Or she was an interbellum cougar.

The quality varies, but I think when Lewton's low-key approach clicks it's incredibly powerful. The Leopard Man, directed by Tourneur, is a highly effective thriller, and The Seventh Victim directed by Mark Robson is one of the great dark horror movies of all time.

I would have gone with Shatner. I mean, making insufferable sexists campy enough to be engaging? Hell, that IS his wheelhouse.

Richard Dysart was in "The Gemini Man" but almost none of his performance made it to the MST3K cut of the movie.

It felt a lot like an episode of Thriller to me as well. (Or maybe half an episode, since that was an hourlong show.) I think it's a mixture of Cooper's undisguised Britishness, the ghost story aspect of the plot, and the classical Hollywood look of the sets. I don't think Matheson wrote for Thriller, but Charles…

One thing that strikes me in watching "Night Call" again is the way it emphasizes the childlike aspect of growing older. Imagine a story about a 9 year old girl getting phone calls that are just static, then static and moaning, happening when the phone lines are down, and much of it unfolds in the same way. The…

…and used the profits to rescue Dunder Mifflin from Robert California, so there's that.

Karen kind of doomed herself with those words. Obviously, Jim and Pam were going to get together at some point. But she wasn't going to get the audience back after that.

Yeah, I find it hard to begrudge her a little honest sadness.

Dwight's warm-up before the press conference, "You are now entering the no-spin zone", is just such a Dwight moment. Not so much the Bill O'Reilly reference as the fact that no, this is all spin, and trying to deny it just draws attention to that.

That's a great observation. At least Serling and Matheson were both war veterans, and I'm sure some of the other writers were too, as well as the adult male portion of the audience. So they had it drilled into them not to question authority when the chips are down. But there's a need to think for yourself, and once…

Amen to that.

Gotta say I'm not really loving the layout on Vox from what I've seen of it. There's no search bar, so if the story isn't on its front page you pretty much won't see it.

It;s got Avram Davidson's "Naples" too. That is one strange, unforgettable horror story that will stick with you even if you're not 100% sure what just happened.

There's a lot to appreciate in this episode. Jason, the old man with the mustache, says that they've survived for ten years but they haven't really lived. You get the feeling that he's right, which is one reason why everybody abandons Goldsmith and the Old Man, while Jason seems to have been Goldsmith's greatest…

Coburn kicked ass, for sure. I'm glad he was rediscovered before he passed.

For me I could see how Barbara might deserve some kind of comeuppance for killing her uncle, even though most of us would have been sorely tempted. Simon doesn't deserve the kind of victory he gets, though. He seems like an awful man, and his vaunted genius has only led to replicating his own personality in a poorly…

Ouch! His crotch is rended?

I wish Harlan Ellison had written "Uncle Simon", so that he could call it "I Have No Mouth But I Still Want Cocoa."

Aptly enough for this thread Ligotti is very big on dolls/mannequins/puppets in his stories. "Dr. Voke and Mr. Veech", "Dream of a Mannikin" and "Mad Night of Atonement" all make eerie use of these figures.