Caves, I got your assignments riga six four three wheeler one four eight n eight oh four and only you. You need to join host HP and Father Alone as they examine one of the greatest sitcoms in television history, Taxi in Night Mister Walters, a taxi podcast BANDA zero like your boxing record, Frank, mister Walters, we are we now check this one. If you will tonight we offer you these summer food of a
scientist figure. But there are at least some things that can be accomplished, and they're in life the tail end. Thanks the picture Bisness 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 are the culture cast Chris Statue. There's something something in the woodward and the projection booths, Mike White,
Why have you disturbed me? Tonight? We're talking about two episodes from season three, episodes eleven and twelve. Something in the woodwork, stairways, comwebs, 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 hear and the dead of night is not always an air a rafter. Sometimes if you walk up those at 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. Something in the Woodwork is season three, episode eleven. It was. It first aired on January the fourteenth, nineteen seventy three. This was written by Rod Serling, based on the short story Housebound by our chetwynd Hayes and directed by Edward m. Abrams. Now he is mainly an editor. He edited the pilot for Night Gallery, but he directed a great
deal of episodic television. Weirdly, if he directed on one series, he wouldn't edit on it, and vice versa. It was interesting also our chetwynd Hayes, Chris, do you recognize that name? Can we watch something right recently? Welcome the Monster Club? Right? Yeah? Ur chetwynd Hayes. He's an English author, wrote tons and tons of short stories and this is one of them. There has been at least one other r chetwyn Hayes story
adapted in Night Gallery. No, yes, I believe we had one other, just making sure because I recognized I thought you were asking, because I was like, oh, yeah, he's done another. There was another Night Gallery story. But then the Monster club Boy that Jesus Christ. That's the main one. Baby, that's a good one. I love that one anyway. This one stars Geraldine Page third times. The charm and leife ericson second
time works too. I just want to say that, if nothing else, rewatching these episodes of Ninth Gallery has given me an appreciation for Geraldine Page every single time, and that's extended into feature films. Chris and I recently watched The Pope of Greenwich Village, which she was fucking phenomenal in, and she's fucking great here. She's so far played a frantic housewife and an old crone
and now this delirious drunken sex spot. This is the story of a delirious drunken sex spot who finds solace in the shadow of a man who is deceased in her attic. What do you think of this one, Mike? What was expecting there to be a chest in this attic that you're not supposed to move? And you definitely shouldn't put it out in the shed because I might bust out and then end up back in the attic. Plus, like the ghosts that you hire to kill your ex wife. Yeah, this feels so
familiar. Yes, Jielding Page gives a great performance, but she's just not given a lot to do and to work with. It just is one of these tell it to call you Billy type of things where you send the person to their doom and you're just waiting and waiting and waiting. And I felt so bad for the spirit that she just kept bothering with all of her drunken blather, and I'm like, yeah, this he's happy being up in this attic and never leaving and just wants to be in the woodwork. Why are
you bothering? If I felt personally attacked by this episode, I liked it better when it was I'll never leave you ever. Yeah, I mean, to Mike's point, it just kind of has this samey vibe of all these other things that we've seen, kind of just forces it in there and then blend it all up. Now you got something new. It's like, well, it's kind of just everything else that we've seen blended up and masquerading is something new, Like you blend up a hamburg er. It's a little hamburger
in a fucking cook cup. For Fox's sake. It's not any different, is my point. It just tastes a little different because it's different. Consistency, that's what this is. It's just eh okay. I mean, sure, Geraldine Page is good, but this would have worked better if it had been one of two segments in a two segment episode, because similar lead to the things we talked about in the last episode. The format is now betraying
the show because some of these stories don't need all this time. They're kind of making the stories fit the length of time, not the other way around, and that can come to back bite you in the ass sometimes. And it kind of has here because they spin their wheels a little bit and they do this show thing where they show the same thing three times as opposed to just twice. It's like, Jesus Christ, we don't need to see it three and four times. I got it after the second time. First time
may have even been enough. But you know, again, in terms of late in the game, the show is in the last kind of vestiges of its existence. Eh, This is still better than a lot of those tales from the Crypt episodes we watched at the end of that show's run. Those episodes were so unintelligible they were borderline unentertaining. So at least there's still some things to hold on to with this show, and it's kind of last days
