Podcasts about Frankenstein

Aloha! This massive episode of Jay of the Dead's New Horror Movies brings you reviews of several 2026 Horror releases, including Obsession (2026), Saccharine (2026), and Backrooms (2026). Dr. Walking Dead returns with a new installment of his Horror Specialty Segment, The Dead Zone, examining two ghost movies: A Ghost Story (2017) and Presence (2025). Spawn of the Dead brings a PG-13 Horror review of The Woman in the Yard (2025). And GregaMortis launches a new Monsters on the Mantle series covering the Showa-era Godzilla films, beginning with the original Godzilla (1954)! The Horror Avengers also tackle Dr. Walking Dead's John Kenneth Muir Pick, Don't Look Now (1973). For this episode, you will hear from half the Horror Avengers, including Jay of the Dead, Dr. Shock, Dr. Walking Dead, GregaMortis, and Spawn of the Dead. This means that the following gentlemen are not in this episode: Gillman Joel, Mister Watson, Mackula, Ron Martin, and Dave Zee. We also welcome a guest appearance by "Grisly Gus Reynolds"! Join us! And if you like hearing Jay and Watson mix it up together, be sure you check out our sister Horror show — Another Badass Horror Podcast — titled, Horror Movie Weekly. Be sure to subscribe to Jay of the Dead's new Horror movie podcast on: Apple PodcastsSpotifyDeezer   You are welcome to email our show at HauntingYourHeadphones@gmail.com. You can also follow Jay of the Dead'sNew Horror Movies on X: @HorrorAvengers Jay of the Dead's New Horror Movies is an audio podcast. Our 10 Horror hosts review new Horror movies and deliver specialty Horror segments. Your hosts are Jay of the Dead, Dr. Shock, Gillman Joel, Mister Watson, Dr. Walking Dead, GregaMortis, Mackula, Ron Martin, Dave Zee and Spawn of the Dead! Due to the large number and busy schedule of its 10 Horror hosts, Jay of the Dead's New Horror Movies will be recorded in segments, piecemeal, at various times and recording sessions. Therefore, as you listen to our episodes, you will notice a variety of revolving door hosts and segments, all sewn together and reanimated like the powerful Monster of Dr. Frankenstein!

