October 3, 2025 • 25 mins
In this episode of the Midnight Viewing Horror Anthology podcast, hosts Mike White, Chris and Father Malone explore two episodes from the final season of George A. Romero’s 1980s series, 'Tales from the Dark Side.' They dissect 'Love Hungry,' an episode about a telemarketer struggling with her weight who tries a fad diet, and 'The Deal,' a tale involving a screenwriter's precarious pact with the devil.
00:00 Introduction
00:20 Love Hungry
12:56 The Deal
24:07 Closing Remarks and Upcoming Episodes
Father Malone
fathermalone71@gmail.com
patreon.com/fathermalone
@Midnight_Viewing
Mike White
http://www.projectionboothpodcast.com/
Chris Stachiw
WeirdingWayMedia.com
00:00 Introduction
00:20 Love Hungry
12:56 The Deal
24:07 Closing Remarks and Upcoming Episodes
Father Malone
fathermalone71@gmail.com
patreon.com/fathermalone
@Midnight_Viewing
Mike White
http://www.projectionboothpodcast.com/
Chris Stachiw
WeirdingWayMedia.com
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:04):
Wait Wait, said in.
Speaker 2 (01:01):
Welcome back to Midnight Viewing, the horror anthology podcast, where
this season we're taking a look at George Abramero's nineteen
eighties series Tales from the Dark Side. Sharing the Midnight
view with me are the projection Booths, Mike.
Speaker 3 (01:13):
White, I Sure I Am Hungry?
Speaker 2 (01:16):
And the culture cast Chris Stature Love Hungry. Tonight, we're
taking a look at the next two episodes of season four,
the final season of Tales from the Dark Sign. Those
are Love Hungry and the Deal Love Hungry Season four,
episode eleven, originally aired on February twenty first, nineteen eighty eight.
Written by John Stissick from a short story by Roberts Ganaway,
(01:39):
directed by John Stisick, starring Sharon Madden, Larry Gelman, and
a bunch of fruit.
Speaker 3 (01:44):
This is the story.
Speaker 2 (01:44):
This is the story of a telemarketer struggling with her
weight and she tries the latest fad diet. What did
you think of this, Chris?
Speaker 4 (01:52):
Oh, dear, wow, fat people can't stop eating?
Speaker 5 (01:56):
Well, are you fat?
Speaker 4 (01:57):
You know?
Speaker 5 (01:57):
As a fat per it? Really? Fat people really are monds.
Speaker 3 (02:02):
That's true. That's true. All they should be shunned and ridicule.
Speaker 5 (02:06):
Yes, yeah, exactly, Mike, you read my mind.
Speaker 4 (02:10):
Man, I think the thing for me that has always
been so low hanging fruit, no pun in, especially with
this goddamn joke of it is when you have a
fat person, they're fat by Hollywood standards. First off, like
Sharon Madden.
Speaker 2 (02:26):
She is a normal midwesterner exactly like I see women
like her every day, every secondly.
Speaker 4 (02:33):
It once again does come back to and Mike, you
always mentioned this. I hate when characters portrayed drunk. I
hate when characters are written as fat because.
Speaker 5 (02:41):
It's just I can't eat and nothing else.
Speaker 4 (02:43):
All I do is consume what the fuck you want
to give people that are overweight a complex.
Speaker 5 (02:49):
You're doing a good job doing it because.
Speaker 4 (02:51):
That that kind of horseshit that Monica on friends.
Speaker 5 (02:55):
Fat people can't control them all.
Speaker 2 (02:57):
Don't you a fat suit?
Speaker 4 (02:58):
I do?
Speaker 5 (02:59):
I do.
Speaker 2 (03:00):
It's the last vestige of minstrelery.
Speaker 4 (03:03):
Yeah, I will say Brendan Fraser, he didn't have to
go gain three hundred pounds to do the whale, and
they get it.
Speaker 5 (03:09):
The suit weigh just as much as fine.
Speaker 4 (03:11):
Whatever all of that to say, don't care for these
kinds of stories because they are very Again, no low
hanging fruit, and they are very one note and they
are very unimagined. And the payoff for this episode is idiotic,
I think, is the nice way of putting it. It
is so childish that the conclusion to the episode could
(03:33):
have been undone by a pair of scissors.
Speaker 5 (03:35):
Wow, she died because she was an idiot. That's what
the episode is telling me.
Speaker 4 (03:40):
And I find it hard to get behind a character
that is this dumb, a episode that is expecting me
to believe a character can be this And it just
seems like everybody but Larry Gelman was having a good time,
or like everybody but he was the only one having
a good time Larry Gelman because he seems to be
knowing what the assignment was, which is being this kind
of lovelorn more But I could not abide this episode.
(04:02):
I cannot sanction as Tom fool What about you, Mike?
Speaker 3 (04:05):
Well, apparently anybody that loves her is going to be
good enough for her, even though it's Larry Gelman. I mean,
I love Larry Gelman. I've loved him since I was
a little kid and we'd see him show up and
everything from the Monkeys to Bob Newhart all the way
through so many great roles, Barney Miller's Barney Millers, Yes,
(04:26):
exactly love when this guy shows up, she is just like, Oh,
this guy likes me. But she doesn't seem to care
about that. She's just so centered on the wist trying
to lose the weight and the mysterious collar on the phone. Oh,
we've got this thing that's going to help you lose weight. Okay, great, Yeah,
I'll do whatever. And then now she hears the screams
(04:47):
of food as it's being consumed or chopped up, and
then she'll put on these horrible glasses and now she
can see talking food. And I was offended by the
puppetry in this episode. Just the worst puppets I've seen,
Just those little rubber faces, the little black dots for eyes.
(05:11):
I'm like, what are we doing here?
Speaker 4 (05:13):
Yeah, they made the California raisins look like a real
oh my god, like real feet of stop motion animation.
Speaker 5 (05:20):
These were like this was sock puppets in fruit.
Speaker 3 (05:24):
For Yeah it was. This wasn't good and it would
have been done so much quicker, and had they even
it took me the longest time to even see the pincushion,
the tomato pin cushion, and then I'm like, oh, she
must sew, and then suddenly she sewing her mouth shut.
I'm like, oh, okay, had I seen a little bit
(05:44):
more of that bee, that would have been good had
she been a seamstress rather than a telemarketer. And come on, guys,
we just saw a telemarketer last episode. What's she gonna do? Now?
Start speaking with the Spanish accent?
Speaker 5 (05:57):
Would you tell us? Did you like this episode?
Speaker 3 (06:00):
I loved it.
Speaker 5 (06:01):
It is my favorite episode of all time.
Speaker 3 (06:05):
My round, morons and food.