before it goes the way of so many other anthologies. She goes, shame on both of you for not enjoying the hell out of Frank Gorshen from Star Trek appearing in this episode as the ghost. Well that's appropriate since lou Antonio shows up in the next one. I agree with everything you're both just this demonstrates a very frustrating aspect where we in previous seasons had episodes too short on occasion and that needed to be fleshed out. Now we have all the time
in the world. In fact, we have the most talented people in front of the camera for all the time in the world. We can tell any story we want. Let's really tell a story. We needed one moment with her ex husband just to show that relationship and how desperate and lonely she is, and then it should just be her and the ghost for the rest of the goddamned episode, and Her and the Ghost was the most minute part of the episode. Why we didn't lead up to the ghost obviously having no other
choice but to kill everything it can, just for some peace. It doesn't ever feel that. She just says, hey, would you do this? And he's leave me alone, so I'll burn the house down. He's like, yeah, whatever, And then does it like when he comes down the stairs and she he's getting her just desserts that he's possessed the husband and cast him into the attic and now he's going to murder her. He's saying, like, why wouldn't you leave me alone? You didn't have to murder the
husband. You could have. She would have been committed, the house would have returned to its original It doesn't. There's no stakes for the ghost to do anything at all because we haven't built that up. That's what I took away from this. Parley is no longer with us. What a decision we've made. Huh. Ghosts with monotone voices are not scary. I don't know who thought they were, but they're not. Ghost talking isn't scary. The moment a ghost opens its mouth, it stops being scary. If it's this
kind of ghost. But yeah, a ghost you can have a conversation with. Yeah, oh it can be reasoned with all of a sudden come on, really, you know, the cent decoration was so fucking spectacular out there, that plastic spider bouncing in the web and with that gig antic shadow on the wall to accentuate it, it was fantastic. They're really putting in as much effort as they really care to at this point, which seems to be
nothing. I had to watch this a few times, and I resented at each time, even though the stuff between Geraldine Paige and Leigh Ericson is great, the sort of when they're at each other about their relationship, and I wanted, honestly to know more because I felt bad for her for most of the episode. I just all we get is the husband saying she's a drunk and whatever, and we get one scene of her obviously going too far,
but it seemed more desperate than mean. They end up painting her as the Herodin because she asks the ghost to do this or threatens the ghost to do it, but I don't know, the tone is very off. Like I said, not only do we not build up to the fact that the ghost has to do this for her, we don't really understand, or at least
for me. I didn't see her as anything but a pathetic character at the beginning, certainly not something that I hated ever, Like the husband same here, Yeah, I was like, Okay, she has some problems, but they're mostly caused by Leif Erickson. And I had to say, he looks really good for someone who is most active back in the eleventh century. That's all I can think when I hear this actor's name, same fucking thing. What did this guy do? Walk onto set? When you take his Viking
helmet off? Put down the glass of blood before every take? Okay, I love the shots of Geraldine Page's eyes with as I sit here fucking benefit of the audience, her eyes with the shot of the ghost inside. That is that's peak night Gallery. Now doing the eyeshot from Colombo. They're doing the glasses shot with Robert Culp in Colombo. They're doing it here, but
it's they're doing it in a way. That's why this just looks goofy, and there's like the face in the background that kind of fades in and out. It's I don't know, they use all the tricks in the book. When every time she goes into the attic, it's pretty great. The addict with the most even cobwebs. This perfect coverage, perfect cobweb coverage. Yes, there's not one two by four that doesn't have the exact right amount of
cobwebs on their props to the prop sky. They do a lot of Pepper's ghost stuff here that they have the actor on set and he's standing apart and they have a plexiglass thing and he's a reflection and whatever. But during one sequence where it's a camera roaming around it, it pans the room and it's
and it doesn't have the Peppers ghost effect. It's just the guy behind a pane of glass and it's wow, got that guy painted up sitting there in that attic, added to the overall ambiance of those perfect cobwebs and that ridiculous rubber spider. What's going on here? Night Gallery? Are you okay? Are The amount of time that they linger on that spider is hilarious. And then they have another one. There's not just one, there's two fucking spiders.
