EP 15: Haunted Theaters: Why Theaters Attract Ghost Stories

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Overview — The theater as a liminal, collective space

The episode frames theaters as especially fertile ground for ghost stories because they are liminal spaces — places where reality and imagination meet. Hosts and guests discuss how theaters are designed to suspend disbelief: audiences are invited to feel, imagine, and emotionally invest. That concentration of emotion, combined with the odd hours, hidden corridors, trapdoors, and frequent accidents, creates a unique atmosphere where haunt stories take root.

Types of theater hauntings — performers, crew, and recorded events

Hosts distinguish between different kinds of theatrical hauntings. Many stories focus on people who worked in the building — actors, stagehands, projectionists — and who return to their familiar roles in reports (for example, sitting in the same box seat or walking on the stage). Others are "recorded" phenomena that replay events: a piano playing without hands, a phantom reciting lines, or repeated sounds and sights that feel like a looped memory of past activity.

Famous examples and lore

The episode references several well-known cases that have shaped theater-haunting lore. Examples include historical associations like Ford's Theatre and the Lincoln assassination, stories of projectionist ghosts in old movie houses, and the legendary Phantom of the Opera — a narrative that blends real theater accidents (chandelier mishaps, fires, tragic performers) with fiction. The hosts also discuss the London "Grey Man" who, according to tradition, walks across the stage and is sometimes regarded as a good omen for shows he appears to bless.

The Macbeth taboo and performance superstition

One of the episode's recurring themes is the famous superstition surrounding Shakespeare's Macbeth — often referred to onstage as "the Scottish play." The hosts relate personal anecdotes about the ritual responses performers follow if the name is spoken (stepping outside, turning around, spitting or reciting ritual phrases) and they explore the possible historical roots: cultural fear of witchcraft in Shakespeare's time and early tragic incidents associated with productions. Whether superstition or self-fulfilling prophecy, the taboo persists in theater culture.

The stone-tape idea and "recorded places"

Another major theory discussed is the stone-tape hypothesis — the suggestion that materials or environmental conditions can "record" dramatic events and later replay them as apparitions or sounds. The hosts treat this as an intriguing hypothesis rather than proven science, comparing it to magnetic tape that stores and replays information. They explore whether architecture, material composition (stone, wood, plaster), or residual high-emotion events might act like a "memory battery" that certain people can perceive.

Psychology, "acting as if," and emotional amplification

Guests emphasize psychological mechanisms that help explain haunt reports: immersion, emotional intensity, and the "acting as if" phenomenon. Actors who deeply inhabit roles can experience powerful physiological and emotional changes; audiences primed by mood, fear, or expectation are more likely to misinterpret sounds or see meaning in shadow and movement. In immersive or ritualized theater, the line between staged surprise and genuine disturbance can blur, creating feedback loops that intensify the experience.

Why some shows feel "cursed"

The episode explores why certain productions acquire a reputation for being cursed. Repeated technical failures, tragic accidents, or a string of bad luck can create a narrative that binds people to the production's mythology. Because theater audiences and communities love narrative, these stories spread quickly. The hosts propose that sometimes the "curse" enhances the production's mystique and even its appeal — audiences may be drawn to a show that already has an eerie backstory.

First-hand reports and cultural context

Several hosts share personal memories of working in theaters and schools where others reported spooky events, but they note the rarity of direct firsthand hauntings. Many accounts are anecdotal, sometimes amplified by marketing or local lore. The conversation situates theater hauntings within larger cultural patterns: superstition in tight-knit occupational groups, the comfort of ritual, and the way shared stories reinforce collective beliefs.

Immersive theater, seances, and modern experiments

The show closes by considering modern immersive experiences — speakeasy-style productions, phantoms staged across whole buildings, and even hypothetical "séance plays" that intentionally blur reality and performance. The hosts imagine what might happen if a show deliberately staged paranormal elements while asking audiences and performers to commit to the illusion; they'd expect psychological amplification, stronger feedback loops, and potentially surprising outcomes.

Bottom line

Haunted theaters occupy a special niche in supernatural lore because they combine architecture, ritual, high emotion, and occupational legend. Whether you prefer psychological explanations, the stone-tape idea, or the romantic image of performer-ghosts returning to an old stage, theaters give us a story-rich setting where the line between performance and reality is always thin. For more detail, read the full episode transcript or listen to the original Wondering Monsters Podcast episode.

Links from the Show

• What are Liminal Spaces and Why Do They Feel So Weird?
• Are Real Psychics Actually Able To Predict The Future?
• The History of the Boogeyman
• Is Bloody Mary Real?
• Why are Graveyards SO Scary?
• Necronomicon & Cursed Books Explained

Watch & Listen to the Full Episode

Enjoy where the conversations of silly meet strange at the Wondering Monsters Podcast.

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Licensing Information

• Title: Entry of the Gladiators
• Composer: Julius Fučík
• Library of Congress (Public Domain)
• Podcast theme song version edited/arranged/mixed by Dan Swift

Unless indicated, images appear in their original form.

Images were generated using AI from MyNinja.ai, NightCafe, lenso.ai, Gemini, or ChatGPT

Transcription

*Transcription was automatically generated and may contain errors.

(Music)

WDG: It seems to be, you know, quite a bit of theaters that claim hauntings. They're usually, typical ghosts in haunted theaters tend to of who work in theaters, whether there be stagehands, actors coming back to recite lines or every once in a while, similar to other haunted spots, tragedies that have befallen, which seems to be, you know, accidents happen in theaters quite a bit. So I guess it's just prime for haunting. That's a jump too into ghost rules fast, but ghosts in haunted theaters are a little different because they're like, it feels like it's a little more like collective, you know, versus like personal tragedy of a haunted house or like, you know, oh, just like the cemetery ghost, supposedly Ford's theater where Abraham Lincoln was shot is haunted, people see ghost of Lincoln, or the ghost of, you Mary Ta, or John Wilkes Booth,

Baba: That's the pathetic jerk that shot me.

