Ed Wood Wednesdays, week 270: The Ed Wood/Chuck Berry double feature of 1959! [PART 2]

Two 1950s icons: Chuck Berry and Vampira!

Last week, we talked about how Ed Wood's Plan 9 from Outer Space (1957) was teamed up with Paul Landres' Go, Johnny, Go! (1959) for a popular, widely-seen double feature that played at dozens of theaters and drive-ins, including numerous bookings in Texas, Florida, Ohio, Delaware, and Connecticut, among many other places. This was how thousands of American teenagers (and a few Canadian ones) saw Eddie's most famous film for the first time, and it must have made a major impression on at least some of them. Who knows? Maybe some future filmmaker attended one of these screenings and thought, "I could do that."

Hal Roach.

As I said, it was likely Plan 9 investor Ed Reynolds who sold the film to a New York company called Distributors Corporation of America circa 1958. That company retitled the film (it had originally been Grave Robbers from Outer Space) and created a vigorous marketing campaign for it, including an iconic if somewhat misleading poster designed by artist Tom Jung. To this day, most prints of the movie still begin with the DCA logo. While none of this was financially advantageous to Ed Wood, at least the movie he considered his pride and joy was getting in front of audiences.

While it was a natural to pair a sci-fi movie with a rock & roll movie, since both genres had such strong teenage appeal in the 1950s, the real connection between Plan 9 and Johnny might have been legendary producer Hal Roach (1892-1992), best known for his work with Laurel & Hardy, Harold Lloyd, and the Our Gang series. Roach's name turns up periodically in the Ed Wood story as well. Eddie, for instance, remembered meeting comic actor Franklin Pangborn at Hal Roach's studio. And Heather Tanchuck, daughter of screenwriter Nathaniel Tanchuck, had a vague memory of Eddie himself working for Roach. (Considering the Pangborn story, she might've been right!)

Hal Roach bought DCA in 1958, right around the time the company purchased Grave Robbers from Outer Space from Ed Reynolds. In Nightmare of Ecstasy (1992), actor Gregory Walcott suggests that it was Roach who brokered the sale. And Hal's son, Hal Roach, Jr. (1918-1972), was one of the producers of Go, Johnny, Go! In his self-titled 1987 autobiography, Chuck Berry recalled spending "five days in Culver City, California, working at the Hal Roach Studio" making Go, Johnny, Go! and being impressed by "all the big movie cameras and technical equipment." The two films also shared a marketing firm, Ben Adler Advertising Services. Adler employee Tom Jung designed the poster for Johnny as well.

Ed Wood Extra! An interview with Andrew J. Chambers, director of 'Orgy of the Dead 2'

It's finally time to go back to the cemetery.

Director Stephen C. Apostolof and screenwriter Edward D. Wood, Jr. never got to do a proper sequel to their infamous 1965 nudie cutie Orgy of the Dead, which tells the story of a square couple (Pat Barrington and William Bates) who survive a car crash but end up witnessing a strange occult ritual presided over by a mysterious robed Emperor (Criswell) in an abandoned California cemetery. The film remains Apostolof's best-known by far, and he did plan to do a follow-up in his later years, but the project never came to fruition. He died in 2005, seemingly putting the final nail in the sequel's coffin.

A long-delayed sequel.

Well, thanks in part to an Indiegogo campaign, maverick filmmaker Andrew J. Chambers has changed that. His raunchy, scatological comedy Orgy of the Dead 2 is now available on Blu-ray and can be streamed on YouTube and Google Play. With its gore, gross-out jokes, and topical references, this bizarre film differs markedly from the now-quaint original. And yet, it carries the official seal of approval of Steve Apostolof's youngest son, Chris! When I saw this movie, I realized that I needed to know more, so I reached out to Mr. Chambers, who happily consented to the following Q&A.

What initially made you want to write and direct a sequel to Orgy of the Dead (as opposed to any other movie in the history of movies)?