And if they show the spider and then they cut away, and then they cut back and they're showing another spiders, like, no, you didn't even but she showed one. It was a problem. Yeah, I like, I think they probably had the if you showed the back of the spider, it has that little spot where you put on your finger like a ring
because they give kids at Halloween fucking embarrassing. What was the thing with the pendit that she was I think she was trying to give that to Leif Erickson and he was all mad about it, and it chose up right at the end of the episode two. Yeah, I did not understand even what it was. Something she had made or purchased for him, and then he refused it, and then when she makes the decision that he's going to die, she throws it away very symbolically. I think that was it was a birthday
gift, right because she had baked him a birthday cake. It was a birthday dinner. And yeah, again I think Rod Serling and company meant for us to think like she was being just pushy and gross there, and I thought, oh, this is so sad. Somebody get her a friend, get that. Where was that cat Leonard Nimoy tangled with It'll be company for her. I think that's a testament to Geraldine Page as an actress, though, that she's able to make the proverbial chicken salad out of chicken shit here.
She elevates it because I think anybody else would have been that kind of just like nagging, just crone of a woman that you expect from this kind of story. And this just like conniving again, conniving bitch is the way that the way it's written on the page is totally just conniving beyond words,
and it doesn't come off that way at all. And I think this episode is better for it, but I think it also hurts it because it feels like, oh, there's a great performance surrounded by kind of some of the worst things we've seen in this show so far in terms of set design, faux paws that are so hard to ignore. Their like it's like a child's fucking haunted house in an elementary school. The story Actually take that back.
It would probably be better at an elementary school because the adults would have done it. The episode calls for Billie Northrop Adrian Barbo from Creep Show's character here, oh totally, And instead what we got is this subtle, nuanced performance by Geraldine Page. That made me really sad for her, which I'm not in any way bagging on Adrian Barboa's performance. She is a perfect in creep show that is exactly what that movie needed. And I'm saying it maybe this
episode needed a little bit more too, because Geraldine. Maybe is this a case where Geraldine Page is too good for the episode? Is she? Yes? Yeah? Maybe because I cared too much for her, was nominated for an Oscar for being in two scenes in Pope of Greenwich Village. Yes, she's too good for this episode. Yeah, she's a great actress. She's
a good actress. Every time we've seen her, she's good. This is one of those cases where it's like, oh, I would say it's a shame, but we have seen her be good in the show in season two twice, so at least there is that. But I'm just gonna go on a limb here because again, I feel like it needs to be mentioned. These third season of these anthology shows are a fucking track. I don't get it. Tails from the Ripped was this way, Twilight Zone eighty five was
this way? This show is this way? Like what why did everybody just decide to give up collectively? At the same time, It's funny that you brought up Billy because when she was sending leef ericson upstairs, I was like, yeah, make sure you tell them to call you Billy. So should have been her would have been a little bit more lively an episode instead of a funeral dirge. He got her just desserts in the end, right, But I just felt bad, you know, yeah, right right? No,
wrong, I just I yeah, I had a hard time. I had a hard time understanding the moral compass of this episode. Let's put it that way. Why couldn't he just leave? Like why did he have to kill her? Just you got a body now, baby? Go out and murdered elsewhere? She was a drunk and she tormented him, okay, day, that's the thing. It was like one day she was just like, I want to talk to you, and he's leave me alone, and then he starts talking to her. He only says, why are go such Dixon
this show? Like why there's been like very few positive ghost interactions in this show. Praying interaction was great, you owe me now, sucker. It is Twilight Zone adjacent, so I guess that the interactions are never going to be positive. But All of the ghosts in Night Gallery all feels very samey in their goals that they're trying to achieve, which is revenge on the humans
who have wronged them. Is seemingly all the usage of ghosts in this show is revenge on the humans that wronged them, and this story is once again another entry into that, because the ghost is mad that Geraldine page, what bothered you, motherfucker? In the attic for an like a like a day, man, I would like to see what happens if it goes past two days? You disembowel me. Jesus. Don't you miss blackout sketches? I do? I usually do. Yeah, I missed that, And we've had
one this whole season, that stupid vampire or whatever it was. Smile Mike. You describing it's better than the old thing. I think it takes me longer to describe it than to watch it. 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 Bella Lagosi 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. All right, death out of
Bars. This is season three, episode twelve, first aired on March fourth, nineteen seventy three. It was written by Halsted Wells from a short story from the short story The Canal by Everell Warrel and this one was directed by Leonard Nimoy. This one stars Leslie, Anne Warren, Leu Antonio, Brooke