WDG: Yeah, that shot me. So also, also, you know, Booth is to also haunt a theater in Texas where he was out, after the assassination supposedly he's reciting lines of a play. He didn't get to perform, you that's a tragedy element, but it's also like a collective element. You know, this is something that a lot of people witness and it's also something that reverberate it, you know, so there tends to be this kind of like, some people see like a performer on stage about to recite things. one instance, like there's a theater in London. It was rebuilt in the 1600s, but, and then since then there has been like a haunting of the ghost they call it the Gray Man. dressed in like 18th century garb and he walks across the stage. Some people have seen him and then he disappears. evidence to this, but supposedly when the theater was, after the reconstruction was getting renovated again, like they found where the ghost typically walks, like in a hidden kind of area, a skeleton, like, you know, like when it was being rebuilt in like the 18, I think it was like 1870s or something. But this ghost, it doesn't seem like he's an actor necessarily, but just a person of the time is supposedly good luck. Like if you see him, you know, he will actually like, the play that you're putting on is supposed to be do well. So it's like, so it's weird, like, even though it seems like possibly a skeleton that was found as someone who was murdered and stuck in a wall somewhere, which is- Lucky me, I found a skeleton. You know, very, very play type thing, you know, it's possibly related to this ghost who tends to bring good, is a good omen. the Phantom of the Opera is obviously a famous story and then stage play about a haunting in the Paris theater, which is also based on, like the story was originally based on certain types of events that happened. Like there was an accident in the theater where like, you know, the pianist was just figured in a fire and I think it was a ballerina was died and they were like lovers or something, you know, and it's like supposedly he's the one who haunts the theater and the point where it wasn't the whole, I think the whole chandelier fell, but like one of the counterweights of the chandelier fell and like, you know, people were injured and things. So there's elements of that story that are based on that like thing. So yeah, then obviously like we get into being, you know, supposedly cursed and things. Macbeth or theater, the Scottish play because you can't name it is supposedly And the curse goes back this idea that maybe Shakespeare put in real, you know, witchcraft things into it. And then he was cursed by witches. And at the time that was also popularized like James I who was the king at the time was very, very into witchcraft and demonology. Like I think, yeah, I can't remember there's a, like, you know, he was like, you know, Greg's grew up at the time of the witch trials, you know, in the like late 1500s. And so that kind of stuck with him and he really believed like, which is we're real. So there was this like already kind of fever, you know, their own version of a satanic panic kind of going on, you know, in England at the time. And there was- Before Phil Donahue. Yeah, there was a demonology book that was published recently in that when Macbeth had come out which said basically like all magic, all the sorcery, it is real. And it's all practiced by demons and people who worship demons and stuff. And, you know, so there's like, so, you know, so some of that may be that, but like after, after the supposed like curse thing, you know, like the first actress who played Lady Macbeth died tragically, there's like, you know, so these kinds of, you know, instances around there that go even up to like, there was two rival plays going on in New one point in time. And there was supposed to like a riot that out yeah, that does seem to be, for some reason, a lot of like, I guess, makes sense like ghosts and stuff in theaters and curses around plays tend to be overly dramatic. You know, that's what a point is. even like more modern versions of this where people like old movie houses where like the projectionist is the ghost. And there's a couple of those in the United States where it seems like, you know, oh, this movie theater is haunted, you know, and it's like, oh, that's, you know, it's kind of weird, but it's just like, but that's that we all gather in these places up until, you know, TV and things like, that's where you went for entertainment. It's like ancient Greek level, you know, so stuff like theaters are kind of like, you know, and just to throw a little, you can tag back to some other things, the theater is a liminal space, like reality, you know, like this is where like fantasy and reality mix and you're supposed to, you suspend disbelief. They tend to be architecturally have hidden corridors and things, you know, that are around it. it's often it's very easy for accidents to happen, especially, you know, like like we have to explain why things always keep happening at this theater,

Baba: it's probably ghosts, you know. So yeah. It's not just marketing. it's not just, trying to get people to come to the theater to see the ghosts. Yeah. This isn't Beetlejuice. yeah, let's dive into that a little. Cause it's why theaters, right? Like versus, like murder scenes and things. Like, of course there's like the, drama, the accident proneness of, you know, raising and moving sets and things like that and trap doors and all kinds of things that, that are in theaters. There's a, there's the background of theaters in the world of traveling theater and theater troops and vaudeville, which is also associated with fortune telling and, and hypnosis and all that kind of stuff. This weird kind of edge of society, unrespectable jobs, kind of like everyone wants to be an actor now. They got lots of money, but for most of history, it's definitely on a lower road. It's been like a job of ill repute for the most part. And, and yeah, it's not quite as, not quite as ill repute as maybe being a straight up witch or sorcerer or something, but, but yeah, and then it's, and it's dramatic people. And there's a, there's a thing I was thinking about with this actually. Actually, Macbeth has come up a couple of times for me in the last few days. So I'll tell a funny little story, funny maybe for us. I actually was, I was working at a theater. I was working at the theater in Bristol, the Bristol Riverside theater, and I was a deck carpenter. The, the least qualified person that has ever been a deck carpenter. And actually this was my second go. And we were putting on, God, I forgot what show it was. But anyway, and I was talking to one, a couple the other deck, the stage crew people, us, and there was an actress there and we're talking about like time travel or fortune telling, or something related to prophecy and, and self-fulfilling prophecy. I'm like, oh, it's kind of like, you know, like in Macbeth. And then like the one actress goes, you said the Scottish play. And I'm like, what? Macbeth? And she's like, you said it again? I'm like, and I have a background in theater. So I actually should have known that. And especially enough, not to say it a second time right away, but I didn't know there's apparently, there's a ritual. You're supposed to go outside and turn around three times and say something to come back in.

WDG: Yeah, like sometimes spit depending where you're at, you know, do something like that. There's other, yeah, get out the threshold and make the curse go up.

Baba: All the bad stuff that's happened to you guys since then, that was a long time ago. This is like, you can encounter, everything says 2012 or something like that, you know. You can blame it on that because you know me, but yeah, I apparently, that wasn't good. This is weird though too. I think it's contained to the play though. I think it's just that for the doctor.

WDG: Yeah, I think it have to be put again on to, you know, to like, I think like, you just say it.

Baba: You're allowed to say it if you're putting on Macbeth. You're not allowed to say it if you're putting on other plays and I think if you're outside of a theater, you can say Macbeth as much as you want.

Danny C: So how strict is that David idea? It's like when you are preparing, like, you know, day one when you are just starting to create scenes, when you're just starting at that very, very beginning or are you allowed to say it?

Baba: If you're in the midst of any production and you're in a theater that you're putting on that production, presumably, you could go to another theater and say it. Sabotage another team. What about if you are in between?

WDG: Yeah, but then you might be cursed like something might fall away.

Baba: It follows you back.

WDG: Yeah, you don't know how it works.

Baba: Cursed mechanics.

Danny C: Say the production ends, but you haven't decided on the next one. Are you allowed to say Macbeth at that point?