Speaker 5 (06:08):
Chalatan's fourth of you.
Speaker 4 (06:10):
You claim to like horror anthology, you become Kelsey Grammar.
Speaker 2 (06:14):
Apparently I invite you both to have sex with yourselves. Listen,
here's my take on the episode. Glad I had never
I this is one of the very few Talness in
the dark Side episodes that managed to elude me until now.
So this is a first watch for me as well.
And boy, let me tell you, yes, let me concur
with both of you, because I hate fat centric episodes
(06:39):
of anything, because it's either coming from a place of
ridicule or a place of modeling faue understanding, where either way,
it's a huge problem that you cannot handle yourself that
you cannot control yourself about. And that's the case here.
Like there are shots here with the film maker where
(07:01):
John Strissik has composed where she's doing dishes and in
the same shot as an open box of donuts that
she is in between dishes eating the donuts. This is
remember in Meatballs where where what's his name, Larry can't
fucking he's like on the basketball court with pulling candy
bars out of his shorts. Like same sort of thing
(07:22):
here when this episode began. And look, it's called love Hungry.
And she has a refrigerator that has one of these
like novelty alarms that you would you would probably find
it Spencer Gifts in the early nineteen eighties. Hey, fats
so close the refrigerator. That's your motivation for not eating.
But the other big facet in her house is it's
wall to wall plants, and so she's going around spraying
(07:45):
the plants. This is like one of many plots events
that don't pay off, such as the telemarketing, Like it
has no bearing on anything other than she works from
home for some reason anyway, So she has all these plants.
After the wonderful dish while eating donuts scene, she notices
the ad for the weight loss company Your weight is over, which,
(08:08):
by the way, the ad that's supposed to be in
the classified is clearly made with a dot matrix printer,
So somebody in the props department just printed that fucking
thing out because it's the same printer that they used
for her readouts of her prospective calls. It's the same
dot matrix printer that they use for the address on
the package that arrives for her. So when she receives
a phone call mysteriously and they're like they know everything
about her, including that her refrigerator makes fun of her.
Speaker 3 (08:30):
And she's like, who is this?
Speaker 2 (08:31):
I'm like, okay, is this the central mystery here? And
is it her plants? Because clearly they could go that
way now the plants are just another fucking thing to
show that she's a spinster or like an old maid
here because her weight is keeping her from getting out
there in the world.
Speaker 3 (08:46):
We just saw a woman talking to everything in her house,
like four or five episodes ago, just coming in and
talking with everything and those things. Fine, there was that
guy across the way, remember that, and him calling her
and like, hey, let's go off for a date and
her just freaking the fuck out. Yeah. I kept thinking like, okay, yeah,
(09:07):
those plants are going to start talking back anytime now.
Speaker 2 (09:10):
And let's talk about these the fruit here, the rubber
like they went down to I don't know, just like
like a KB toy store maybe or an Fao Schwartz
and they just grabbed a couple of rubber fruit and
then they pasted eyes onto them, cut mouths into them. Hey,
talking fruit. And I love that each of them have
their own personalities, the professor character and the tough guy banana,
(09:32):
and like the sort of the dame pair, or the
best one I think was the was the roast beef
and the refrigerator.
Speaker 5 (09:39):
Hey, you got a problem with me, I'll give you
some indigestion.
Speaker 2 (09:43):
If I put in an earpiece from a company that
arrived unbidden from people who knew who I was and
where I lived and everything about me, and when I
sat down to eat, and anytime people cut into or
bit into food, the food screamed, I would my next
order of business is removing the ear piece. I don't
(10:03):
care if it's stuck in there, quote unquote, I certainly
am not going to put on the glasses from the
same company, the same mystery weight loss company, because those
be confused as well. At a certain point, what is
going on in this this is the weirdest one. Like
I can't even really say I didn't like it because
it's just so fucking unusual. But at the same time,
(10:25):
what it wants to be talking about, which is fad
diets and weight loss and one's own personal shame and everything.
There's something to be mined there, and there's something that
could be that could inevitably lead to somebody sowing their
own mouth shut and having that be a horrifying ending.
This is like a jokey fucking episode. What was the
(10:46):
by the way, what is the weight loss company's plan?
Speaker 5 (10:49):
What is she supposed to eat for everyone?
Speaker 3 (10:51):
I guess is it just because they hate fat people too?
Speaker 2 (10:55):
Yeah, but so I guess they want them to all
starve because or turn them into savages, Like we're look,
at a certain point she was gonna eat. I don't
care if she fucking had the things food was getting
in her. This is mental and by like all the
transitions in this episode are super weird. Like at a
certain point, the fruit sing her to sleep and she
(11:16):
just falls asleep at the thing. It's like watching a
children's production of something like it's I don't know what's happening.
This is not a Tales from the Dark Side. This
isn't even this isn't even an Amazing Stories.
Speaker 5 (11:27):
Oh it's amazing. The story got made. I'll tell you
that much.
Speaker 2 (11:30):
I will give this one thing. When they and when
they're in the Mexican restaurant, she passes out the way
she that was awesome, like that, that looked great. But
that scene points to another thing. When I was saying
about the sort of the portrayal of fat people, if
if look, I used to be three hundred and fucking
forty pounds too before gluten free fucking kicked me down.
(11:51):
So I know full well the shame about going out
with somebody for the first time and not wanting to
appear the way you appear. And I also know that
if you're going out to eat on your first date,
you're not going to fucking shovelize your goddamn plate.
Speaker 3 (12:06):
Full and go, oh, what's gonna do?
Speaker 5 (12:09):
That's I don't know, No, I'm with you, yeah, as.
Speaker 2 (12:12):
Yeah, this was written by thin people and directed by
thin people.
Speaker 3 (12:15):
That's what I have to say.
Speaker 4 (12:16):
Correct, yeah, as a fat person. It is not directed
by someone who's so yeah.
Speaker 2 (12:22):
All of these fat sort of episodes, these very special episodes,
always come from someone who isn't or they came from
fucking Louis c K who is a fat man, and
then wrote the most model and treacly, fucking bullshit episode
that people were praising for anyway, they did it on taxi.
I had to fucking deal with it there too. Couldn't
believe I had to deal with it here on dark side.
Fuck this episode. The Deal. Season four, episode twelve, aired
(12:43):
originally on February twenty eighth, nineteen eighty eight, Written by
Granville Burgess and Alan Coulter. Now this is only one
of maybe two or three things Alan Coulter wrote. He
is a director still working to this day. Eleven Boardwalk Empires,
twelve Sopranos. He directed the film Hollywood Land. Anyway, he
just wrote this one. It was directed by TJ. Castronova
and starring a fucking cavalcade of fucking character actors, Alan Garfield,
(13:08):
Bradley Whitford or Robert Costanza and somebody named Alyssa pattern Ouster.