Clive Davis/Diddy rumors, gross Frankenstein rabbits, cute cat sleep habit, Austin Metcalfs dad goes off, Tulsi Gabbard finally does something and more! Check out our amazing sponsors! Use code 'NERD' on binoid.com to get the best thc product on the market and save 25% using the code + get free shipping! Twitter/Mewe/Parler/Gettr/Rumble/tiktok: @voicesofmisery Gmail: voicesofmiserypodcast@gmail.com Discord server: voices of misery podcast https://tinyurl.com/VoMPodcastTees Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Hey friends, Chase here Jeff Boyd is on the show today, and this conversation is about building the kind of life and business that does not always look like the predominant story on the internet. Jeff is the founder and chairman of MTE, More Than Energy, which he describes in this episode as "an energy that loves you back." Before that, he spent 15 years as the President and co-owner of Luggage Free, where he expanded global operations to more than 100 countries before selling the company in 2019. What I loved about this conversation is that it is not the usual story about chasing the next app, raising venture capital, or building something because the internet told you that is what entrepreneurship is supposed to look like. This is a conversation about physical products, unsexy businesses, competition, fatherhood, leadership, and what it means to keep choosing hard things on purpose. Jeff says it plainly right at the top: "That's why I tell my team all the time. They just look at me and I'm like, if it were easy, everybody be doing it. We got to do what nobody else is willing to do, and then you're going to be happy we did it. And I tell them that I'm like, oh yeah, this is hard. And I'm excited about it. Because now that's an opportunity for us because we'll outwork anybody." That idea is at the center of this episode. We talk about the grind of building something real, why curiosity matters more than credentials, what sports teach us about business, why leadership is not about personality type, and how the best things in life often come down to loving the process instead of obsessing over the outcome. Why This Conversation Matters Right Now Most of the entrepreneurs and creators we see online are building in public, building digitally, or building something that looks like the current version of what the internet rewards. There is nothing wrong with that, but it is not the only path. In this episode, I say: "A lot of folks I know in the audience feel a pressure to make their businesses walk and talk and look like the creators and the entrepreneurs that see out there in the world, which is one of the reasons I want to start celebrating some people who are building really successful lives, careers." That is why I wanted to have Jeff on the show. He built and sold a shipping business. Now he is building a physical product in the health and wellness space. He is not chasing the obvious thing. He is not trying to make his work look like everyone else's. Jeff's path is a reminder that there is a whole world of entrepreneurship outside the digital-first story. There are products, services, local businesses, physical goods, retail shelves, manufacturing problems, customer conversations, teams, families, and real-life constraints. And sometimes, that is where the opportunity is. What We Explore in This Episode Jeff's early business story and how he became employee one at a shipping company before helping grow it around the world. The "answer is yes" mindset that helped Luggage Free expand into all 50 states and more than 100 countries. Why physical products are different and what changes when you are building with atoms instead of bits. The origin of MTE and why Jeff wanted to build "an energy that loves you back." What it means to enjoy the grind when the work is hard, relentless, and full of problems you do not know how to solve yet. Fatherhood, presence, and time and why Jeff says he is "so all in now" with his family. Competition, sport, and business and why Jeff still trains and competes as a long jumper. Leadership and authenticity and why Jeff says people do what you do, not what you say you do. Second and third career arcs and what Jeff has learned about zooming out, building teams, and letting people play the right roles. The Core Idea: If It Were Easy, Everybody Would Be Doing It One of the strongest threads in this conversation is Jeff's relationship with hard things. He is not pretending the grind is glamorous. He says straight up that building physical products, selling through retail, and getting people to care is hard. But he also sees that difficulty as part of the opportunity. "You know I some of this stuff I think the harder it is, the better for me. For sure. You want, you want to bear. People are going to be like, oh, I don't have the guts to do this. That's right. Yeah. And then the ones that do, that's a that's another level, right? That's another fence they cleared. But then it's like, okay, well now you did that. But are you ready to grind now because it's a grind." That is the mindset that shows up again and again in the episode. The point is not that everything should be hard for the sake of being hard. The point is that difficulty can reveal where other people quit. That is true in sport. It is true in business. It is true in building a family, a product, a brand, a company, or a body of work. The Answer Is Yes Jeff's first major business story starts with Luggage Free. At the beginning, the company was taking orders by hand and trying to get the phone to ring. Then the first real call came in. "Anyway, so we're trying to get the phone to ring so we can handwrite our orders. And the first call, the guy, you know, we're all. It was kind of like a movie. We're all like, you know, hushed around him, waiting, you know, hearing him, he's like, oh, I'm sorry, we don't serve. North Carolina hangs up. And we were like, oh, dude, Gary, of course you serve anybody." That moment became a kind of operating philosophy: "And I was like, from now on, the answer is yes. Like whatever anybody says answered yes. And with that really that charge? Yeah. We were quickly in all 50 states and we grew to 109 countries throughout the world. And it was always in response to a call." There is something powerful in that. Not because saying yes is always the right answer, but because early in a business, the market often tells you where to go before your strategy deck does. Someone calls. Someone asks. Someone has a need. Someone gives you a clue. The question is whether you are willing to follow it. Building Something You Can Hold After selling Luggage Free in 2019, Jeff had time and space. He was not rushing into the next thing. He was riding his bike, playing tennis, spending time with his family, and looking for what might call him next. What called him was not another service business. It was a physical product. "And so in 19 sold it 2019, 2019 were operating all over the world, offices all over and sold it and was kind of free to at that point, I was like, all right, I want to like what I loved about it was the challenge and the fun and the competition. Right. You're building, you're competing." He continues: "But I what I yearn for was a product and something that was tangible I could actually hold right and do a different scent or a different flavor or different size or different color, whatever." That desire eventually became MTE. Jeff had been trying to solve his own energy problem, stacking supplements, chasing better mood, better energy, and better performance, until he realized the pieces were not working together. "And I realized I was like, Frankenstein. I mean, like, we were talking about it last night, like piling all these supplements together to try and make yourself feel better, even even like ten supplements, which doesn't sound that bad. Shit. Crazy. Yeah. We'll be like a suitcase full when you're traveling, you know?" MTE came from that search. "So we built it's an energy that loves you back. Right. Like an energy drink that loves you back. Yeah. Right. So you get prebiotics and caffeine free blend. That's better than caffeine. Yeah. So now you're getting energy that feels great that you can trust. Sure. And no jitters, no crash, no impact on sleep." Curiosity, Thrill, and Figuring It Out One of my favorite parts of this conversation is when Jeff talks about starting something in a category where he did not have obvious experience. He had not built beverage brands before. He was not a chemist. He was stepping into a new world. His answer was not fear. It was curiosity. "Yeah. Like, I like hair on fire. Like, let's go figure this out." Then he gets to the larger point: "I like it's curiosity and thrill. And that's what it boils down to. Right. Like, I think you you like that's what entrepreneurship is. It's solving problems and and finding solutions to things. Even if you've done it 20 times, they're going to be solutions that need to be had in the evolving world and landscape in which we operate." That is entrepreneurship in a sentence. You do not get to know everything before you begin. You do not get a guarantee that the answer is obvious. You get a problem, a question, a changing landscape, and the chance to learn fast enough to keep moving. Jeff says: "But that's why I love it. I think if, if we boil it down, I love the curiosity that that is necessary to just because you're like, I don't know the answer to that. Instead of that overwhelming me or said of panicking, I'm going to go learn because I'm sure there's more than one answer. We'll figure out. Maybe we'll triangulate, figure it out. Yeah, get to a solution. And and then we'll know for next time. And then we'll be able to iterate and make it better. And on it go. Like I love that process." You Have to Love the Process The conversation moves from business into fatherhood, sport, and the shape of a life. Again and again, we come back to process. Jeff says it directly: "Yeah. You have to love the process, right? And I think that's true of anything, particularly in stuff like that where it's easy to focus on the outcome. I'm lose 20 pounds, I'm going to whatever it is, I'm going to get this promotion, you know. And then I think what happens is then the outcome just naturally