WDG: Well, if you say it, I think at that point, you probably have to now put it on, right? Now it's like that, you're like, well, now we're stuck, thanks. Waiting for you. Waiting for the suggestion.

Baba: That's how you tilt things in that favor. Or if you might not be hired back next season as a deck carpenter because it turns out you weren't qualified the first two seasons, you can tell them, you can be like, I'll say it. I'm gonna say it. It's like the night you say me or something.

WDG: Yeah, I do like how there's like, there's this, I tried to track this down because I thought it was an interesting idea, but it seems like the further I looked into it, the more it was just coincidentally related. But there was this idea that, especially back in early, I'll say not early theater days, because that would be like Greece, but early days of theater stage plays, we have rigging and stage hands and that kind of stuff. And a lot of the, there was this idea that, well, basically sailors, when they would come into port, they'd go and they'd work in theaters as like rigors in the theater. And so there's this idea of like, well, sailors are really superstitious and lesbians are really superstitious. And it's, there's this, maybe there's a link up there. And someone had made this idea, but as I tried to track it down, it turns out it was just like, well, it's just that they use the same equipment and the terminology so happens at the time and happens to be the same. They use the same kind of police systems, the same kind of thing, but it's like, but it wasn't, but there wasn't, I mean, I'm sure there might've been a few people who maybe worked both things, but didn't seem like it was actually a crossover. And I was like, well, that could explain some of the weird, because there's a lot of superstition around sailing, like especially in that age of exploration, colonial era kind of thing. And there's a lot of superstition about theaters. It's like in this heightened kind of like, and it's like, maybe there was a link up there, but unfortunately there doesn't seem to be like more than just like the, just shared, that it's both kind of weird. And there are very tight knit groups that spend a lot of time together. It's a- And you know what?

Baba: They spend time hanging out in liminal spaces.

WDG: a lot of time.

Baba: Is there a liminal space more liminal than the ocean?

WDG: not just like time hanging out together, but there's a lot of time where it's, time is weirder for you than everyone else. Like you spend most of your time, like at night doing all this stuff, and then when you're in the day, you're kind of like looking about, and like on a ship, you might be on like night versus day. It's like everything's kind of odd, time wise from the rest of the world too, and how it operates. I mean, now it's like, if you're depending on what kind of show you're working, you might be like, well, you start at like lunchtime, and then you go to like 11 at night, and you're like in a weird and you're never, like who do you see at those points? Like earlier in the day, no one's around, you're probably sleeping, and then late at night when you're wrapping up, it's like most people are done. They went to see the play, they're going home, you're now

Baba: like working things out. You've got a weird relationship to society too. If you're a sailor or if you're a thespian, yeah, and one thing I thought about is this notion that there's a similarity when it comes to, like we talked about like party games and this thing about acting as if, and the power of acting as if something is the case. And there are several layers to this. So first, actually if you act as if you have a particular emotion, you can actually cause the emotion to happen. Like if you adopt the physiology of feeling like very sad and very downtrodden, you can actually start to feel that way pretty quickly. If you adopt the physiology of being very sad, very happy and energetic, you can actually start to feel that way pretty quickly because it's this thing called facial feedback hypothesis. The idea that emotions can kind of be caused in reverse to the physiology that is associated with them. There's another thing and it's, so this notion of acting as if it's kind of like, it'll be like sales folks might get in a confident state before they go into a thing. It's like you bring this kind of energy to it to get something done. But it's also like, it's one of those things about, like little kids can get like really into things like "Lights of Feather Stiff is a Board" or like Mary" or "Weigeboards" and things like that. about the idea of like high emotion as maybe being associated with what we might call paranormal events. And so, and then you've got the high emotion of the stage show. And like speaking as someone that's done theater acting, you can get like very, immersed and engaged in what's going on on the stage. Like that's presumably the same with like film, which is its own topic with this stuff. But getting immersed in it to the point that it's like really real, seems really real. Well, that's like very similar to what happens in magic. Everything reminds me of magic. You can be talking about cheese sandwich and I'm going to start, it just reminds me.

WDG: When you grill this cheese and the cheese melts and the bread toast, it's almost

Baba: like-- Like an adoration and the alchemy, that reminds me of magic. But yeah, so, but the idea of you go in and you say things like, "I am Moses" or "I am Solomon." You claim to be these things and you're in this thing and you're in the dark and you're saying all this stuff and it gets to, even if you didn't, you're wearing a paper crown, but, like a Burger King crown, but it's like, but it kind of doesn't matter after a minute because it starts to have that seemingness to it. Like we talked about the idea of like, yeah, like, but do you, the boogeyman, like do you leave closet door open? And like it kind of doesn't matter what you say when you're there, it might just seem more, "Oh, I'm just on caution." (Laughs) What do you mean, "caution"? But what do you do when you're really there? Like, what's it like when you're really in the dark theater? What's it like when you're the security guard on night shift at the mall that's supposedly haunted? It doesn't matter what you say when your friends are around. It's what matters when you say, when you're in the situation, sometimes you're gonna act as if, can that acting as if and accepting something as a certain level of reality transcend the rational, rules? As I said, in living in all spaces, do you suspend the rules?