Bundy, and Robert Pratt as Ron. This is the story of a beautiful woman who resigns on a barge and won't come ashore no matter how badly she and her potential suitor want it. What'd you think of this one, Chris? I like this one better when the woman was a half fish. I liked it when she was a ghost were wolf. Oh yeah? Or that yeah again? I know that this this is based off of a story by ever A Warl but sure it just it feels of a piece here. Leslie
and Warren is fine. I'm a huge I'm a huge fan of the I'm a huge fan of the Fishmonger. Friend who is just the most dastardly fishmonger around. Manna blackmail you to have sex with me, Like, yeah, fishmongers, man I don't. Yeah, it's again. The morality of the episode is a little strange, a little skewed, a Leslie, and Warren gets a fucking got at the end. It's a third season episode, that's
what it is. What did you think? Mike Birling innocent tro goes this we tell you up front is the story of vampires, and like, really, maybe don't tell people that and let them guess what's going on, because it feels like this skit would have been better. Sorry, this episode would have been better had we not known that she was a vampire. I think all of us on this call would know that vampires can't cross running water. But it would be neat to have this weird old lady who sits on this
barge all the time. It's just like chatting this guy up and she won't come ashore. Oh why is that? Why could that be? And then we're gonna try to explore what that is and yeah, but instead it's this is a story about a vampire. Okay, thanks, thanks, Yeah again. It goes on for way too long. If it wasn't for Leslie and Warren, I would have nothing for this epis episode. I love her. I really like Leu Antonio as the slisy fishmonger, but yeah, the main
character. I don't really care about the main character guy at all. He seems just very milk toast. Leonard Nimoy should have played that part. Oh there you go, then it would have been spectacular. Robert Pratt as Ron is terrible. I don't like him in the slightest And you're right, Mike. I remember Dark City, the movie Dark City, Alex Proyis's film that
Roger Ebert couldn't stop jizzing about all those years. And the thing. Have you seen the director's cut of that movie where they remove the narration at the beginning that lets you know exactly what you're about to see in the movie and what everything is. It's pretty spectacular. Rod certainly cut the legs out from whatever could have been potentially good about this episode by saying the word vampires in the opening, You're absolutely right, because it is mysterious. You wouldn't know
what was going on. It was just some freaky lady out in the barge. What's going on with that. Yeah, and if your keyed into vampire Lord, then it's nice that you could figure that out. But this episode is not. The episode was interested in a slow burn and Rod's like, fuck you, sorry Spock. Now, I think Nemi did a really good job. There's some crane shots in here that are fucking fantastic because he's a first time director, and first time directors go all out. This is shot
entirely in the New England portion of the Universal backlot. He shoots it great. It doesn't feel fucking stagy that that lagoon. He even manages to shoot and not make it look like the fucking backlot, which I really liked. This episode contains the single most suggestive line in all of Night Gallery history. As you plunge it in cry out I love you. Oh yeah, that was great, My god. I have lots of questions however, now that but we can get into this episode. First of all, her dad love
that peg leg. I think we were robbed and not getting to see him navigate across that plank, I would have loved that. Okay, yeah, so what's the story about the dad. I was convinced that he was a vampire, but she says something about how he goes out in the day, she goes out in the night. So I was like, I guess he's
a day walker. It didn't make any sense to me that he would keep his vampire daughter around because, like Chris says, she gets God at the end, and they're like, why now, why kill her now when you've had all these years to do that? She just fell in love. Oh, he's had her on the barge and therefore she's not been the threat. But now she can walk around, so she's got to go. I think that's what it is. But she's so thirsty. She keeps saying, right,
she had to kill creepy lou Antonio. She didn't ever attack her father. She's that thirsty. Is he feeding her? Did they talk at all? They have some opra? He's her familiar, is he not? Like essentially he gets her food? But what food is getting? He's not getting
her food? No, we see, I mean he could be deposing, he could be disposing of it. It would have been interesting had they been like, oh, yeah, we go up and down this river every year, we moved to a different spot and this time we're here and basically, yeah, like the dad goes out and gets her food, brings back bodies or animals or something for her to feast on. Dogs have been disappearing, yes, some god, it's almost We have twenty five minutes and fifty five
seconds for this episode and they're focusing on the wrong things. What is this a story about VD because it kind of feels that way. Don't step out on your lady because you're gonna end up with a disease of the blood, you know what I mean. That's what I mean. Vampirism is so about that or could be a metaphor for that. Definitely definitely felt like this in this case, or a metaphor for Nightmare before Christmas. Know your place.