happens because you love the process." This applies to entrepreneurship, training, parenting, leadership, and creative work. If you are only trying to reach the finish line, you miss the life that happens while you are getting there. Jeff connects that idea to family: "Like the time is fleeting, right? For whatever it is. And you really have to enjoy the journey because, you know, like, I look at things like, if it's a line that's made up of just millions and millions of dots, and those dots would represent any given period in time." He continues: "Right. College graduation, high school graduation. They get married like whenever it is. You've decided that they've you've set them free. The that point will just be one of hundreds of millions of points that made up the line. Yeah. So, you know, looking and it's kind of the same with like a business, right. Like if you're just all you want to do is sell the business, you're just focused on that. You're going to miss all these hundreds of millions of, of experiences or anything else, right?" Competition Brings Out the Best in People Jeff is still a competitive long jumper. He talks about master's track, world records, regional meets, and the way competition gives him purpose. That competitive lens shows up in business too. "I love it, I love it, I think I think I love to compete. Like I was just telling my buddy the other day, like, I don't like when he's fine, but I hate losing, which is weird, right?" Then he goes deeper: "So I just love the competition, and I love the process that goes into it. And having, you know, so being able to have a purpose and go in and compete and I love competing. Sure. I just think it brings out the best in people." For Jeff, sport is one vehicle for competition, but not the only one. Business is another. "Sports is just a vehicle to compete. Right. So is it the competition like because it brings the best out in you or why do you like it. Yeah, I think I think just that it's the vehicle for sports. Sure. So I like it as an umbrella. I love it in the business." He talks about the shipping company in that same frame: "Like even the shipping company I had towards the end, I was I didn't have a lot of passion for it, but I had, you know, a very competitive space and there were upstarts in the industry and you're like, all right, well, these guys are trying to take my lunch money, you know, like, right. Not on my watch." Leadership Means Leading From the Front When I ask Jeff what is required of leadership, his answer is simple: "Got to lead from the front, I think. Right. I mean, yeah, it's people do what you do, not what you say you do." He adds: "I think you need to be genuine too. Yeah. Right. Like, if you're, if you're genuine and authentic, I think people are more prone to get in line and buy in and say, I'm, I'm, I'm subscribing to what? You're where you're leading me again." That is an important distinction. Leadership is not just having followers. It is not having the loudest voice in the room. It is not projecting certainty at all times. It is what people see you do. It is the consistency between your words and your behavior. It is whether the people around you believe that the thing you are asking from them is something you are willing to model yourself. Nobody Does It Alone Later in the conversation, Jeff talks about what he has learned in this newer chapter of his life and career. One lesson is the importance of zooming out. Another is the myth of the lone genius. "And then the other thing I've learned is you like, nobody does it alone. Right? I mean, that's like total myth. Yeah. The myth of the lone wolf. The lone genius. Yeah. It's, you know, you need a you need a whole group of people that are going to bring ideas that you would have never thought of. They're going to execute your ideas that you do have." He continues: "Right? They're going to they're just they're going to champion for you in ways that you never even knew needed to be championed. You know, I mean, all the things you need a you need a great team and you need to find." That is a hard-earned lesson for builders. The bigger the thing you are trying to create, the less likely it is that you can muscle your way through alone. You need ideas you would not have had. You need people who can execute. You need people who can challenge you, support you, and help you see what you are missing. Role Players Matter One of the most useful leadership ideas in this episode is Jeff's realization that not everyone on a team has to be an all-star. "And the other thing I talk about all the time is it's you have to resist the urge to demand that everybody in your team is an all star, right? Like even the greatest sports teams have role players, and they have guys that sit on the bench to get the starters ready for the playoffs." He explains what he learned: "But they don't, you know, they're they're effectively benchwarmers. But they have a role in the team. And you have a trainer and you have a coach and assistant coaches and all. You know, it's it's the whole organization." That perspective changed the way he thought about people and teams: "That was difficult for me earlier on. I, I just felt like everybody had to be an all star. If you're not at all star, you're you're like, I'm failing you or you're failing me. And either way, you got to go. You know, we're going to get somebody else in here." The lesson is not to lower standards. It is to understand roles. Great teams are not built by pretending everyone is supposed to contribute in the same way. About Jeff Boyd Jeff Boyd is the founder and chairman of MTE (More Than Energy), colloquially known as 'energy that loves you back'. MTE has prebiotics and a caffeine-free blend that functions better than caffeine, giving users feel good energy they can trust, with no spike, no crash, and no impact on sleep. Prior to founding MTE, Jeff spent 15 years as the President and co-owner of Luggage Free where he expanded global operations to over 100 countries before selling the company in 2019. In his free time, Jeff is a notorious oenophile, cyclist and long jumper. If he's not on the bike, on the track, or in the cellar, he enjoys traveling the world with his wife and two children. www.getmte.com Instagram YouTube Timecodes 00:00 – Jeff on why hard things create opportunity 02:06 – Chase welcomes Jeff to the show in Seattle 02:21 – Why this episode is different from the usual digital-first entrepreneurship conversation 05:21 – Jeff begins the story of becoming employee one at a shipping company 07:35 – "From now on, the answer is yes" 09:21 – Selling the company in 2019 and wanting to build a product 10:31 – Jeff starts getting the itch to build something new 15:40 – Why building a physical product is not a get-rich-quick scheme 17:57 – Jeff explains MTE: "an energy that loves you back" 22:35 – Starting in a category where you do not have all the experience 23:59 – Curiosity, thrill, and solving problems as entrepreneurship 28:01 – Fatherhood and being "born to be a dad" 31:12 – Why Jeff is "so all in now" with his family 33:16 – Time, family, business, and "millions and millions of dots" 36:18 – Why you have to love the process 38:15 – Attitude, winning, and sports psychology 39:23 – Jeff on still competing in long jump 42:00 – Why Jeff loves competition 46:33 – Leadership, authenticity, and leading from the front 50:45 – Zooming out and finding your North Star 51:47 – Why nobody does it alone 52:05 – Building teams with role players, not only all-stars 58:37 – "When people show you who they are, believe them" 01:03:14 – MTE cans, flavor work, and mango pineapple 01:05:08 – The Reggie Watts collaboration 01:09:20 – Why the harder path can be better 01:12:15 – Retail as the next frontier 01:17:03 – Jeff's three-pillar vision for MTE 01:17:45 – Ingredients, paraxanthine, prebiotics, and clean energy Questions to Ask Yourself If you want to turn this episode into action, take a few minutes with these questions: Where am I making my business or creative life look like someone else's version of success? What is the "non sexy" opportunity I might be overlooking because it does not look cool online? Where could "the answer is yes" help me learn faster? What hard thing am I avoiding that might actually be the opportunity? What problem do I not know how to solve yet, and who could help me triangulate an answer? Where am I too focused on the outcome and missing the process? What part of my life is made up of "millions and millions of dots" that I need to appreciate now? Am I leading from the front, or only telling people what I value? Where am I expecting everyone to be an all-star instead of building a real team? What would it look like to zoom out and find the North Star again? A Simple Practice for Builders Here's something practical you can do this week. Pick one hard thing in your work or life that you have been treating as a sign to stop. It might be a distribution problem, a hiring problem, a creative problem, a sales problem, a health problem, or a relationship problem. Then sit with Jeff's line: "Oh yeah, this is hard. And I'm excited about it." Do not use that line to pretend the hard thing is easy. Use it to reframe what the hard thing might be showing you. It may be pointing to the part where other people quit. It may be pointing to the skill you need to build next. It may be pointing to the person you need to ask, the rep you need to take, or the process you need to fall in love with again. The work is not always to find an easier road. Sometimes the work is to become the kind of person who can walk the hard one with more purpose. Final Thought This episode is a reminder that business is not only about scale, speed, funding, or hype. It is also about curiosity, grit, family, physical products, role players, clean energy, long jumps, retail shelves, hard conversations, and the willingness to keep learning when you do not already know the answer. Jeff's story is not about avoiding the grind. It is about choosing the right grind. It is about building something thoughtfully, leading from the front, and staying close enough to the process that the outcome has room to take care of itself. Until next time: do what nobody else is willing to do, and love the process enough to keep going.