Remember when I said earlier, when we were reviewing the
series that deal with the Devil episodes are guaranteed quality.
Speaker 3 (13:19):
Oh yeah, yeah, they're fantastic. They're really really good.
Speaker 5 (13:23):
Right, the best. I have never had a worse What.
Speaker 2 (13:26):
Tom Dash is an aspiring screenwriter. He'll do anything to
sell a script. Scratch that, he'll do anything to have
creative control. Scratch that, he'll do anything to run a studio. Mike,
what you think of this one?
Speaker 3 (13:36):
He didn't even sign a contract. I mean, he just said, oh,
I do anything to do this. I'm like, and then
Alan Garfield's oh okay, yeah sure, And then the next
day of the phone's bringing I'm.
Speaker 5 (13:46):
Like, that's consent, Mike.
Speaker 3 (13:48):
Is that that? Because no means just come on. I
think that I'm Ron Glass in Sherman Helmsley. I would
sell my soul to solve this problem, like some thing
like that you have to say, rather than I do
anything to sell this script. And yeah, what a waste
of falent with this one. I was so thrilled when
(14:09):
I was, Oh, Bradley Whitford, isn't this Oh this is great?
Alan Garfield and he's playing multiple roles. Oh this is
going to be so great. Man oh man, oh man,
I beg for the days of dan Hedeia playing. This
was just not good at all, even when it came
to the big twist at the end, when it's I
want to sell my soul to the devil, and're like okay,
(14:31):
and then he makes Bradley Woodford disappear and it's again,
you didn't sign a contract, didn't do anything. That was
she got duped by pretending to want to sell her
soul to the devil. That's not legally binding in court.
I watched a lot of paper chase, and this has
no leg to stand on. Maybe this fractured court that
we currently have would do that would uphold any decisions
(14:54):
that the devil has, But in a nineteen eighty four
court or whatever, nineteen eighty eight, I'm sorry, no, I
don't think so. I don't think that the devil has
like to stand on here. I think we get Damie
Webster in there. The soul thing's dismissed.
Speaker 4 (15:09):
Would you think, Chris, I'll make this joke now, because
I don't think I've talked about him and anything else.
Speaker 5 (15:14):
Can you guys hear him?
Speaker 3 (15:15):
No? Nope?
Speaker 5 (15:16):
Okay, cool? Never mind.
Speaker 4 (15:17):
Then, what a disappointment that this isn't the lead singer
of Aerosmith, though I'm sure if or not the lead singer,
but one of the members of Aerosmith, because even if
he had been in it, this is the fly in
the ointment, as it were, or the exception that proves
a rule. This is the first bad one of these.
It's really disappointing how not good this episode is because
this feels like a relatively safe bet a devil character
(15:40):
in Hollywood in the eighties, like Jesus Christ. That feels
like a layup, as what they would call it in basketball,
and instead it's just meandering and idiotic because they don't
even understand the rules of the premise that they've presented,
the rules of the premise that have existed fucking essentially
since biblical times. If you come to the devil explicitly
(16:03):
asking for something, it is not just hey, Mike, I
do anything for a chicken sandwich. Hey, by the way,
I'm the devil, and now you I've got your soul
for a chicken sandwich.
Speaker 5 (16:11):
What the fuck? Wait?
Speaker 4 (16:12):
Is sell it to the devil? Is on my soul
to the devil by accident. It's playing very unfair, and
that's the problem that I have with the rules of
the episode because nothing I'm saying you need to follow
the rules strictly. But if you're gonna do something interesting
with them, do something interesting with them, don't just ignore
that they exist, because that's more. What it feels like
(16:33):
here is we're going to play fast and loose with
something that, like everybody knows selling your soul to the devil,
that's a well known trope. It is a very well
established and here they're just like, what if we just
did like three quarters of them but pretended like we
did it a hunt And I just I don't know,
I feel like that's lazy, and it wiels out in
the episode because Bradley Whitford's time is.
Speaker 5 (16:53):
Just it, which is a shame because I really like him.
He's a good actor. Father Blane, what about you?
Speaker 2 (16:58):
Are you saying the Devil isn't playing fans in this episode?
Speaker 5 (17:01):
What are you going to do?
Speaker 3 (17:02):
I'm the devil?
Speaker 5 (17:02):
Hey, Hey, Lucifer, Loucifer.
Speaker 2 (17:08):
Here's what I'll say in favor of the episode. Obviously,
the performance is good.
Speaker 5 (17:12):
I'm smiting here.
Speaker 2 (17:13):
A jolly devil is at Alan Garfield's portrayal of the Devil.
Early on just giggly and fun and then this all great.
I was won over by that. He does sign a contract. Actually, Mike,
I know because I've wrote it in my notes, because
the effect was actually good. Where as soon as it
was signed, the ink started smoking on the page. It
was clearly a physical effect. So he did after the fact.
(17:34):
That was the second thing.
Speaker 4 (17:36):
That was the second thing that he asked for, not
the first thing, right, the first thing.
Speaker 5 (17:39):
He first thing.
Speaker 2 (17:41):
The first thing was graddess. That was just to show
that he could get it. And then he was like
and then he was like, yo, man, I'm the devil,
and now we're gonna have to sign a contract for
the rest and he's like, okay, cool.
Speaker 5 (17:51):
So I think the.
Speaker 4 (17:52):
Devil came up to me and was like, Yo, man,
I'm the devil. I'd be like, you seem pretty cool.
Speaker 2 (17:58):
That would be a tactic the devil to employ because
no one would believe him, and you'd sign up, and
then he's got your soul.
Speaker 5 (18:04):
Yo man, I'm the devil.
Speaker 2 (18:06):
So Bobby on the phone must be Bobby de Niro, right,
the actor that he's trying to get the whole time.
Speaker 5 (18:11):
Yeah, yeah, I assume.
Speaker 4 (18:13):
So one of those things again.
Speaker 3 (18:16):
Yeah, I was like, okay, speaking of.
Speaker 4 (18:18):
The Alan Colter of it all and the Sopranos. In
that episode of The Sopranos d Girl where they were
doing the same thing where it's well Quinton and Paul
and it's like, are you talking about like Quentin Tarantino
and Paul Thomas Anderson.
Speaker 5 (18:29):
Okay, Yeah.
Speaker 4 (18:30):
Alan Colter directed a lot of the early episodes of
The Sopranos, a lot of the big ones, he directed
to College and Isabella, and a whole lot of season two,
so we've been watching a lot of Alan Colter's stuff.
