To another episode of You Must Remember This, the podcast dedicated to exploring the

secret and or forgotten histories of Hollywood's first century part of the

Panoply Network. I'm your host, Karina Lungworth, and this is the final

installment in our ongoing series, Bayla and Boris.

Have I been saved? She hate me like others. A race of atomic supermen which

will conquer the world. The phone is dead. Even the phone is dead. We belong dead.

Today, we're going to close out the life and career of Boris Karloff, who outlived

Bayla the Ghosty by 13 years. We've mentioned earlier in this series that

although Karloff's career had ups and downs just like the Ghosties had and

sometimes they were the same or very similar ups and downs, Karloff always

seemed to come out better in the end. So it went with each actor's late-end

life stint serving as throwback marquee value for young exploitation movie

directors aiming to milk the most out of microscopic budgets. In the 50s, Bayla

spent his last living years at the back-end call of the enthusiastic but inept

Edward. In the 60s, Boris Karloff accepted a contract from the prolific,

frugal, but incredibly influential producer and director, Roger Korman.

There were some crucial differences between Korman and Edward. For one thing,

while Woods' low-budget movies are generally considered to be at best,

charmingly awful, Korman's movies have been widely embraced by

cinephiles and historians, even though his output varies wildly in

entertainment value, schlock value, and production value. Karloff himself, as we'll

see, was not entirely happy with his experience working with Korman, but he

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