Don't try and step out of your fucking mundane existence because you'll get fucking murdered unless you murder it first. Exhausting some of these. I loved how it avert the below deck was on that barge, My god, oh my lord. Not only was it red velvet everything, but they had their own smoke machine going in there. Fucking was right Ice. I'm guessing you see the
floor, what is that smoke everywhere? And just that haze that they shoot the whole episode through too it's so oh boy, Yeah, seventies haze and seventy's hair. His girlfriend, she looks like she could don the the leather and become pit pinky Tuscadero just so easily. I guess she's more like doing the Suzi quatro thing. I think. I love that they're sitting in director's chairs too, at that table. It's like that that's set with I don't
know. Everything off of the barge and not to do with the barge is so strangely designed, decorated, and yeah, every I don't know. It's a strange episode for a number of reasons, not solely the one where yeah, the father kills his daughter at the end for seeing no reason. Still cannot, for the life of me figure out why. I have a practical
thing to point out. At one point, when they're fishmongering in their shack, which is called Moby Dick's by the way, a customer asks for Benito for four and then creepy lu Antonio says, pound and a half apiece? Is everyone expected to eat a pound and a half of fish? That evening fish fish doesn't really cook down? Wow, those fish were some of the most disgusting looking fishes I've ever seen hope You guys like Beanito, we're gonna be eaten for a while. Eat it now, Like that's Leu Antonio's idea
of a portion. What's going on at Moby Dick Stop it now? As for the end, Okay, this guy makes this cuckoo decision that he's got to go kill her. He's decided he's going to lure her out onto the sand and not let her leave until the sun comes up and she'll burn up, which she tells her you shall never tell you I'm going to kill you,
right. That's like Deacon Frost saying to Udo kir Hey, listen, I'm going to put on motorcycle helmets, me and my crew and we're gonna take you out here to the beach and take off your hood and let you burn up in some really bad cgi. I mean, it'd be the same thing. But no, it's a surprise. You got a surprise, Udo, kir Well, you got a surprise, Zudo. Care because Leslie Anne Warren is the most laissez fair vampire in the history of televised or cinematic incarnations.
She's like, I'm mayre to kill you, Like, yeah, okay, but I can't do it. All right, good, then love me, But I can't you understand I can't. I have to kill you. Okay, there's a steak in the steak in the grab that steak just right here, just right here, just stick in the freezer. Yeah, it's about two and a half pounds. That's a porter. Kill me, don't kill me. I'm gonna kill you. I'm not gonna kill you. And then finally when peg Lake Joe comes in and goes to stab her, how
he doesn't stab through both of them? I don't understand. I thought he did. That's what I thought was gonna happen. At the end, he's like, fuck both these assholes. That would have been great had she bitten him. And then he comes in and stabs them both like Friday the Thirteenth style. That would have been great. But instead what we get is insta bones. Oh boy, best best effect in this entire episode. I was
half expecting. In the background, O, it's like fucking parts of the Caribagan and all of a sudden, what the hell with all the fog too? Yeah? What a what an effect? Just put the dummy skeleton in there with the stake through its chest, it'll work, guys, but the actresses clothes on it to it look give him better. I don't think they did a snap zoom onto that skeleton Skelington, but I really had wished they had just to really drive the point home, you know hunintended. Yeah,
that was the best part of the episode. Is that is or when she's Leslie and Warren is about to attack him and he like stops her. That whole scene is strangely paced and shot because she's about to bite him and he's like no, and it's like the camera work is strange, the timing is
super strange. Again, this I don't know. Leonard Nimoy like, I'm glad he was directing it, But boy, I wish you had directed like the first or second season of this show, because it would have been Steven Spielberg directed episode show is It's hard because this feels so far from that. He almost directed two episodes, I think, but then didn't. Right Spielberg, Well, he directed. He definitely directed the pilot episode, ay,
but then it's attributed to him. But make Me Laugh is not his According to him, I thought there was plans for him to do another one, and they were like he got busy or something. Yeah, I believe he had done two episodes of another show and they offered it this and he said he couldn't do it. And that's when Jack Laird said he'd never work for Universal again. Can I say, to the point of talking about this barge and Universal, I half expected the fucking Josh Shark, the Jaws Shark's popping
out about ten feet behind the set, right. That's like, no, not yet, not in seventy two. You know what I'm getting out. It's of course, this feels so fucking set bound. It's so set bound. All the stuff away from the barge is fine, but that barge is just a man, that's just a set. That's just a set. Nope, I like that barge. I thought it was good. I thought it was well shot. Actually I know it's the back lot, but it didn't.