He also directed Hollywood Land.
Speaker 2 (18:44):
Speaking of things not knowing its own rules. This guy
is an aspiring screenwriter in Hollywood. He says he's been
there for ten years, and he doesn't understand that even
if he were to make it as a screenwriter in Hollywood,
then he's still on the lowest rung on the fucking
ladder that they're just going to do whatever they want
with his screenplay. That's a surprise to him at some point.
Speaker 5 (19:02):
Which is where's Richard had him when you need him
to tear this episode? Then?
Speaker 2 (19:05):
Really really the other insanity of that, and then he's like,
I want creative control. So let's make you a studio head.
That's not what a studio head does. They don't write
the scripts and then put the deal together, and then
out of the fucking blue we get a third character,
or a fourth rather, which is his girlfriend who we've
not met. She shows up like in the beginning of
(19:26):
act three somehow and is like bitching him out because
he's not going to give her the part because Bobby
de Niro wants his girlfriend to be in that particular picture.
First of all, aren't.
Speaker 3 (19:35):
There any other roles in that movie?
Speaker 2 (19:37):
And if not, you're running a studio. Give her her
own vehicle. Why is this thing doesn't understand its own self?
This was written by people working in Hollywood. What's happening?
Speaker 5 (19:49):
Allegedly?
Speaker 2 (19:50):
Allegedly, No, they definitely do.
Speaker 4 (19:52):
I mean again, like they don't understand the rules of Hollywood.
They don't understand the rules of making a rule with
the devil, a deal with the devil, a deal with
the devil, to the point where the name but the
episode is the deal, as in the deal that Bradley
Wood for makes with the devil.
Speaker 2 (20:05):
I know a guy personally in Pittsburgh who can make
blood like you can taste this baby.
Speaker 5 (20:11):
That's a vinie. I'm assuming that they were mentioning there, right.
Speaker 2 (20:13):
Oh yeah, that's the only reference I really enjoyed.
Speaker 3 (20:16):
Yeah, I think we missed a living Dead reference on
that last one.
Speaker 2 (20:22):
Wasn't the Night of the Eating Dead?
Speaker 5 (20:30):
Honestly, Alan Garfield just reminds me of.
Speaker 2 (20:32):
You're talking about Max wolf Of, owner of the Saturn Theater.
Speaker 3 (20:36):
That's right, and it's crazy.
Speaker 4 (20:38):
The guy plays Zodiac in Twisty the Clown.
Speaker 2 (20:41):
Are you talking about John carol Lynch, John.
Speaker 3 (20:45):
Ca he was. You can't prove that, right, I was.
Speaker 4 (20:50):
I wouldn't tell you that's right, right, Sorry, sorry, Arthur Lee.
I'm Arthur Lee Allen.
Speaker 3 (20:56):
Yes please, yeah, no, it was my father. My father
wrote and I'm gonna a whole book all about it.
Speaker 4 (21:01):
Right, every year somebody's dad has been the zodiacullar. It's
very strange than usual. He just has that energy John
Carro Lynch energy, John Caro Lynch can when he was
playing Twisty to Clown, he had that whimsy but kind
of fear and terror about him, and you know the devil.
Speaker 5 (21:17):
He is the devil still.
Speaker 4 (21:19):
He's just presenting himself in human because his real form
is too horrifying to interpret with our eyes. That's isn't
that what they always say?
Speaker 2 (21:27):
The cherry on the cake. And this particular fucking episode
is at the end, when they finally go to the credits,
they do this terrible synth score version. It's not even
the version, it's a faux version of Hooray for Hollywood.
So it's one of these vaguely you go, is.
Speaker 3 (21:44):
That lay for Hollywood?
Speaker 2 (21:45):
And it's like just on a profit five, it's the
worst sounding thing ever. It's just Hey, just to remind
you that this was one of the worst episodes you've
ever seen, Let's play.
Speaker 5 (21:55):
You out whoa one of the worst?
Speaker 4 (21:57):
Yeah, it's the worst of the make a Deal with
the Devil episode.
Speaker 5 (22:01):
That's a given.
Speaker 4 (22:02):
But again, like, if you know what you can really
high bar.
Speaker 2 (22:06):
Right, but if you make a bad deal with the
Devil episode, that's the worst episode of your series.
Speaker 3 (22:11):
Like it's so.
Speaker 4 (22:14):
When you do this poorly and you when you fuck
up the specific things that this episode fucks up so badly,
like you don't even understand and you don't even understand
the concept of making a deal with the devil, Like
when it's one of those things where when you watch
like those cooking shows and someone's they make something that's
not what they're asked to make, but they try to
pass it off anyways, and the judges like, this is
(22:36):
disqualified just on the grounds of this isn't at all
what we expected it to be. This episode is a
brief Yeah, this is verging on that where it's like
you don't even understand what the fuck making a Deal
with the Devil is, like, you don't get it at all.
Speaker 3 (22:49):
I know it was an episode and not a Devil episode,
but this reminded me a lot of Let the games begin,
Where was Earl Hinman or Hindman in that hotel room
and it was David Growe and James Jane Summer Hayes. Oh,
whoever leaves with him gets his soul, you know that
whole thing. Yeah, that was horrible. This is worse though,
(23:10):
I think this to your point, this is the worst
make a Deal with the Devil episode we've seen so.
Speaker 5 (23:16):
Far well, and all of them have been good. That's
the other problem. Give you're the only bad one, then
like you're.
Speaker 4 (23:21):
Fucked as it is, because this is the first this
is the first genuinely bad one.
Speaker 2 (23:26):
We've seen I vote no, don't watch this one.
Speaker 5 (23:29):
How about bringing that back? I like it?
Speaker 2 (23:32):
On the next episode of Midnight Viewing, We'll be taking
a look the next two episodes of season four. Those
are The Apprentice and The Cutty Black Sow. Midnight Viewing
is a proud member of a weird and away media group.
Our theme song was composed by HP with an assist
by Donald Rubinstein. Until next time? What are you working on?
Where can people find it?
Speaker 3 (23:49):
Mike White? Everything that I work on is available at
Weirdingwaymedia dot com. It's the network for all good How
about you Chris?
Speaker 4 (23:58):
As one of the people who is part of that network,
I can agree. Weirdingway Media is the place that you
can go to listen to all the podcasts you should
be listened, including this one, including The Projection Booth, including
my show, The Culture Cast, and a whole bunch of
other shows, The TV Ladies, Flamentaries, Twisted and Uncorked, There's
a lot of noise. Junkies is back in a whole
new way. There's plenty of stuff to listen to over
Weirdingway Media, and if you're not taking advantage of it,
(24:20):
what's stopping you it's free fall alone.