Other than it being a perfect fit for my style? I really saw a lot of potential for improvement. I loved the idea of the original, but being from a different time, I found it boring throughout most of the film. In the '60s you didn’t need much other than dancing naked ladies to capture the attention of the audience because that’s what nudie cities were for. Now that everyone is desensitized, it needs a little more. Some other writers and directors might think it needed a good story line and better acting. Not me. I think it needed comedy and gore.

Steve Apostolof wrote his own sequel script for Orgy of the Dead. Did you take any ideas from that or was the script totally yours?

I actually haven’t read Steve's script. Chris wanted a script before he agreed to a sequel deal, so I wrote exactly what was floating around in my brain in the months leading up to our first chat. He offered to let me read it after my script was finished to see if I wanted to pull anything from it, but ultimately we decided it was best to have something completely fresh. He did tell me it was written as a comedy, though.

Ed Wood Wednesdays, week 269: The Ed Wood/Chuck Berry double feature of 1959! [PART 1]

Two movies, one poster artist! Yes, Tom Jung painted both of these.

Ed Wood's most famous film, the sci-fi/horror hybrid Grave Robbers from Outer Space, premiered at the Carlton Theatre in Los Angeles on Friday, March 15, 1957. Lord only knows what the audience thought of it. Eddie certainly must have been curious, because he handed out comment cards to his viewers, asking for their favorite scenes and whatever miscellaneous thoughts they might have about the movie. (I wonder if any filled-out cards have survived from that fateful night?)

To say the least, Grave Robbers is an oddity, combining wonky special effects, stilted dialogue, a surreal plot about an alien invasion of Earth, grainy footage of the late Bela Lugosi, and even the pseudo-apocalyptic rantings of TV personality Criswell. The end result is less like a coherent narrative and more like a strange, half-remembered dream somehow preserved on celluloid. For these reasons and more, writer-director Wood had very little luck getting Grave Robbers distributed after the premiere. As actor Gregory Walcott told Rudolph Grey in the book Nightmare of Ecstasy (1992): "Nobody would touch the darn thing." Even with such well-known figures as Lugosi, Criswell, Tor Johnson, and Vampira in the cast, the movie was going to be a tough sell. 

Was there Hope for Plan 9?

Producer Ed Reynolds was understandably nervous about all this, since he'd sunk plenty of his own money into the production and had convinced others at the First Baptist Church of Beverly Hills to do the same. How was he going to get any of his (or their) money back? According to both Gregory Walcott and Ed Wood's widow, Kathy, it was Reynolds who wrangled control of Graverobbers away from Ed Wood and sold the film to a New York company called Distributors Corporation of America. 

This sale proved a turning point in the movie's history. In 1958, DCA changed the title to Plan 9 from Outer Space and released it to theaters and drive-ins across America—on a limited basis at first, then more widely starting in July 1959. By 1960, Plan 9 was already popping up on television, where it would remain a late-night staple for decades. I've seen no evidence that Eddie profited from this, and I doubt the original investors were reimbursed either, but at least somebody was making money from the movie. And, more crucially, it was being seen by thousands of impressionable youngsters.

Back in those days, double and triple features were much more common than they are today. Theatergoers of the 1950s were accustomed to getting multiple films for the price of admission, plus some added cartoons and shorts. Sometimes, theaters would offer a big budget main feature and a cheaply-made second feature on the same bill. That's what B-movies originally were, essentially cinematic appetizers for more prestigious films. But, as can be seen in vintage newspaper ads from the 1950s and '60s, it was also fairly common for two or three low-budget films of roughly equal stature to be packaged together and shown on the same bill. Which was the "main" feature? Flip a coin.

With its brisk 80-minute runtime and rock bottom price point, Plan 9 from Outer Space was an ideal "programmer," i.e. a movie that could fill out a double or triple bill as either the main or supporting feature. And that was its fate for years. In various American cities, it was paired up with such titles as Outlaw Women (1952), Alias Jesse James (1959), The Crawling Eye (1958), Devil Girl from Mars (1954), Time Lock (1957), and The Trap (1959). Most of these are sci-fi and horror films, as you'd expect, but some are comedies and Westerns. So exhibitors must have felt that the genre-hopping Plan 9 made a suitable companion to just about anything they had to offer. (I've even argued that the finale of Plan 9 is Western-like, since Tom Keene, Greg Walcott, and Duke Moore form a posse and settle their differences with the aliens with a barroom-style brawl.)