There are certain hallmarks that less experienced filmmakers, which is funny because this is his first time. Like you can it's glaring that we're just out back here and there's a grip truck just out of frame. Can I say that I have a hard time taking vampires anything seriously anymore, as such a huge fan of what we do in the Shadows because vampires. I just have a hard time taking vampires seriously anymore because they're just so fun and I don't know,
like vampires isn't scary. I don't know if this is trying to be scary, but it doesn't succeed at much other than giving us, once again some really choice decisions in terms of set decoration and effects, because I would say the spiders and the cobwebs are in effect the same way the skeleton with
the spear through its chest is an effect in this episode. I think this episode could have done with a little bit more character work between the lead and the female lead and a better actor playing that part, and less of the b plot of this fright night bullshit. Have we got to save Charlie from the very park kind of stuff with a girlfriend who cares about any of that about the other friend? Like this was a story about this guy and this girl, or it was a VD thing. It's better if you read it
as a VD thing, but not much better. All Right, We're going to play a preview of our next episode and we'll be right back to wrap things up. Strips of ethereal night clouds are seen from the vantage point of a square, a group of tombstone, and the face of a neutral onlooker who surveys the silence, or perhaps not quite total silence, because the name of our painting is Whisper, and it tells the story of one body inhabited by two people, and at a point, as you can well imagine,
this gets crowded. And if this one doesn't ice up to you of spine, we'll send you one of our official apologies along with the body. That's the kind of guarantee you get in the night gallery we call your attention to this gentle facial study would be one visible intriguing eye and a windblown hair. And to those of you whose visual acuity is perhaps better than most, you'll
note these skulls that that one eye is contemplating. This painting is called Doll of Death and it tells a story that takes place in the West Indies, where the ancient art of voodoo is still practiced and celebrated. Now, if you don't believe in voodoo, you can take this with a grain of salt. On the other hand, if you find yourself dancing to that distant drummer and the drum seems to beckon check for missing pins and brand new dolls.
This, Ladies and Gentlemen, is the Night Gallery. That's right on the next Midnight Viewing. We'll be taking a look at season three episodes thirteen and fourteen, Whisper and The Doll of Death Midnight Viewing. The Night Gallery podcast is a proud member of Weirdingway 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? Well, you can always find all the stuff that
I work on over at Weirdingwaymedia dot com. Or if you just are interested in the Projection Booth, you can find that at Projection Booth podcast dot com. But you can also find it at Weirdingwaymedia dot com. Just so you
know, how about you, Chris Stasha, Weirdingwaymedia dot com. That's where you can find all of the things that I do, including this show which we show up and you know other things that we've done here, chronicles from the crypt call check tapes, Barney Miller, lots of anthology, dreams for sale, just mention the anthology stuff. If you're listening to this, there's no way you wouldn't be interested in those things as well, so there's plenty
of anthology talk to fill your hours over at weirdingwaymedia dot com. As for me, check out my show Dark Destinations of Radio Drama, Write and Produce and you can hear me on night Mister Walters, a taxi podcast hosted by HP. If you want to hear this show a week early, head over to Patreon slash fatherm Alone. Membership will get you listening ad free and give you access to exclusive content. Thank you for joining us here at midnight viewing. The gallery is now closed