WDG: interesting thing when you're talking about like film versus like plays. And even like when we talk about like other cursed theaters that are related to film, it's like the theater you're watching it in. It's like, "Oh, it's a projectionist who died." Or something. It's like there's, like at least with film, like a lot of film is very non-linear. And yes, you have actors who, you know, engage in like more like, "I'm gonna get into character and stay in character the whole time we're making the film." But you might like, you're gonna film a scene like 17 times from like five different angles. Or unless you're like, have a very particular director who knows how like this shot, they're all set up everything. We know exactly what's gonna happen. Or you're gonna be like on a green screen and you might say something. And yeah, it doesn't mean like the different scenes won't have like impact, but it's, you know, you can be filming the end of the movie and then filming the beginning of the movie. It's non-linear where like the play is like, immersive, especially I imagine like from like an acting standpoint, you know, because like you have to do the, you'd have to be, you know, you're in character, you're doing this whole thing the whole time, you know? And it's like, especially if you're someone who's like more of a lead and you're on stage the entire time. So you're like pretending, you know, essentially play acting, you know, the entire time, not just in these snippets. Cause it seems like with like, when you have like movies that seem to be cursed or tragic, it's usually stuff that's like failures around it, you know, like things like breaking and stuff like that. It's not like, like the whole, just the whole notion of this place. It's just like, oh, like everything about doing this is just falling apart, you know, you know, like from like the really tragic things of like an actor passing away or like other stuff, like just like special effects that just are just out of whack or something, you know, like, like not that Jaws was cursed or something, but like a lot of decisions around it made because like it was constant failures, like trying to film on open waters, which not many people had done at the time, like special effects that just weren't working right, you know, things like, it's just like, and so like everything, but then like, but that's like kind of how that stuff happens. And there might be like mythology built around that, but it's like, it's not quite the, but you're not getting the same, like, this is all, you know, and then, but when you're watching a movie, you get all that, theater does seem like it's much more like, they sound like this liminal space of like a slumber party, like the state of imagination, you know, it's like, because you as the audience have to really, you're there, like you're a part of it, like you're not just like, you know, way to, you know, it's like, like versus a film, like there's people there doing stuff. I mean, like even like really good, like, you know, black, you know, box theater can be like effective and weird and there aren't many props and there aren't many things. It's like, because you're like, you got, everyone's got to imagine what's going on and you have to create this, you know, in this space, like basically develop, like, you know, it's almost like, I think of like, talking about like weird things, games, kids play like, the floor is lava, you know, and you, when you get really into it, like you imagine, the floor is lava and you can, you know, you can get, you know, it's like, well, yeah, because, but it's all like, what's happening, oh, you're standing on like sofas and there's pillows and stuff, but it's like, you know, but it's like, and kind of plays are kind of like that,

Baba: like that with movies, it's a little less, and increasingly so, a little less immersive. Like, if you think about, I will, I'm sure get into this at some point, like the idea of like, like a movie like Poltergeist and you're like talking about early So it's still like and things like that, it's less so that now. I saw an interview at some point with Culkin and he was saying that he had, and actually really know what Home Alone was about. Like he, it's not like they read the whole script, it's like they came in and say, okay, say these things, say it like this, because it's not like it was, you know, well, we're gonna shoot the beginning of the movie, then we're gonna shoot the next scene that happens in the movie. It's like, no, no, no, we're gonna shoot all the scenes that happen on a given set with different people that have to be here, because we don't wanna have to pay them for the day otherwise and you know, it's, whereas like that with theater, you're generally all there, you know, and a lot of times there's also drama between the people in the production, you might be sleeping with each other, you might be, you might not like each other, you might be competitors from previous things. It's a small world in that regard and like, and you're up at night, you're keeping weird hours, that's gonna mess with your head a little, a lot of times, you know, there are different rules around things, like substance use and things like that, you gotta follow the different rules that a lot of society, you know, and that's still true with the Hollywood folk. But yeah, it's, it reminds me actually winding back and pretending as if once again, it reminds me of a different kind of troupe than Vaudeville and that's Commedia del Arte. And so like, there were traveling troops and you'd have these stock characters, like the Zanny and that was kind of a clumsy big, and they'd wear masks, you know, theater masks, usually like leather or something like that. And the Zanny was this bumbly character or like Pantalone, or like a miserly kind of old man, these stock characters. And a lot of the theater, you'd have these things called lotsies, which are like a little bit they would do, but a lot of it was improvised otherwise. And so you've really learned to like feel into that character. And I was taking some course on Commedia del Arte and we'd travel around and did shows to get like a feel for what that was like. And it's, a lot of the exercises we were doing were like putting on the mask and seeing what the mask is like. And it's like, well, this is a mask that's been worn by people throughout time. And there are ways that kind of plugs together, you know? And so, Bill, you're saying about how like the theater ghosts or the hauntings tend to be like more, it's appropriate, it's ensemble. It's a collective haunting. We team up together, you know? And as, and this idea of like, you've got the, almost like there's like this like energy that draws on the drama, the heavy drama of the theater and uses that to, I don't know, to fund phenomena, to fund an apparition or whatever, you know? And it's kind of interesting in that regard, you know? And these like persistent ghosts in places that there probably isn't really anything to attribute it to besides that it was, it's a high school and it's a really dramatic place. (Laughing) All high schools are dramatic places.

Danny C: think that's interesting. So, you know, kind of talk about high school and stuff, maybe think of this. So, yeah, and you just said this, I think you said this directly, actually. People tend to think that high energy can get repackaged as paranormal phenomenon. And you heard that with polar ice activity as well, where it typically happens with teenagers or something like that. They have this high energy, a lot of changes going on, a lot of hormones happening, you know? So it's interesting why it tends to happen, assuming that is the case, that it happens at some places and not others. So for instance, you would think, if this, if you subscribe to this theory, that it's this energy that is repackaged and creates this paranormal events, why isn't there consistency with it? Why don't you see it, like you said, in all high schools? Why don't you see it in all theaters? Why don't you see it in all, I don't know, churches or something like that? It's just interesting that it seems to be like, the theory is there and the theory seems, I guess, kind of sound, I guess. But it's just interesting, it's still like, you know, this place, but not that place.

Baba: Yeah. It's interesting. It is, yeah. And I mean, like, some folks would say, it's kind of like, there might, okay, so if it's energy, if it's energy, like not as a metaphor, but as actual energy, like there are some people that'll say, oh well, ghosts will make it colder because they're taking the heat energy to use for something. So it's like, it's actual like, measurable changes in an environment that is being used versus the energy of being angry. But what is that? You know, we think, well, there's a, yeah, there's an energy to it. You can even like, I mean, you might come into a room that an argument has taken place in, you can kind of, the expression, you're so thick, you're gonna cut it with a knife, or, you know, that kind of thing. It's like, but, or are you just picking up on the nonverbal signals of the people in there that were just having an argument and they're being nice now, because you're a guest? You know, and it's like, well, or is there like an energy in a non-metaphorical sense? Is it, is it the, I've heard, this is an interesting one, the idea that the actual materials that something is made of might be able to store, I just call it psychic events, better than other materials. Like the idea.

WDG: Not like reliquary stuff, but like getting into close to that kind of thing.

Baba: Like, like, like this place is made of stone. Of certain type of stone. It has better, it's like a battery, like a memory battery kind of thing. Like it's like, it has the ability to like save it somehow.

Danny C: So this is interesting. So you're talking specifically limestone. So there's the limestone theory, or the limestone tape theory, I think it's called.

Baba: Yeah, yeah, that's it.

Danny C: And when I first discovered this, I was like, this is awesome, how does this work? And like, I started to like try to do some research on it and everything. And then I discovered it's just a theory. It has not been proven, at least as far as I could tell.