Podcast Tuesday: "The Genie and the Weenie"

David Hartman and Barbara Eden in The Feminist and the Fuzz.

Three-hundred episodes. It must mean something, but what? Hell if I know. When my cohost and I started These Days Are Ours: A Happy Days Podcast in 2018, I didn't even know if we'd make it though all 11 seasons of the sitcom. Well, we did... and then some. After we reviewed all 255 episodes of the original series (1974-1984), we covered its animated spinoff, The Fonz and the Happy Days Gang (1980-1981), and all the feature films directed by the show's creator, Garry Marshall. 

Lately, we've been exploring the vast world of Happy Days-adjacent media, i.e. projects involving the cast and crew of the show. Since many of these fine folks had long, varied careers in show business, we can never run out of material to cover. My first pick for this phase of the podcast was The Money Tree (1971), an educational film starring Anson Williams. This week, we get my cohost's first pick: an extremely of-its-time made-for-TV movie called The Feminist and the Fuzz, directed by Jerry Paris. The plot concerns a liberated San Francisco doctor (Barbara Eden) who, through wacky circumstances, ends up sharing an apartment with a chauvinist cop (David Hartman). 

Will these two mismatched roomies find love against all odds? There are literally only two ways to find out: either watch the movie yourself or listen to our review of it. I know which one I'd pick.

Ed Wood Wednesdays, week 268: The Ed Wood Wednesdays Disclaimer, annotated

This disclaimer belongs in a museum.

When the Dead 2 Rights blog started in 2009, it was a spinoff of a zombie movie podcast and was, therefore, mostly about zombie movies and television shows. (This was the heyday of The Walking Dead.) When that podcast ended in 2013, I could have let the blog come to an end, but I decided to keep it going. In my search for a new focus, I launched the Ed Wood Wednesdays series of articles in July 2013. It was supposed to run for a couple of months but has now been going for nearly 13 years. By September 2013, I'd already accumulated enough articles to justify an index page. To this day, I continue to update and revise that index as necessary.

In 2021, eight full years into the project, I decided to add a "big fat disclaimer" to the index page. That disclaimer remains there today. I've tinkered with the wording over the years, but the current incarnation reads like this:

BIG FAT DISCLAIMER: Ed Wood Wednesdays is not a reference work. It makes no claim of being definitive or scholarly. It was written strictly for my own amusement and is intended only as entertainment. As such, the articles listed below may contain factual errors, spelling and grammar mistakes, and other glaring omissions. Also, many of these articles were written years ago, so they may contain outdated information and dead links. If that bothers you, please do not read them. I fully acknowledge that you, the reader, may know more Ed Wood trivia than I do. While I cannot stop you from sending corrections to me, I encourage you to start a blog of your own instead. Thank you.

I consider this the single most important paragraph in the entire, 13-year history of Ed Wood Wednesdays, but it is also one of the least-read. How do I know this? Because people keep sending me corrections and complaints rather than starting their own blogs. My advice to the nitpickers remains the same after all these years: instead of complaining about what I've written, write something of your own and show me how it's done.

So today, let's go through the disclaimer line by line and see what it all means.

Swear all you want because profanity shouldn't even be a thing

Maybe he's about to say "friendship." I doubt it, though.

We humans didn't always have a sophisticated written and spoken language the way we do today. No, we probably started out with mere grunts and groans. Only after a lot of trial and error did we decide that certain grunts and groans indicated particular things. And look at us now. We have hundreds of thousands, perhaps even a million, words in the English language alone. If that doesn't suit you, there are over 7,000 other languages to choose from on this planet, each with its own rich, diverse vocabulary.

But somewhere along the line, we decided that particular words are so powerful that their use should be regulated, restricted, or even banned outright. Some of these words are hateful insults aimed at races, religions, sexual orientations, etc. We call such words slurs. But many other "forbidden" words simply refer to distasteful topics or express extreme frustration. We call these words profanities.