Speaker 5 (24:23):
What about you?
Speaker 2 (24:24):
As for me, Patreon dot com, slash followm alone. If
you want to subscribe, you get shows early and commercial
free and such and such, and you know stuff like that.
We've got a lot of stuff coming out. I don't
know when this episode is airing, so I'm not gonna
specifically call out anything, but go to all those places
and if you want to hear, if you want to
talk to me at all, follow Alone seven to one
at gmail dot com. Until next time, try to enjoy
(24:46):
the daylight, everybody.
Speaker 5 (25:11):
Rangel Sa
Wait Wait, said in.
Speaker 2 (01:01):
Welcome back to Midnight Viewing, the horror anthology podcast, where
this season we're taking a look at George Abramero's nineteen
eighties series Tales from the Dark Side. Sharing the Midnight
view with me are the projection Booths, Mike.
Speaker 3 (01:13):
White, I Sure I Am Hungry?
Speaker 2 (01:16):
And the culture cast Chris Stature Love Hungry. Tonight, we're
taking a look at the next two episodes of season four,
the final season of Tales from the Dark Sign. Those
are Love Hungry and the Deal Love Hungry Season four,
episode eleven, originally aired on February twenty first, nineteen eighty eight.
Written by John Stissick from a short story by Roberts Ganaway,
(01:39):
directed by John Stisick, starring Sharon Madden, Larry Gelman, and
a bunch of fruit.
Speaker 3 (01:44):
This is the story.
Speaker 2 (01:44):
This is the story of a telemarketer struggling with her
weight and she tries the latest fad diet. What did
you think of this, Chris?
Speaker 4 (01:52):
Oh, dear, wow, fat people can't stop eating?
Speaker 5 (01:56):
Well, are you fat?
Speaker 4 (01:57):
You know?
Speaker 5 (01:57):
As a fat per it? Really? Fat people really are monds.
Speaker 3 (02:02):
That's true. That's true. All they should be shunned and ridicule.
Speaker 5 (02:06):
Yes, yeah, exactly, Mike, you read my mind.
Speaker 4 (02:10):
Man, I think the thing for me that has always
been so low hanging fruit, no pun in, especially with
this goddamn joke of it is when you have a
fat person, they're fat by Hollywood standards. First off, like
Sharon Madden.
Speaker 2 (02:26):
She is a normal midwesterner exactly like I see women
like her every day, every secondly.
Speaker 4 (02:33):
It once again does come back to and Mike, you
always mentioned this. I hate when characters portrayed drunk. I
hate when characters are written as fat because.
Speaker 5 (02:41):
It's just I can't eat and nothing else.
Speaker 4 (02:43):
All I do is consume what the fuck you want
to give people that are overweight a complex.
Speaker 5 (02:49):
You're doing a good job doing it because.
Speaker 4 (02:51):
That that kind of horseshit that Monica on friends.
Speaker 5 (02:55):
Fat people can't control them all.
Speaker 2 (02:57):
Don't you a fat suit?
Speaker 4 (02:58):
I do?
Speaker 5 (02:59):
I do.
Speaker 2 (03:00):
It's the last vestige of minstrelery.
Speaker 4 (03:03):
Yeah, I will say Brendan Fraser, he didn't have to
go gain three hundred pounds to do the whale, and
they get it.
Speaker 5 (03:09):
The suit weigh just as much as fine.
Speaker 4 (03:11):
Whatever all of that to say, don't care for these
kinds of stories because they are very Again, no low
hanging fruit, and they are very one note and they
are very unimagined. And the payoff for this episode is idiotic,
I think, is the nice way of putting it. It
is so childish that the conclusion to the episode could
(03:33):
have been undone by a pair of scissors.
Speaker 5 (03:35):
Wow, she died because she was an idiot. That's what
the episode is telling me.
Speaker 4 (03:40):
And I find it hard to get behind a character
that is this dumb, a episode that is expecting me
to believe a character can be this And it just
seems like everybody but Larry Gelman was having a good time,
or like everybody but he was the only one having
a good time Larry Gelman because he seems to be
knowing what the assignment was, which is being this kind
of lovelorn more But I could not abide this episode.
(04:02):
I cannot sanction as Tom fool What about you, Mike?
Speaker 3 (04:05):
Well, apparently anybody that loves her is going to be
good enough for her, even though it's Larry Gelman. I mean,
I love Larry Gelman. I've loved him since I was
a little kid and we'd see him show up and
everything from the Monkeys to Bob Newhart all the way
through so many great roles, Barney Miller's Barney Millers, Yes,
(04:26):
exactly love when this guy shows up, she is just like, Oh,
this guy likes me. But she doesn't seem to care
about that. She's just so centered on the wist trying
to lose the weight and the mysterious collar on the phone. Oh,
we've got this thing that's going to help you lose weight. Okay, great, Yeah,
I'll do whatever. And then now she hears the screams
(04:47):
of food as it's being consumed or chopped up, and
then she'll put on these horrible glasses and now she
can see talking food. And I was offended by the
puppetry in this episode. Just the worst puppets I've seen,
Just those little rubber faces, the little black dots for eyes.
(05:11):
I'm like, what are we doing here?
Speaker 4 (05:13):
Yeah, they made the California raisins look like a real
oh my god, like real feet of stop motion animation.
Speaker 5 (05:20):
These were like this was sock puppets in fruit.
Speaker 3 (05:24):
For Yeah it was. This wasn't good and it would
have been done so much quicker, and had they even
it took me the longest time to even see the pincushion,
the tomato pin cushion, and then I'm like, oh, she
must sew, and then suddenly she sewing her mouth shut.
I'm like, oh, okay, had I seen a little bit
(05:44):
more of that bee, that would have been good had
she been a seamstress rather than a telemarketer. And come on, guys,
we just saw a telemarketer last episode. What's she gonna do? Now?
Start speaking with the Spanish accent?
Speaker 5 (05:57):
Would you tell us? Did you like this episode?
Speaker 3 (06:00):
I loved it.
Speaker 5 (06:01):
It is my favorite episode of all time.
Speaker 3 (06:05):
My round, morons and food.
Speaker 5 (06:08):
Chalatan's fourth of you.
Speaker 4 (06:10):
You claim to like horror anthology, you become Kelsey Grammar.
Speaker 2 (06:14):
Apparently I invite you both to have sex with yourselves. Listen,
here's my take on the episode. Glad I had never
I this is one of the very few Talness in
the dark Side episodes that managed to elude me until now.
So this is a first watch for me as well.
And boy, let me tell you, yes, let me concur
with both of you, because I hate fat centric episodes
(06:39):
of anything, because it's either coming from a place of
ridicule or a place of modeling faue understanding, where either way,
it's a huge problem that you cannot handle yourself that
you cannot control yourself about. And that's the case here.