Разбираем на слух интервью Джейкоба Элорди у Джимми Фэллона: актёр шифрует секрет 3-го сезона «Эйфории», рассказывает про 11-часовой грим для роли Существа во «Франкенштейне» Гильермо дель Торо и про то, как фанател при встрече с режиссёром. Живая речь, идиомы и разговорные обороты, которые реально звучат у носителей — учимся понимать английский на слух на уровне A2-B1.

Buenos días, Carlos Alsina. Vendrán otras sentencias por corrupción, esta es solo la primera, y el desfalco habrá sido más cuantioso. Pero esta trama que ha sido condenada tiene una calidad muy particular.Lo sustancial. Lo que el Tribunal Supremo ha condenado es a una organización criminal que había alcanzado la cúpula del Gobierno y del partido y que se dedicó a traficar con el dolor.Sin Ábalos nada de esto hubiera sido posible porque Pedro Sánchez había depositado en él toda su confianza y le confirió un gran poder. José Luis Ábalos acumuló el poder orgánico de la secretaria de Organización del PSOE, el mayor presupuesto del gabinete en el ministerio encargado de la obra pública y fue mando único de la pandemia.Esto es lo sustancial y lo demás son debates, muy interesantes, acerca de lo punible de la corrupción y el premio al delator, que hubieran sido mucho más creíbles si el PSOE los hubiera abierto cuando condenaron a 33 años de cárcel a Luis Bárcenas y cuando indultó desde el gobierno al concejal que denuncio la GürtelFue también quien sedujo desde la tribuna a la mayoría Frankenstein de la moción de censura, con un discurso que hoy dota de todo sentido a la palabra alipori.Ábalos ha sido condenado a 24 años de cárcel y el hombre que lo nombró y le dio todo el poder no puede eludir su responsabilidad por ello.

Jim remembers the first time he watched the 1931 Horror Classic "Frankenstein," directed by James Whale and starring Colin Clive, Mae Clarke, Boris Karloff, John Boles, Edward Van Sloan, Frederick Kerr, Dwight Frye, Lionel Belmore, Marilyn Harris, and Michael Mark. Based on the novel by Mary Shelley, this film helped Universal Studios establish itself as the Studio of Horror which continued to give the filmgoing public several classic monsters and tales. Find out about this 95-year-old gem on MONSTER ATTACK!, The POdcast Dedicated To Old Monster Movies.