WDG: Hypothesis, I guess. It's not a theory yet.

Baba: Even if it's called a theory. Yeah. But not technically a theory, yeah, not by scientific definition.

WDG: Well, I mean, like there is the case where it's like in going by, you probably just need to do a whole just general and ghost idea of rules. Like why do ghosts appear? Like maybe you put a pin in that and we'll come back to just general and ghosts. At some point, generally, but it's like, because there's, but like some of these theater things do seem to be like at least associated like some of it with tragic events or with things like that. Like here's an actor specifically who worked here, this is a person who like was like here all the time, doing stuff or somebody died here. Like that guy was like in England, like apparently the person walled up in the wall, that might've been that ghost. So there is still that like ghost rules of like, well, it's somebody very, very associated with the place that haunts. It's not usually just like, oh yeah, it's just a nobody. Like, it's just a random person that showed up one night and popped in here for a show. And then no, it's always like this person had a box seat for their entire life and then they died. And like sometimes you see them up in the balcony or whatever, it's like, or it's like they were like a, a crew member, like someone who worked here forever. You know, it's like that. It's usually not just like random. It's like, or it's like, you know, like Judy Garland or somebody, because this is a theater she performed in like all the time and you know, now like some people see her on stage. It's like, it's like usually like that kind of like, you know, haunting is still specific to like the presence of or associated with the presence of something. Let's go back a second to,

Danny C: Earlier you were talking about, I think it was the Grey Ghost, I think is what you said. And I think this was the guy that they also found bones in the theater. Is that okay? The Grey Man. Going back to the Burial Grounds episode, there was another instance you talked about like a house, I think, and they found the bones. Once a person was given the proper burial, the sightings stopped, I think you said. Do you know, did the sightings of the Grey Man or the Grey Ghost, did that stop after they discovered those bones, were those bones removed? Do you know anything about that?

WDG: I imagine they were removed. Like, and again, like this is like, the one thing about this is it's like, it's really hard to corroborate because this like, this happened in like, like when they found it, like, you know, they happened, it was like 18, you know, whatever, like 70 something.

Danny C: You did say that, that's right.

WDG: You know, and so, so in the case, and like, and it doesn't seem to be the case because people still talk about this haunting, you know? So it's like, you know, like there's like the, I think it was, I'm trying to, they'd have to like pull back in the research, but I think there was also one that was like weird, that was kind of like, I think it's in Chicago, and it was a theater that like caught fire, and the theater's not there anymore, or there's another theater nearby, but the like area where it was, it seems to be haunted, you know, or something like that, you know, from people that died in the fire or something like that. But then again, you know, that's, is that a haunted theater? Is that just like your normal hauntings? I mean, look where we get to.

Baba: Is it a haunted theater still if the theater itself is gone?

WDG: Yeah, yeah. But it's a, but even that, like the movie theater ones and like a lot of the hauntings seem to be projectionists, you know, it's like, well, that's the people that are there all the time, you know, of course it's like, oh, it's gotta be the, and you don't like the production, how often do people leave it up there? You're like, you don't even, you can't even see the person up there, you know, it's like.

Baba: It's almost like you've got these different types of ghosts. Again, we'll have to go into this taxonomy of ghosts. Ghost rules. You've got ghosts that, you could call them employed and unemployed. You've got ones that are there to do something, Like Poltergeisty types, which is, I'm mighty the waters already. And then you've got ones that are like recordings that are just kind of like, no, it's just something going on that happened before. They don't seem to interact with people at all. You know, they're just doing their thing. Because like, is it like the kind that interact and the kind that don't, and the kind that seem to have psychokinetic associated and the ones that don't, and like, are they all the same thing? I don't think they are. I think they indicate how little we know about the world we live in. That is the same thing in that regard. But I don't think, like I think a Poltergeist is different than potentially, than a malevolent entity, discarnate entity in a place, versus a replaying historical event that occurred in a place. But do they use the same kind of, I hate to say physics, because again, it goes against what I said previously in another episode when I said like, I don't really know that. It's going to just be like everything has to get boiled down to this science thing. Maybe it doesn't.

WDG: Yeah, it does seem to be like when you're talking about just the perspective from like, at least the story standpoints, that the plays tend to be like, and theater things tend to be of that like, episodic, like, you know, the thing will happen. It'll be repeated. You'll often see this ghost behind the stage, or on the stage, or reciting lines, or somebody sitting in a particular seat all the time. You know, it's like, whatever, you know, like that kind of thing. So it does seem to be in that like, you know, it's not like interactive, except for when like, you get people like, that are like, oh, I'm going to go ghost adventure. And like, I heard them say, get out, or I hate you. Like, you know, things like, I mean, maybe like, and even like the kind of like, not taking into account the like, the story, the Phantom of the Upper, but like the kind of like four or five events that like got, I got kind of glommer into that. You know, it's like, people say, there you go. They might hear like the piano, it does seem to be like, what you're saying, like this kind of recorded phenomenon or something like that, or the reported phenomenon is that recorded phenomenon. That was a weird sentence. Okay. (Laughing) All right, someone else take over.

Baba: Danny C, you look like you've got something to say, I always got something to say.

Danny C: I always got something to say, whether or not it's worth saying is a whole other, whole other thing.

WDG: I understand that too. That's the purpose of this podcast. (Laughing)

Baba: Agree?

Danny C: So going back to the stone tape theory, you know, the concept is very interesting because in theory it's like, you know, think about magnetic tape, okay? Now, admittedly with my background, you think I actually have more knowledge on how that process actually works at like the mechanical level, I guess, but I really don't, you know? I know essentially, you know, electricity changes the charge, changes from positive to negative, and you know, that's how essentially it records it, and then you know, it reads it back and plays it back out. Something along those lines. But the concept, you know, if you think about that, you have at the simplest level, it's a piece of material that's electromagnetically charged that is then, replays the sequence of charges from a previous state. So it's kind of interesting, you know, the world around us is completely charged, like the atoms around us are completely charged. So in theory, you know, you could say that anything could become a recorder, you know, the air around us could be a recorder, limestone could be a recorder. So it's just kind of interesting from a more of a physics perspective how something like that could work.