Like there are shots here with the film maker where
(07:01):
John Strissik has composed where she's doing dishes and in
the same shot as an open box of donuts that
she is in between dishes eating the donuts. This is
remember in Meatballs where where what's his name, Larry can't
fucking he's like on the basketball court with pulling candy
bars out of his shorts. Like same sort of thing
(07:22):
here when this episode began. And look, it's called love Hungry.
And she has a refrigerator that has one of these
like novelty alarms that you would you would probably find
it Spencer Gifts in the early nineteen eighties. Hey, fats
so close the refrigerator. That's your motivation for not eating.
But the other big facet in her house is it's
wall to wall plants, and so she's going around spraying
(07:45):
the plants. This is like one of many plots events
that don't pay off, such as the telemarketing, Like it
has no bearing on anything other than she works from
home for some reason anyway, So she has all these plants.
After the wonderful dish while eating donuts scene, she notices
the ad for the weight loss company Your weight is over, which,
(08:08):
by the way, the ad that's supposed to be in
the classified is clearly made with a dot matrix printer,
So somebody in the props department just printed that fucking
thing out because it's the same printer that they used
for her readouts of her prospective calls. It's the same
dot matrix printer that they use for the address on
the package that arrives for her. So when she receives
a phone call mysteriously and they're like they know everything
about her, including that her refrigerator makes fun of her.
Speaker 3 (08:30):
And she's like, who is this?
Speaker 2 (08:31):
I'm like, okay, is this the central mystery here? And
is it her plants? Because clearly they could go that
way now the plants are just another fucking thing to
show that she's a spinster or like an old maid
here because her weight is keeping her from getting out
there in the world.
Speaker 3 (08:46):
We just saw a woman talking to everything in her house,
like four or five episodes ago, just coming in and
talking with everything and those things. Fine, there was that
guy across the way, remember that, and him calling her
and like, hey, let's go off for a date and
her just freaking the fuck out. Yeah. I kept thinking like, okay, yeah,
(09:07):
those plants are going to start talking back anytime now.
Speaker 2 (09:10):
And let's talk about these the fruit here, the rubber
like they went down to I don't know, just like
like a KB toy store maybe or an Fao Schwartz
and they just grabbed a couple of rubber fruit and
then they pasted eyes onto them, cut mouths into them. Hey,
talking fruit. And I love that each of them have
their own personalities, the professor character and the tough guy banana,
(09:32):
and like the sort of the dame pair, or the
best one I think was the was the roast beef
and the refrigerator.
Speaker 5 (09:39):
Hey, you got a problem with me, I'll give you
some indigestion.
Speaker 2 (09:43):
If I put in an earpiece from a company that
arrived unbidden from people who knew who I was and
where I lived and everything about me, and when I
sat down to eat, and anytime people cut into or
bit into food, the food screamed, I would my next
order of business is removing the ear piece. I don't
(10:03):
care if it's stuck in there, quote unquote, I certainly
am not going to put on the glasses from the
same company, the same mystery weight loss company, because those
be confused as well. At a certain point, what is
going on in this this is the weirdest one. Like
I can't even really say I didn't like it because
it's just so fucking unusual. But at the same time,
(10:25):
what it wants to be talking about, which is fad
diets and weight loss and one's own personal shame and everything.
There's something to be mined there, and there's something that
could be that could inevitably lead to somebody sowing their
own mouth shut and having that be a horrifying ending.
This is like a jokey fucking episode. What was the
(10:46):
by the way, what is the weight loss company's plan?
Speaker 5 (10:49):
What is she supposed to eat for everyone?
Speaker 3 (10:51):
I guess is it just because they hate fat people too?
Speaker 2 (10:55):
Yeah, but so I guess they want them to all
starve because or turn them into savages, Like we're look,
at a certain point she was gonna eat. I don't
care if she fucking had the things food was getting
in her. This is mental and by like all the
transitions in this episode are super weird. Like at a
certain point, the fruit sing her to sleep and she
(11:16):
just falls asleep at the thing. It's like watching a
children's production of something like it's I don't know what's happening.
This is not a Tales from the Dark Side. This
isn't even this isn't even an Amazing Stories.
Speaker 5 (11:27):
Oh it's amazing. The story got made. I'll tell you
that much.
Speaker 2 (11:30):
I will give this one thing. When they and when
they're in the Mexican restaurant, she passes out the way
she that was awesome, like that, that looked great. But
that scene points to another thing. When I was saying
about the sort of the portrayal of fat people, if
if look, I used to be three hundred and fucking
forty pounds too before gluten free fucking kicked me down.
(11:51):
So I know full well the shame about going out
with somebody for the first time and not wanting to
appear the way you appear. And I also know that
if you're going out to eat on your first date,
you're not going to fucking shovelize your goddamn plate.
Speaker 3 (12:06):
Full and go, oh, what's gonna do?
Speaker 5 (12:09):
That's I don't know, No, I'm with you, yeah, as.
Speaker 2 (12:12):
Yeah, this was written by thin people and directed by
thin people.
Speaker 3 (12:15):
That's what I have to say.
Speaker 4 (12:16):
Correct, yeah, as a fat person. It is not directed
by someone who's so yeah.
Speaker 2 (12:22):
All of these fat sort of episodes, these very special episodes,
always come from someone who isn't or they came from
fucking Louis c K who is a fat man, and
then wrote the most model and treacly, fucking bullshit episode
that people were praising for anyway, they did it on taxi.
I had to fucking deal with it there too. Couldn't
believe I had to deal with it here on dark side.
Fuck this episode. The Deal. Season four, episode twelve, aired
(12:43):
originally on February twenty eighth, nineteen eighty eight, Written by
Granville Burgess and Alan Coulter. Now this is only one
of maybe two or three things Alan Coulter wrote. He
is a director still working to this day. Eleven Boardwalk Empires,
twelve Sopranos. He directed the film Hollywood Land. Anyway, he
just wrote this one. It was directed by TJ. Castronova
and starring a fucking cavalcade of fucking character actors, Alan Garfield,
(13:08):
Bradley Whitford or Robert Costanza and somebody named Alyssa pattern Ouster.
Remember when I said earlier, when we were reviewing the
series that deal with the Devil episodes are guaranteed quality.
Speaker 3 (13:19):
Oh yeah, yeah, they're fantastic. They're really really good.
Speaker 5 (13:23):
Right, the best. I have never had a worse What.
Speaker 2 (13:26):
Tom Dash is an aspiring screenwriter. He'll do anything to
sell a script. Scratch that, he'll do anything to have
creative control. Scratch that, he'll do anything to run a studio. Mike,
what you think of this one?