I understand the stigma attached to slurs, which can be used to denigrate people and may even incite violence. But I have never understood—and will likely never understand—the concept of profanity. What a useless, anti-helpful idea. Who benefits from this? What possible gain is there from making certain words restricted or forbidden? Whose life has been improved by this? All I know is that there are people in this world who take great offense at profanity. And because of them, sentences with these "naughty" words have to be bowdlerized or lobotomized before they can be expressed. How dumb.

You know what really irks me about this? What really drives me up the wall? It's the pious, phony hypocrisy of it all. To me, the most obscene, hateful, offensive, destructive sentiments ever expressed by human beings have not been loaded with profanities. Instead, they have been couched in the perfectly "clean," respectable language of government and commerce. A political leader might issue an order that leads to thousands of deaths. The head of a pharmaceutical company might raise the price of a life-saving drug. An influencer might deliver false and even dangerous information to millions of followers. And not one of these people will use a single so-called "profanity." But we carry on as if "four-letter words" were the greatest plague ever released on humanity.

If you are one of those people who make a big show of being offended by profanity, I have no respect or sympathy for you. To me, it's akin to superstition. If you feel the opposite way, you can express that in the comments section of this article. But you'll have to make an awfully convincing case before I am swayed.

Ed Wood Wednesdays, week 267 The great 'Hollywood Rat Race' auction of 2026

This eBay auction is a veritable smorgasbord.

NOTE: The following article is about the sale of some rare Ed Wood material. Because this sale is happening on eBay (an auction site) and because the seller is willing to entertain offers (or bids) from interested parties, I am referring to this as sale an "auction." JB.

This is not the article I planned to write this week. I actually wanted to get back to my ongoing series about Tim Burton's Ed Wood (1994). But something unusual has happened in the world of Ed Wood fandom, and I feel it is my responsibility to record it for the sake of posterity before we all forget that this ever happened. I strongly suspect that this is the kind of one-off oddity destined to fall down the memory hole never to be recalled again.

On March 16, 2026, Bob Blackburn (co-inheritor of the Ed Wood estate) posted on Facebook about a very intriguing eBay auction he'd learned about through fellow fan Patrick McCabe. It seems that a legitimate memorabilia dealer called NEOvintage was selling a treasure trove of rare Ed Wood materials from the 1960s, including a manuscript of Hollywood Rat Race typed by Eddie himself and some ultra-rare cassette tapes including unreleased interviews with Ed and others talking about Bela Lugosi. The asking price for these precious goodies? A mere quarter of a million dollars, though the seller is willing to offer a $50,000 discount to the right buyer. If you have a spare vacation home you're not using or perhaps a Scrooge McDuck vault of gold coins, maybe consider it.

Podcast Tuesday: "Potsie Weber, Wanted Fugitive"

Margaret Willock and Anson Williams in The Money Tree.

I have surprisingly fond memories of corny, old-fashioned educational or "classroom" movies. My father was a high school teacher—his subjects were history and economics—during the primitive, pre-VCR days when you actually needed a projector and a screen to show a movie in class. I remember accompanying him several times to the Flint Public Library to procure these precious film reels that came in heavy, gray boxes that you needed to secure with luggage straps. For some reason, I found all of this to be unbearably exciting.

It was even better when one of my own teachers at Springview Elementary would show a movie in class. Again, I grew up in the movie projector era, before TVs strapped to wheeled carts became ubiquitous. What a thrill to hear that noisy projector whirring away as the images flickered on the screen. I think I liked the Disney nature movies best, but I generally enjoyed them all, even the really bad ones. It was a wonderful, much-needed break from the tedium of the school day.

This week on These Days Are Ours: A Happy Days Podcast, we turn our attentions to a somewhat forgotten 1971 educational film called The Money Tree starring Anson "Potsie" Williams in one of his earliest roles. He plays a young married man who gets into major debt by renting furniture and buying a new Ford Mustang on credit. And he drags his poor wife (Margaret Willock) down with him. What did we learn from this film? Well, you can find out below.