The 1st point you see in “The Huge of Night,” Andrew Patterson’s ingenious and astonishing debut element, is an outdated fifties-type Television set established broadcasting a exhibit termed “Paradox Theater.” It is evidently modeled on traditional anthology sequence like “The Twilight Zone,” complete with portentous Rod Serling-esque narration that ushers us into “a realm in between clandestine and forgotten,” then goes on to rattle off approximately half a dozen charmingly overwrought synonyms, which include “a frequency caught in between logic and fantasy.”

Forced to source my very own description, I’d say that “The Huge of Night” exists somewhere at the

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