Baba: Right, right. Yeah, and if you think about, yeah, like if you go and going back to the metaphor of psychic energy, you know, a lot of emotion being ramped up in a given place or whatever, like that itself as a recorder. But also weird feeling of the liminal space, does it do something to our consciousness that allows us to perceive those things? So is it not the space like, just filled of, you know, these atoms, you know, is it something about that space does something to the mind that gets it, it fires up its, oh, it just caught, it fires up its psychic senses in the same way that like, wandering past the edge of the campfire might alert the brains of our ancestors in the ancient past, to put all the senses on, you know. And so it's kind of like when you're looking at these liminal spaces and if there's like a discomfort that comes from it. And then being able to perceive what's going on there, you know, on some other level. I've thought this before about Loch Ness. Like, what if it's not that there's a creature living in Loch Ness that's hanging out and shows up now and then, the Loch Ness Monster, you know, what if it's that staring across this gray, creepy thing, out the mind a bit. And maybe for some people, it time. Like they can see things that happened in the past. But, and it's not that like, plesiosaurs were very dramatic, you know, they had a lot of drama in their lives. Maybe it's not that then, maybe it's not just the drama. Yeah, what do you know about plesiosaurs?

WDG: You know about, let me tell you.

Baba: Yeah, expert. Yeah, but yeah, what, so is it then the drama of the, of looking across this liminal space and the weird feeling of uncertainty that it gives that fires up the psychic senses and now you can see a dinosaur. I don't know, but it's an interesting idea of like, if it's not the place, but the effect the place has on our consciousness for some reason.

WDG: Even just in that sense of the, it's an imagination space. It's a space made to imagine things. Like you said, like you said, like this is like, we're the audience, we have to imagine that this is like, this isn't a castle, we know it's not real. It's not like it doesn't have a list of this level of special effects. Like, you know, it's like, we know this person is like not gonna like kill this person. We know these things aren't real, but like, we gotta imagine it. And then as the actors, like you also have to like kind of embody, you know, you're trying to make these roles and stuff like that. It does seem like too, like the plays that tend to be like the ones that have like issues also tend to revolve around, you know, things that have like witches in them and ghosts and murders and, you know, it's often like that, like, you know, like even like sometimes like the crucible like things happen, you know, it's like, well, that's not like a modern ish play. Why is that? Except for maybe something like Spider-Man, Turn Out the Dark, but I think that was just like, engineered for, you know, it's like where people are, you know, where it's like, you know, it's just like that kind of idea. It's like the imagination just runs away with, you know, kind of thing.

Danny C: I'd be very curious to see actually data on different plays and comparing them to other plays and the tragedies that go with it. So it's so much easier to build into the story behind say, Macbeth, if something is going wrong, it's like, oh, what's about witches? Or if like, bad stuff is happening with the crucible, oh, well, it's about- Witches. Witches.

WDG: You know, it's so easy- It's a lot about witches.

Danny C: It's so easy to say that, but if you're having a play and it's about like, insert random play here, that's about, you know, something, you know, positive and fun and uplifting. Did the same number of bad things happen to those, on the average and the evil plays are just an easy scapegoat. I'd be very curious to see the data on that.

WDG: Yeah, but the thing is like, that's trying to track down like even something simple. It's like, you know, leading up to this, like from just some of the stuff I knew and then like some of the stuff I started tracking down, like, are theaters really like more haunted than other places? And it's like, you can't figure it out because it's like, well, I guess you could take like all the places that people say are haunted. And it's like, well, no, then it's not because like there's a lot of haunted houses or haunted whatever, but it's like, but the type of hauntings for theaters are much more unique than say the hauntings in like a house typically, you know, or something like that, or like, you know, it's like, or a haunted like say battleground or, you know, it's like, but it's just like, no, it doesn't really seem to be, or like, again, no one's like compiled this kind of data. And probably just because a lot of this stuff is just so hearsay. And like, I think Chris alluded to earlier, you know, money making, maybe like, you know, it's cool to have a haunted place in your town. if you were going to see like a play and you knew it was spooky, would it be cooler to see it in a haunted theater supposedly? You know, would like, would that also add into the thing? Like, you know what, you're seeing this spooky play, but like, guess what? Like the bathroom in this theater is haunted. Sometimes. Could it be the lobby?

Baba: The bathrooms are already kind of a--

WDG: Yeah, no, no, no, it has to be the bathroom. Like only one of them, you know, and it's the one that the lights don't work real well. So in like, you know, intermission, you go and you get your glass of wine and like, oh, I really gotta use the bathroom. Like you're already ramped up because it was like, whatever scary is like, you know, like, would that be more fun to, you know, to see a like haunted, like a scary play in a haunted theater?

Danny C: This makes me think, I'm all about like data. It's so fascinating. So, and Bill, I think there's something to what you're saying about that. You're kind of like, kind of like we talked about with the Ouija board, you know, you're priming the pump kind of, so to speak. Like this playhouse is haunted. We're going to see this play about a ghost or whatever. You know, it's all adding to it. And I would be very curious, you know, on the average, do those plays get better reviews? Are people already like primed and they're like, oh, this is gonna be great. Like haunted place, haunted play, this is gonna be great. And people ask about it. I thought, oh, it was a great play. It was awesome. I would be very curious on the average, how well they quote unquote perform.

WDG: regardless of whether it's haunted or not, let's just say like, stuff starts happening, like to the actors or to the thing like, oh no, like something goes awry, right? And it's like, you know, like, oh, like my sword breaks. Like I think that happened at one of the, like the Scottish play events. Or it's like, you know, where it was something sword broke and like flung onto the audience and it caused someone in the audience to like panic and have a heart attack or something, you know, like things like that, like if stuff like that starts happening, you know, is it like, you know, would that be even more like beneficial to the play itself? You know, like in a weird sense. So like, would you be more likely to like be like, well, basically this play is being, I said, filled with technical failures. Or would you be like, oh no, it's probably because it is really scary. It is really haunted. Oh no, just, it's kind of a fun idea anyway.

Baba: Somewhere between a Shakespeare play and a Gwar concert. Yeah. here's a funny thing, like with the Crucible, talking about like acting as if, there's, it's not considered to be cursed in the same way that Macbeth is considered to be cursed. So it doesn't have the same lore around it. However, there have been a lot of like anecdotal things about people who played Mary Warren. Is she the main girl that, I should

WDG: remember, I was in the Crucible. So I should have, so much.