Jim remembers the first time he watched the 1931 Horror Classic “Frankenstein,” directed by James Whale and starring Colin Clive, Mae Clarke, Boris Karloff, John Boles, Edward Van Sloan, Frederick Kerr, Dwight Frye, Lionel Belmore, Marilyn Harris, and Michael Mark. Based on the novel by Mary Shelley, this film helped Universal Studios establish itself as […] The post Frankenstein| Episode 521 appeared first on The ESO Network.

Well, it's called "The Comic Strip," so even though it's not an actual comic strip, we're gonna count it! Today, we're looking at the TV series that killed Rankin Bass, "The Comic Strip." Actually, we talked so much that this is mostly about Mini Monsters, which is a summer camp where Dracula, Frankenstein, the mummy, and all your favorite monsters go to camp. As you do.

How can such a funny show be so sad? How can our heroes be monsters? This week Your Generals watch CREATURE COMMANDOS Check out all General Nerdery Presents... podcasts at www.gnpresents.com Email us at generalnerderypod@gmail.com

Purchase the FULL audiobook HERE!Or sign up as a "New Resident" ($5/month) or higher tier Patron HERE and get BOTH the new version of Frankenstein PLUS Around the World in 80 Days FREE!Okay this is a big one. I've been working hard behind the scenes and I've got not one but TWO full audiobooks available exclusively for patrons right now.First - Around the World in 80 Days. We're not even halfway through on the podcast feed, but the full book is already done and waiting for you. If you want to find out how Fogg's wild adventure ends without waiting week by week, just shoot me a message here on Patreon or at anotherworldaudiobooks@gmail.com and it's yours.But that's not all.I also just finished a complete, brand new recording of Frankenstein.Now - some of you have been around long enough to remember when we did Frankenstein on the podcast years ago. Back when I was a wide-eyed newbie with a questionable microphone and a lot of enthusiasm making up for what I lacked in experience. You stuck with me anyway, and I will never forget that.This is not that recording.This is Frankenstein done right - with years of additional experience, a proper microphone, and everything I've learned since those early days poured into every chapter. It's the same great story, but the version I always wished I could give you. I'm really proud of how it turned out.Getting two full audiobooks this far ahead of the podcast feed takes a serious amount of work - but you're worth it. Genuinely.Both are yours free if you're already a patron. Just reach out and I'll get them to you.And if you're not a patron yet - now is honestly a really good time to change that. Sign up for the New Resident tier ($5/month) or above and you'll get both books as a thank you for joining, plus all the usual perks. But this offer won't be around forever, so don't sit on it too long.Become a Patron Today!

The Bagels are back to talk end-of-school reflections, social media tribulations, pop culture and podcast recommendations, and - of course - Jewish representation. Esther talked about her Facebook account being "permanently disabled," affecting her connections with nearly 5,000 friends (read the whole story here), and Erin shared her experience working on a live remote broadcast for the FIFA World Cup. Then the pair got down to processing the latest onslaught of pop culture, with Larry David's take on American history on HBO; Mindy Kaling's latest, Not Suitable for Work; the film Bride!, which was about the Bride of Frankenstein but also about Mary Shelley, who authored the famous monster tale; and the anticipated arrival of Steven Spielberg's latest aliens film. Also in this episode: two odd films from Sacha Baron Cohen, "The Invite," directed by Olivia Wilde and starring Seth Rogen; Anderson Cooper's podcast on grief, featuring Amanda Peet, and a wonderful episode of The Daily, a New York Times podcast, featuring the Broadway show "Every Brilliant Thing," and more!    Check out these links: On The Daily (NYTimes) Amanda Peet "There's No Algorithm for Grief"  with Anderson Cooper The Happiest List on Earth - Every Brilliant Thing Life, Larry and the Pursuit of Unhappiness - Trailer Stop That Train Trailer

Eric, Jasone, and Laura watch the 2004 USA-TV Pilot Frankenstein, allegedly produced by Martin Scorsese and allegedly written by Dean Koontz.

Today on the show, we have Dr. Nesrine Changuel, founder of Product Excellence and Product Management Career Lab Director at ESSEC Business School. Prior to Product Excellence, Nesrine held senior product roles at Google, Spotify, and Microsoft. In this episode, we dig into why the technical barrier to building products has dropped so dramatically that functional quality alone can no longer differentiate — and what that means for teams that haven't yet learned to design for emotion. We explore the concept of product delight, what it actually means beyond confetti and Easter eggs, and how Nesrine's Delight Model Framework gives teams a step-by-step path to building emotional connection into any product — B2C or B2B. We discuss the real difference between discovery and delivery, why Nesrine spent her first 18 months as a PM doing the wrong job, and what shifted when she stopped babysitting engineers and started owning the why. Finally, we get into the AI feature psychosis sweeping the market right now — why shipping velocity without emotional intentionality produces Frankenstein products, and why the companies that were great before AI will be great after it, for the same reasons they always were.As always, I'd love to hear from you. You can email me directly at andrew@churn.fm, and don't forget to follow us on X.