Speaker 3 (13:36):
He didn't even sign a contract. I mean, he just said, oh,
I do anything to do this. I'm like, and then
Alan Garfield's oh okay, yeah sure, And then the next
day of the phone's bringing I'm.
Speaker 5 (13:46):
Like, that's consent, Mike.
Speaker 3 (13:48):
Is that that? Because no means just come on. I
think that I'm Ron Glass in Sherman Helmsley. I would
sell my soul to solve this problem, like some thing
like that you have to say, rather than I do
anything to sell this script. And yeah, what a waste
of falent with this one. I was so thrilled when
(14:09):
I was, Oh, Bradley Whitford, isn't this Oh this is great?
Alan Garfield and he's playing multiple roles. Oh this is
going to be so great. Man oh man, oh man,
I beg for the days of dan Hedeia playing. This
was just not good at all, even when it came
to the big twist at the end, when it's I
want to sell my soul to the devil, and're like okay,
(14:31):
and then he makes Bradley Woodford disappear and it's again,
you didn't sign a contract, didn't do anything. That was
she got duped by pretending to want to sell her
soul to the devil. That's not legally binding in court.
I watched a lot of paper chase, and this has
no leg to stand on. Maybe this fractured court that
we currently have would do that would uphold any decisions
(14:54):
that the devil has, But in a nineteen eighty four
court or whatever, nineteen eighty eight, I'm sorry, no, I
don't think so. I don't think that the devil has
like to stand on here. I think we get Damie
Webster in there. The soul thing's dismissed.
Speaker 4 (15:09):
Would you think, Chris, I'll make this joke now, because
I don't think I've talked about him and anything else.
Speaker 5 (15:14):
Can you guys hear him?
Speaker 3 (15:15):
No? Nope?
Speaker 5 (15:16):
Okay, cool? Never mind.
Speaker 4 (15:17):
Then, what a disappointment that this isn't the lead singer
of Aerosmith, though I'm sure if or not the lead singer,
but one of the members of Aerosmith, because even if
he had been in it, this is the fly in
the ointment, as it were, or the exception that proves
a rule. This is the first bad one of these.
It's really disappointing how not good this episode is because
this feels like a relatively safe bet a devil character
(15:40):
in Hollywood in the eighties, like Jesus Christ. That feels
like a layup, as what they would call it in basketball,
and instead it's just meandering and idiotic because they don't
even understand the rules of the premise that they've presented,
the rules of the premise that have existed fucking essentially
since biblical times. If you come to the devil explicitly
(16:03):
asking for something, it is not just hey, Mike, I
do anything for a chicken sandwich. Hey, by the way,
I'm the devil, and now you I've got your soul
for a chicken sandwich.
Speaker 5 (16:11):
What the fuck? Wait?
Speaker 4 (16:12):
Is sell it to the devil? Is on my soul
to the devil by accident. It's playing very unfair, and
that's the problem that I have with the rules of
the episode because nothing I'm saying you need to follow
the rules strictly. But if you're gonna do something interesting
with them, do something interesting with them, don't just ignore
that they exist, because that's more. What it feels like
(16:33):
here is we're going to play fast and loose with
something that, like everybody knows selling your soul to the devil,
that's a well known trope. It is a very well
established and here they're just like, what if we just
did like three quarters of them but pretended like we
did it a hunt And I just I don't know,
I feel like that's lazy, and it wiels out in
the episode because Bradley Whitford's time is.
Speaker 5 (16:53):
Just it, which is a shame because I really like him.
He's a good actor. Father Blane, what about you?
Speaker 2 (16:58):
Are you saying the Devil isn't playing fans in this episode?
Speaker 5 (17:01):
What are you going to do?
Speaker 3 (17:02):
I'm the devil?
Speaker 5 (17:02):
Hey, Hey, Lucifer, Loucifer.
Speaker 2 (17:08):
Here's what I'll say in favor of the episode. Obviously,
the performance is good.
Speaker 5 (17:12):
I'm smiting here.
Speaker 2 (17:13):
A jolly devil is at Alan Garfield's portrayal of the Devil.
Early on just giggly and fun and then this all great.
I was won over by that. He does sign a contract. Actually, Mike,
I know because I've wrote it in my notes, because
the effect was actually good. Where as soon as it
was signed, the ink started smoking on the page. It
was clearly a physical effect. So he did after the fact.
(17:34):
That was the second thing.
Speaker 4 (17:36):
That was the second thing that he asked for, not
the first thing, right, the first thing.
Speaker 5 (17:39):
He first thing.
Speaker 2 (17:41):
The first thing was graddess. That was just to show
that he could get it. And then he was like
and then he was like, yo, man, I'm the devil,
and now we're gonna have to sign a contract for
the rest and he's like, okay, cool.
Speaker 5 (17:51):
So I think the.
Speaker 4 (17:52):
Devil came up to me and was like, Yo, man,
I'm the devil. I'd be like, you seem pretty cool.
Speaker 2 (17:58):
That would be a tactic the devil to employ because
no one would believe him, and you'd sign up, and
then he's got your soul.
Speaker 5 (18:04):
Yo man, I'm the devil.
Speaker 2 (18:06):
So Bobby on the phone must be Bobby de Niro, right,
the actor that he's trying to get the whole time.
Speaker 5 (18:11):
Yeah, yeah, I assume.
Speaker 4 (18:13):
So one of those things again.
Speaker 3 (18:16):
Yeah, I was like, okay, speaking of.
Speaker 4 (18:18):
The Alan Colter of it all and the Sopranos. In
that episode of The Sopranos d Girl where they were
doing the same thing where it's well Quinton and Paul
and it's like, are you talking about like Quentin Tarantino
and Paul Thomas Anderson.
Speaker 5 (18:29):
Okay, Yeah.
Speaker 4 (18:30):
Alan Colter directed a lot of the early episodes of
The Sopranos, a lot of the big ones, he directed
to College and Isabella, and a whole lot of season two,
so we've been watching a lot of Alan Colter's stuff.
He also directed Hollywood Land.
Speaker 2 (18:44):
Speaking of things not knowing its own rules. This guy
is an aspiring screenwriter in Hollywood. He says he's been
there for ten years, and he doesn't understand that even
if he were to make it as a screenwriter in Hollywood,
then he's still on the lowest rung on the fucking
ladder that they're just going to do whatever they want
with his screenplay. That's a surprise to him at some point.
Speaker 5 (19:02):
Which is where's Richard had him when you need him
to tear this episode? Then?
Speaker 2 (19:05):
Really really the other insanity of that, and then he's like,
I want creative control. So let's make you a studio head.