Baba: Yeah, so people that played that role being like very like drained and stuff from playing it. They found like it was a very intense role to play. And actually on more than one occasion, like the, cause remember you've got these kids that are playing into, okay, so you've got the scenario of the Crucible and all these accusations of witchcraft. And then the kids start playing into it within the play, within the world that the play is representing. But then you've got actors representing the playing, these kids playing this act that's going on. So you've got this weird double layer thing. And that a lot of the times it seems that it like, it comes up so spooky and they get so into it that members of the audience are a little worried that maybe some of these kids really did faint. And so I've heard that from a couple of different things now and it's like, okay, these are still anecdotal tales, but it's like, there are these roles that people step into that seem to produce an outsized burden on the performer. And now, I mean, jumping over to film, we could talk about like the idea of like the Joker, and things like that and the lure around that. And when you're playing these roles, what does it do to you? And is it just that you're taking your, okay. One thing is like, well, you're taking your brain to this place that's really intense and you're really in it, you know. For in this character is like really weird. Sort of like wrap your head around that character. You actually go places maybe that aren't the best for your psyche. Another one is that there's something about fictional characters, like these sort of embodied instances of these fictional characters that itself, going back to "Commedia del Arte" and "I'm Solomon with my Burger King" crown.

Danny C: Don't say that again, because they did not sponsor, so yeah.

Baba: That's right. You had your chance. You had your chance. They said no.

WDG: Why don't those chicken fries and. That doesn't know. (Both Laughing)

Baba: Yeah, so that acting as if thing, I was going somewhere, I got distracted by the promise of chicken fries. when you're plugging in to a character who has a presumed history, does that make a difference? Does that, when it comes to these, I mean, Macbeth didn't though, right? So, but witches were believed to be real by a lot of people.

WDG: Yeah, I think well, I think Macbeth is based on like a loose historical kind of deal. Okay. It's not the witch's part, but the, you know. That was real.

Baba: I'd be curious, like, I wonder if there's anything that's really pushing the boundaries on it. Like, is there anything that's, all right, so this was alleged to contain real witchcraft, right, that's the idea. Doesn't seem like it to me, want someone to push the envelope on it. I always have these ideas and then I don't do them. Someone else with more talent at this kind of thing. To push the envelope on some kind of like a séance play and just see what happens. Make people sign waivers. That will actually generate more revenue. If you have them sign a waiver, and from a hypnotist perspective, you'll probably actually improve the performance because they've committed this idea. Cognitive dissonance will get them further into it. Someone do it or I'll do it.

Danny C: For the record, I would 100% go to see that.

Baba: I would too.

Danny C: That sounds awesome. Yeah, that'd be great.

Baba: Maybe we should do it. Maybe we should do a Kickstarter. You know, need insurance.

WDG: Yeah, I mean, they are doing a lot more like immersive types of theater experiences like "The Phantom of the Opera." There's a new version of "Phantom of the Opera" that's like a bunch of like, it's in like an entire building and you're coming through that and it's like you're immersed in the play. Remember also hearing about there's this... It's in California, I'm trying to think of it's in San Diego. But there was like a, and I'm sure there's other versions of this, it's like a speakeasy, right? And you go in and it's like a period type speakeasy. Has a bar, game room, all that stuff. And you can just like hang out, hang out the bar. But there's other people that are actors and you can like, as you go around, there's different things happening in the course of the thing. So you could go into a room and there might be like a two-way mirror and you're seeing people like have an argument about a thing or like... So there's this kind of like, you can kind of also decide your level of like involvement in the various storylines that are going on in it, like in stuff like that. So it's almost like, it's kind of like not quite being like, in a, like the murder mystery thing where you're like a character and you're playing the character and you're doing a thing. It's like, you're just like a person coming to this place and the stuff is going on around you, just like in real life, but it's like more hyped up and dramatic in period settings. So like, you know, so I guess you can like have that kind of weird like... Interesting. Overly immersive kind of ideas in these things, you know? But you know, it's just like these... So that might make it even more strange. That's it, yeah. I'm sure people have done the seances in theaters. I imagine that's a pretty popular place to go do it. So it's just...

Baba: Bring it back.

WDG: Yeah, drop a line if you're doing a seance in a theater.

Danny C: Like, send it all away. Baba, I think it meant like an actual like production, like the production is person doing seance on stage. Oh yeah, yeah.

Baba: Yeah, that is what I'm talking about.

Danny C: Yeah, I would watch that. I would go to that. That'd be fun.

Baba: And yeah, and just like blurring the lines. Yep. Well, you see, here's what would be fun though. Cause okay, so they're going on like it's the production and like something happens and an actor like acts like it's surprising, like that wasn't expected. But is that them acting like it's surprised them and it wasn't expected? Or did they really just get surprised and it wasn't expected? And then like this feedback loop, you know? I think you'd wind up haunting. I think you'd wind up causing haunting phenomena.

WDG: I think it's a good one.

Danny C: I would also propose that the actors also have to sign some kind of NDA where it's like they're not allowed to talk about what actually happened, whether it was real or not.

WDG: Yeah. No, just tell them to talk about it as if it's real.

Baba: Or you have somebody break the NDA. And then there's a court proceeding and you don't know if the court proceeding is real or not. And, or whether it's just further part of this elaborate theatrical. I mean, is it a hoax at that point or is it just art?

WDG: Yeah. Well, it's like, what are

Baba: you talking about? Thinking it's about so many things.

WDG: Oh well. should we get into some, some rating context of this kind of thing? Should we just do this? I guess I can, let me know. All right, so, okay, haunted theaters. Um, I think the idea is cool. I like about like seemingly, except for like maybe the Abraham Lincoln thing or whatever, like a lot of these theater ghost things tend to not be like really like belevelyn or, yeah, I mean, yes, it might be tragic figures or things like that, but like in a sense, like, I don't know if I was an actor, I died tragically and I'm still acting like as a ghost, I don't know, like that bad, it doesn't seem like, you know, it's like, you know, that kind of thing or like the gray man, like it's like, it's a good omen, which is like kind of rare for hauntings. Or for omens. Yeah, it's like, so I think, I think theaters themselves, like they're kind of spooky, but like, I kind of like, that's the kind of place where it's like, I don't mind, I don't, I think even if I was a little like freaked out being there by myself at night, I think I've been at other places that are more spooky at night by myself, like an empty church or like weird things like that, that tend to be like on the border, like more like kind of creepier type of things, you know, it's, or like just, you know, like, but it's, but the theater doesn't seem like it freaks me out, I think it's kind of a cool space, so I wouldn't, and considering you spend most of the time there in the dark anytime you go there, you know, it's, you know, you're already kind of acclimated to that, I kind of feel like other places that if I was like there by myself, now if I saw a ghost, yeah, but I'd probably be a little freaked, sure, but I don't think I'm like particularly scared of it, and seemingly since the ghosts tend to be, you know, these kind of recording kind of things, they're not kind of get you, they're not gonna, it's not something in your closet that's gonna grab you at night or something, you know, it's like, the rules I tend to follow tend to be pretty benign, so I'm gonna give it like, yeah, I'm gonna give it one monster, so I don't think it's like, I don't know, I don't think it's that bad, and it doesn't seem to be that bad, and if anything, it actually might be cool, like, you know, like we've said, like it's like, so yeah, so that's my rating on that.