Vampires and werewolves (and Frankenstein's monster, and the Catholic church) collide once again in the battle for domination...can Kate Beckinsale come out on top again?? Find out in 2004's Van Helsing.Follow us on Instagram at @thewhorrorspodcastEmail us at thewhorrorspodcast@gmail.comArtwork by Gabrielle Fatula (gabrielle@gabriellefatula.com)Music: Epic Industrial Music Trailer by SeverMusicProdStandard Music License Sources: The Wolf Man (1941 film): https://en.wikipedia.org/wiki/The_Wolf_Man_(1941_film) Van Helsing (Film) Wiki: https://en.wikipedia.org/wiki/Van_Helsing_(film) Van Helsing (2004) IMDB: https://www.imdb.com/title/tt0338526/ Werewolf: https://en.wikipedia.org/wiki/Werewolf

From Shipping in Paraguay to Photojournalism in Kyrgyzstan: Luke Oppenheimer's Journey & the Making of Ottuk

This episode, Kalid and Joe are joined by makeup artist & vfx professional, Ana Victoria Esquivel Vásquez, to chat about Guillermo del Toro's 2006 passion project, Pan's Labyrinth!​​*Thank you to Jim Hall for the music! Check out more of his music⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and if you like what you hear, please consider donating to support his work⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!*Thank you to Jim Tandberg for the Frankenstein's Podcast artwork!*Shoutout to our Patreon Producer(s), Luke Johnson, Andy Groth, Jake Kohl & Joe Mischo!⁠⁠⁠Support us on Patreon!⁠Featured Guest:Ana Victoria Esquivel Vásquez is a Los Angeles–based multidisciplinary makeup artist specializing in Beauty, Special Effects, and Illustration, with over a decade of professional experience spanning film, television, and high-level production work. Originally from Panama City, Panama, Ana developed her artistic foundation through fine arts studies at the Savannah College of Art and Design before continuing advanced training at the Academy of Freelance Makeup in London and Make-Up Designory in Burbank, and later she trained under renowned industry artists including Matt Rose, Jordu Schell, and Denise Baer. Since 2017, she has contributed to major productions through her expertise in beauty, prosthetics, specialty hair, and on-set collaboration, earning a reputation for technical precision, adaptability, calm leadership, and the ability to seamlessly merge artistry with efficiency across both beauty and effects-driven projects.References:The Disobedient Fairytale: How Guillermo del Toro's Use of Recontextualization Transforms Film Itself - MediumOnce Upon a Time in Spain - The Austin Chronicle15 Things You Didn't Know About Pan's Labyrinth - ScreenRantPAN'S LABYRINTH—Interview With Guillermo Del Toro - Screen AnarchyPan's People - The GuardianMaking Monsters: The Practical Effects Behind Guillermo Del Toro's Iconic Creatures - ShotdeckLas Criaturas del Laberinto del Fauno - Monster LegacyA vfx Labyrinth - FX GuideShannara ChroniclesVInce Staples - Cry BabyPokemon Shield (Nintendo Switch)Star Wars: The Mandalorian & Grogu The Starving Saints by Caitlin StarlingThe Luminous Dead by Caitlin Starling

El 16 de junio de 1816 fueron escritos dos grandes clásicos de la literatura del terror, “Frankenstein” y “El vampiro”.Lord Byron, Mary Godwin y otros amigos se alojaron junto a un lago suizo. De aquel encuentro nacieron estos dos íconos del terror.

Today, mankind is edging closer to the reality of creating life through science. The Frankenstein story is purely a metaphor for our times. God creates man in a laboratory. This laboratory is called Eden. In a way, Man is like Frankenstein's creation. On this episode of Ground Zero, Clyde Lewis talks about FEED MY EXOBIOLOGICAL FRANKENSTEIN. The original broadcast was on October 23, 2012.