That's not what a studio head does. They don't write
the scripts and then put the deal together, and then
out of the fucking blue we get a third character,
or a fourth rather, which is his girlfriend who we've
not met. She shows up like in the beginning of
(19:26):
act three somehow and is like bitching him out because
he's not going to give her the part because Bobby
de Niro wants his girlfriend to be in that particular picture.
First of all, aren't.
Speaker 3 (19:35):
There any other roles in that movie?
Speaker 2 (19:37):
And if not, you're running a studio. Give her her
own vehicle. Why is this thing doesn't understand its own self?
This was written by people working in Hollywood. What's happening?
Speaker 5 (19:49):
Allegedly?
Speaker 2 (19:50):
Allegedly, No, they definitely do.
Speaker 4 (19:52):
I mean again, like they don't understand the rules of Hollywood.
They don't understand the rules of making a rule with
the devil, a deal with the devil, a deal with
the devil, to the point where the name but the
episode is the deal, as in the deal that Bradley
Wood for makes with the devil.
Speaker 2 (20:05):
I know a guy personally in Pittsburgh who can make
blood like you can taste this baby.
Speaker 5 (20:11):
That's a vinie. I'm assuming that they were mentioning there, right.
Speaker 2 (20:13):
Oh yeah, that's the only reference I really enjoyed.
Speaker 3 (20:16):
Yeah, I think we missed a living Dead reference on
that last one.
Speaker 2 (20:22):
Wasn't the Night of the Eating Dead?
Speaker 5 (20:30):
Honestly, Alan Garfield just reminds me of.
Speaker 2 (20:32):
You're talking about Max wolf Of, owner of the Saturn Theater.
Speaker 3 (20:36):
That's right, and it's crazy.
Speaker 4 (20:38):
The guy plays Zodiac in Twisty the Clown.
Speaker 2 (20:41):
Are you talking about John carol Lynch, John.
Speaker 3 (20:45):
Ca he was. You can't prove that, right, I was.
Speaker 4 (20:50):
I wouldn't tell you that's right, right, Sorry, sorry, Arthur Lee.
I'm Arthur Lee Allen.
Speaker 3 (20:56):
Yes please, yeah, no, it was my father. My father
wrote and I'm gonna a whole book all about it.
Speaker 4 (21:01):
Right, every year somebody's dad has been the zodiacullar. It's
very strange than usual. He just has that energy John
Carro Lynch energy, John Caro Lynch can when he was
playing Twisty to Clown, he had that whimsy but kind
of fear and terror about him, and you know the devil.
Speaker 5 (21:17):
He is the devil still.
Speaker 4 (21:19):
He's just presenting himself in human because his real form
is too horrifying to interpret with our eyes. That's isn't
that what they always say?
Speaker 2 (21:27):
The cherry on the cake. And this particular fucking episode
is at the end, when they finally go to the credits,
they do this terrible synth score version. It's not even
the version, it's a faux version of Hooray for Hollywood.
So it's one of these vaguely you go, is.
Speaker 3 (21:44):
That lay for Hollywood?
Speaker 2 (21:45):
And it's like just on a profit five, it's the
worst sounding thing ever. It's just Hey, just to remind
you that this was one of the worst episodes you've
ever seen, Let's play.
Speaker 5 (21:55):
You out whoa one of the worst?
Speaker 4 (21:57):
Yeah, it's the worst of the make a Deal with
the Devil episode.
Speaker 5 (22:01):
That's a given.
Speaker 4 (22:02):
But again, like, if you know what you can really
high bar.
Speaker 2 (22:06):
Right, but if you make a bad deal with the
Devil episode, that's the worst episode of your series.
Speaker 3 (22:11):
Like it's so.
Speaker 4 (22:14):
When you do this poorly and you when you fuck
up the specific things that this episode fucks up so badly,
like you don't even understand and you don't even understand
the concept of making a deal with the devil, Like
when it's one of those things where when you watch
like those cooking shows and someone's they make something that's
not what they're asked to make, but they try to
pass it off anyways, and the judges like, this is
(22:36):
disqualified just on the grounds of this isn't at all
what we expected it to be. This episode is a
brief Yeah, this is verging on that where it's like
you don't even understand what the fuck making a Deal
with the Devil is, like, you don't get it at all.
Speaker 3 (22:49):
I know it was an episode and not a Devil episode,
but this reminded me a lot of Let the games begin,
Where was Earl Hinman or Hindman in that hotel room
and it was David Growe and James Jane Summer Hayes. Oh,
whoever leaves with him gets his soul, you know that
whole thing. Yeah, that was horrible. This is worse though,
(23:10):
I think this to your point, this is the worst
make a Deal with the Devil episode we've seen so.
Speaker 5 (23:16):
Far well, and all of them have been good. That's
the other problem. Give you're the only bad one, then
like you're.
Speaker 4 (23:21):
Fucked as it is, because this is the first this
is the first genuinely bad one.
Speaker 2 (23:26):
We've seen I vote no, don't watch this one.
Speaker 5 (23:29):
How about bringing that back? I like it?
Speaker 2 (23:32):
On the next episode of Midnight Viewing, We'll be taking
a look the next two episodes of season four. Those
are The Apprentice and The Cutty Black Sow. Midnight Viewing
is a proud member of a weird and away media group.
Our theme song was composed by HP with an assist
by Donald Rubinstein. Until next time? What are you working on?
Where can people find it?
Speaker 3 (23:49):
Mike White? Everything that I work on is available at
Weirdingwaymedia dot com. It's the network for all good How
about you Chris?
Speaker 4 (23:58):
As one of the people who is part of that network,
I can agree. Weirdingway Media is the place that you
can go to listen to all the podcasts you should
be listened, including this one, including The Projection Booth, including
my show, The Culture Cast, and a whole bunch of
other shows, The TV Ladies, Flamentaries, Twisted and Uncorked, There's
a lot of noise. Junkies is back in a whole
new way. There's plenty of stuff to listen to over
Weirdingway Media, and if you're not taking advantage of it,
(24:20):
what's stopping you it's free fall alone.
Speaker 5 (24:23):
What about you?
Speaker 2 (24:24):
As for me, Patreon dot com, slash followm alone. If
you want to subscribe, you get shows early and commercial
free and such and such, and you know stuff like that.
We've got a lot of stuff coming out. I don't
know when this episode is airing, so I'm not gonna
specifically call out anything, but go to all those places
and if you want to hear, if you want to
talk to me at all, follow Alone seven to one
at gmail dot com. Until next time, try to enjoy
(24:46):
the daylight, everybody.
Speaker 5 (25:11):
Rangel Sa
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