Baba: Right on, right on. I guess I'll hop in next. it's kind of scary, I'd give it more than a one. I've happened to have jobs where I'm like, working late in theaters, or like, I worked at a church once, and you're locking it up, and it's all dark except for the offering candle things and stuff, like, I've got like a visceral feel of what it's like to be in those places. I'd say, it depends if I'm with other people. If I'm 100% alone, except for the ghost, I'd give the actual experience there probably like a three or a four. Even though I'd like it to happen, it would scare the hell out of me. I'd run like, yeah, no, I think that would freak me out. I don't know, I think just all the combined things we talked about with theaters and things, and just the feel of those places, and they already feel a little weird to me, maybe for this reason. My antennae are already out, you know? With other people, what did I give it the first time, a three?

WDG: Yeah, so it's about three or four, you weren't sure.

Baba: Yeah, so I'd say maybe like, maybe more like a two, one or a two with other people. Like the idea of like, we're gonna go to the third floor of the school and see if we can find the ghost. Like, at this point, I think I'd be down for that. I don't know what I'm doing in that school, but. Yeah, yes. I'm good at some high schools, mid 40s. We don't have to see if there's ghosting. Yeah, so I'd say, so it depends. I'd give it a solid, it depends, but probably like a three or four if I'm by myself, and I'll leave it there. What do you think there? You leftover voter?

Danny C: It's interesting, I was trying to remember how we voted on liminal spaces, because I find myself, from my memory, which doesn't really say much, but I think I'm voting kind of in line with what I said on liminal spaces. So I find the idea, so I've also worked in theaters, running sound and being there after hours, shutting everything down and everything, locking up and whatever, or they're early before anyone else is there and opening up. And I find that atmosphere kind of peaceful. There's something just about it to me. It's really cool, like this vast open space that's dark. There's just something kind of cool about it. I enjoy it. And it's something, and I gotta say, when I was in the theater, I was always on the lookout for something just in case, because I thought it'd be really cool. Nothing ever happened. So, and I think I said with liminal spaces, I'd be more scared of encountering real people than something that is non-physical. And I think the same thing with a space like a theater, I would be more concerned about, or even going into a haunted school or something like that, up to a third floor, like you said, Baba. I'd be more concerned with something across someone that is non-physical, rather than something that is, something across something that is physical, rather than non-physical. I think if I encountered a ghost fandom, whatever, I think it'd be really, really cool. Regardless of what happened, I think it'd be cool. So, Bill, kind of like what you said, I'm gonna rate this a lowly one. I think it'd be really cool, but I don't think there's really anything scary about it for me.

Baba: I think it's funny where we fall on all these things. (Laughing) It's great, that's great. Cool, well, somebody do that, sayance, play. Someone do that.

Danny C: And if you do it, put it in the comments so you know where to go. I will fly, I will fly to see this. Tell me where it is. So, real quick on the topic, did anyone, any of you guys, working in theater, school, anything like that, that was allegedly haunted ever have an encounter? And double points, double points, if someone else was there and witnessed it too.

WDG: No, but I can talk on this a little bit, Luyck. So, my grade school slash high school, is fairly old from American standards, going there. Supposedly, the one floor, so when I was there, it was about 160 or so years old. So, it's the one building that is pretty old, Civil War era, and the upper floor was where people stayed, and things like that. And supposedly, that one floor was haunted, where the room that I used for, I had independent art study kind of thing. So, that was like, and other people said, "Oh, things happen there." Especially in the room or things like that. And I don't know, I actually liked being up there, because I'd go up there, no one's around, it's got this one, but the room was fairly well lit, pretty sunny, it was nice, I never had a problem. The dark room for photography was also up there, because we did actual physical media photography, not just digital, so we had to have a dark room, and load our film, and develop it, and all that stuff. And yeah, it's like, I never had a problem being in there, I knew had to be in there in the dark, it was not a thing, in this supposedly spooky thing. The thing that probably freaked me out the most, is that looking back on it, parts of that building were structurally not the best at that time. I'm sure now they've done a lot of improvements, so there's definitely the floor that was above our, really upper floor, you weren't even allowed up there, it was boarded off, and you could probably, if you did go up there, there's a good chance, oh no, you can put your foot through the floor, or something.

Baba: How many monsters do you give the state of the construction there?

WDG: Yeah, I give that a lot of monsters. (Laughing)

Baba: More than the floor could bear.

WDG: Yeah, but other people have said, oh, it's spooky on these, and I don't know, actually, I had the opposite thing, unless it's just like, I have an anti-ghost store, or something, and they're like, oh, we're just gonna leave this guy alone, we're not gonna, he's got haunted enough stuff going on, doesn't need our intervention. So for me, that would be the closest to a place that I was in a lot, spent over many days, over many years, in the spaces, and never had an issue, and other people said they saw stuff. So if I was gonna do it, that was the spot. I'm sure there's other places I've been in that were supposedly haunted, but I've never had an issue.

Danny C: What about you, theaters, schools, that are allegedly haunted, anything?

Baba: No, I'm the person that's so interested in ghosts, and they never show up for me. I give it a go. Me and Sharon wanna go and do some haunted site visits to see, because it's, yeah, no theater ghosts, no church ghosts, or cemetery ghosts to date, in the fall of 2025. Sorry to burst the illusion for any of you that think this is happening a different time. But yeah, so no ghosts, no theater ghosts, no church ghosts, no high school ghosts for me, yet. you? You asked a question. Do you have a secret?

Danny C: No, no, unfortunately, kinda like you, I wanna go somewhere though. But I gotta find a place first.

WDG: Well, I-- Apparently the town near me, they just opened a ghost museum thing, so I'm gonna have to, that's about regional hauntings, so I think I'm gonna go do, check that out at some point.

Baba: We might have to all show up in the same physical location. I wanna get to see that, I'm the shortest, even though I seem the biggest, cause I keep creeping up on the camera.

Danny C: When this episode drops, it'll be pretty close to Christmas, and to give some minor spoiler away, you know, the episode after this is gonna require quite a big stocking.