How can horror writing help readers — and writers — work through psychological trauma? Why does cross-genre fiction take longer to find an audience, but pay off in the long run? Is running a direct sales store actually worth the inventory, postage, and learning curve? And how can SubStack work for fiction authors? With psychotherapist and award-winning author P.D. Alleva. In the intro, thoughts on why in-person conferences are still worth it, even when they are a challenge for sensitive introverts! and tips for making the best of conferences [Self-Publishing Show]. Today's show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn P.D. Alleva is the award-winning author of horror, sci-fi, thrillers, and fantasy books. He's also a psychotherapist. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why horror puts the human condition on display better than any other genre Emotional trauma as the silent psychological killer most people overlook The pros and challenges of cross-genre writing and finding your audience Practical lessons from running a direct store, including integration and signed-copy fulfilment How a 3 a.m. writing routine keeps the writing separate from the marketing and admin Serialising fiction on Substack, multiple newsletters, and avoiding paid subscriber promotions Why Facebook groups, TikTok Lives, and the three-to-one rule are working right now You can find P.D. at PDAlleva.com or on Substack. Transcript of the interview with P.D. Alleva Jo: P.D. Alleva is the award-winning author of horror, sci-fi, thrillers, and fantasy books. He's also a psychotherapist. So welcome, Paul. PD: Thank you very much. Thank you for having me. This is a great opportunity. I love doing interviews, and I love talking to great people. Jo: Oh, good. Well, first up— Tell us a bit more about you and how you got into writing and being an indie author. PD: So I've been writing since I was a kid, at least second grade and more than likely even before that. I've always had that creative itch. Getting into indie author publishing, I published my first book in 2011. At the time I was also operating my own business, which took up about 24 hours of my time every single day. Then I kind of got through that and sold that in 2016, and I'm like, you know what? The time has come. I'd always written books, poetry, short stories, but never really did anything with them because I just didn't have the time. So in 2017, that's when I really came out and said, all right, the time is now. Indie publishing was doing great. The one good thing I do love about Amazon is they allowed us to come out there and start showing our craft to people. So in 2017, I just started—let's do this. Let's write full time. Let's put books out there. Let's be creative. Let's really get those juices flowing. Plus, I was getting a little bit old, and I was like, now is definitely the time to do this. Since then I've been publishing consistently, and most of my books are horror books, but I dabble. I have a sci-fi series, and I'm starting to get into psychological thrillers too. I've got a new psychological thriller that'll be published in early 2027 called Girl on a Mission. For the most part, I'm definitely into the horror genre—books, short stories, all that good fun stuff. Jo: Right, so a couple of follow-ups. You said you're a bit old. Can you give us what decade you're in at least? PD: Well, I'm 51, so born in 1971. Jo: Oh, there you go. Same age as me. PD: All right, good. See that? So we're going head-to-head there. Jo: I don't think that's old at all. Also, you mentioned you sold your business in 2016. So what was your business before? Because I think business experience is so important. PD: Agreed 100%. So I'm a psychotherapist, and I had owned a treatment centre for mental health and addiction. That was started in 2011, and in 2016 is when it sold. Since then, my wife and I started a private practice. So I still, even to this day—well, about a year and a half ago is when I stopped. I specialise in trauma, PTSD, and addiction. Trauma mostly. Most of my caseload has always been trauma, PTSD, sexual abuse, psychological abuse, war-type trauma. I was doing that mostly individually since 2016 in private practice, and I'll still go into treatment centres and see patients there too, specifically for trauma. About a year and a half ago is when I started wanting to do writing 100% full time. I thought about becoming a professor, maybe going to college, but then I wasn't sure if I wanted to get into that full time, as far as a caseload and school and everything like that. So I decided to just do group therapy, group facilitation, and I've been doing that consistently since then. It may be 15 hours a week. I do love to give back, and to me, it's more what I teach. I specialise in neuro-linguistic programming, bilateral stimulation or EMDR, hypnotherapy, science of mind concepts, psychopharmacology, biological bases of behaviour—which is pretty much how your brain works—ancient wisdom, quantum physics. I do this in a drug addiction treatment centre mostly, also mental health. And of course, just living an addictive lifestyle is traumatic, too, in and of itself. So pretty much I'm teaching them. Behaviour modification is a big part of what I'm teaching during that time. You'll see that, too, if you read my books. There's two things you can figure out from my books. You can figure out how to murder people and get away with it, and two, you can figure out how to overcome trauma as well. The whole “murder people and get away with it” comes from my upbringing. I have a very sorted past, let's put it that way. My upbringing was very different than what most people grow up in. Jo: Oh, can you give us any more than that? Now everyone's like, “Oh.” PD: “What's going on with this guy, right?” So I grew up, let's say, quote unquote, “in an Italian New York family.” Jo: Okay. All right. PD: That might give people ideas, right? Jo: That's going to give people a lot of ideas. PD: If you've ever seen the movie Goodfellas, I kind of grew up in that atmosphere, and with even some of those people too. My family had connections to those people in that movie, which I find very funny. If you watch that movie with me, you get a very different perspective on what's going on in the movie. Jo: Wow. So you're an interesting guy with an interesting background, with a very interesting backstory job as well. Some people are like, “Well, of course he's writing horror because horror is just awful and full of slasher gore and all that.” I often have to say to people who don't read horror, “Look, it's not like that.” Maybe some of it is, sure. But most of it isn't. Could you talk about how reading and writing horror can also be psychologically healthy? How do these worlds intertwine for you? PD: Well, sure. It 100% can be healthy. Especially over the last few years, there's a trend going on out there right now where people are taking their trauma and putting it into a creative process through poems, short stories, and even novels. They're taking their trauma and giving it a face, like a monster, where people are overcoming that monster within the creative process. I always say that horror is the genre that puts on display, better than any other genre out there, the human condition. Why is that? When people are in a terrifying situation, you really see who they are. You get to the heart of the matter of who that person is by putting them in these horrific but undefinable situations where it's like, what are they going to come out as? That real true personality needs to come out, and that courage comes out. That's huge in horror, and I think horror gets such a bad name. Now, I know there's the extreme horror and the splatterpunk, and that has its kind of role too in what I'm saying, but that's where horror is getting its bad reputation out there with the over-the-top type of gore. For the most part, that's a small part of the horror genre. It's a subgenre for a reason. It has its readership, and that's fine. Nothing wrong with it. I read it all the time. I find a lot of joy in it, a lot of excitement. However, for the most part, any horror novel that is not completely with the gore and stuff like splatterpunk can be seen as a psychological thriller, and a lot of psychological thrillers can be seen as a horror novel. Look at books like The Silence of the Lambs, Red Dragon. That's horrific as well, but if you read the novel, it's in there. It just gets that bad rap right now, and it's not all gore. Most horror novels that I read today are psychological horror. It's tame on the gore, and the psychological aspect is there. I always see that psychological aspect—it's like psychological trauma. Most people, even in my industry, when people are out there and you mention trauma, PTSD, they're thinking about sexual abuse, physical abuse, or war-type trauma. The silent psychological one—I once wrote an article called “Emotional Trauma: The Silent Psychological Killer.” The one that's out there is the psychological trauma, the emotional trauma that is widespread. Most people go through that, and it could even be from parent to child, and most people don't understand that that's a traumatic experience. It's like a distortion of reality that you're experiencing that then creates a belief system in your brain, and you're constantly acting out that belief system. That's where the psychological component of horror really comes out. People breaking through that psychological belief system that was created through a traumatic experience by reaching courage and coming out through a horrific situation. Jo: Yes, it really annoys me, because with romance, of course people understand that romance is a huge genre. Something like a small town sweet romance is a world away from the bully romantasy, dark, or mafia. Mafia romance is a really big thing with very dark themes. I'm like, well, how can you understand that romance is a huge genre with all these different subgenres, and not think that horror or thriller or fantasy or sci-fi all have so many different subgenres within them? I personally read a lot of supernatural horror, but rarely the slasher gore kind of stuff. So I'm really glad you said that, and hopefully more people will open up a bit more. I did also want to ask you about what you write. You write all these different things. You write standalone—I mean, often horror is standalone—but you also have some series. How do you balance it? What are the benefits of cross-genre writing, but also the challenges of it? PD: Okay. So obviously I love cross-genre writing. To me, I use fantasy to explain the supernatural elements. I blend mostly a tad of fantasy to help explain the supernatural components in my supernatural novels. When I write sci-fi, specifically sci-fi, that has the fantasy element in it too, but there's also a tad of horror in there as well. It's just who I am. When I grew up, I had a lot of different influences. I had Star Wars on one side, and then I'm watching B-rated '80s slasher films on the other side. Those two mixes just kind of followed me throughout my life, and that's why I like putting them into my novels. As I tell my patients, don't limit yourself. Never limit yourself. If you're just limiting yourself to one genre, you're missing out on so much more that's out there. So I love the blend of mixing genres. It just gets my goat each and every time. It is a challenge though. I remember when I first started getting into indie publishing, I was never big into Facebook and social media up until I started becoming an indie author. Before that, with my type of upbringing, you don't advertise yourself. You don't advertise where you're going. That's a big no-no. So I always had this aversion to social media. I'll tell you a funny story. It was the late 2000s, probably 2006. I was a full-time single father at that time, and I was living in Florida. My family—brothers and sisters-in-law—were living in New York, and my sister-in-law said, “Get a Facebook account so we can see pictures of the kids.” I said, “Oh.” I didn't want to do it, but I said, “Okay,” so I did it. And I'm thinking, looking at this Facebook thing, “How do I put pictures on here?” So I figured out how to put pictures in folders. Then I phone called her, and I'm like, “Okay, so they're on there.” And they're like, “Well, where are they?” I'm like, “I put them in these folders. You can go and look at them.” She's like, “No, you've got to post them.” That to me was like, “I'm not posting pictures of my kids.” That was a big no-no. It didn't click. When I got on there finally in 2016, 2017, I'm like, “Okay, so I need to figure out social media. As an indie author, I need to be on there, so I need to get through this aversion and get on there.” I started noticing how people are so particular with their genres. If they're reading a romance, it had to be very specific with that exact type of romance, and if you deviated from it, they're not going to like it. So that was the challenge. I was like, “All right, number one, I'm not going to dilute myself” and say, “All right, take things out of my writing or out of my novel just so I could cater to a certain type of audience.” I'm like, “I'm not going to do that.” I know with me, myself, as a reader, I'll read everything. I don't limit myself to a specific genre. I'll read psychological thrillers. I'll read romance. I've been doing that all my life. So I'm like, if there's a person like me out there—and look at this, I just met like four other people who also read cross genres—then I know that there's at least another 30,000 people, and I know that at least then there's 300,000, then there's three million people out there. So just write the books that you're writing and find your audience. Now, that takes longer. So you've got to chip away. Chip away. You're going to find readers here and there, and then that reader kind of tells a few people about you, and then you've got a few more readers. Then you keep going, and you go on these Facebook groups, and you do a whole bunch of different things, and then you gather a few more readers. Then they're telling some friends, and then you've got more. The process takes a lot longer, yes, 100% agreed, but I would say be true to yourself and you can never go wrong. Jo: Yes, I agree. I write cross-genre as well, and I've browsed your collection. Golem was the one I was like, “Ooh, yes, I like that one.” I haven't read it yet, it's on my list. I think when you're cross-genre, my people come to my store as well, and it's like, “Okay, I'm interested in lots of things, but this is the one by this author that I'm interested in.” Whereas with other authors who only write one type of thing, then I might not like any of their stuff. So I think there are definitely pros and cons and different ways into our world. I also wanted to ask you about the differences in business. Obviously you ran this treatment centre and there were physical humans on all sides, and now you've got a business as an author. So what have you learned in business from what you used to do and what you do now? PD: Okay. You're right. The treatment centre industry is very different from what I'm doing now, but it's still people. Treat those people right, have integrity. If you say you're going to do something, follow through with it. My word is my bond type of thing. That definitely has fed into the writing and publishing industry that I'm in now in a huge way. Just connecting with people is, to me, the biggest part of it. I mean, treatment centres, you've got to connect with people. When I would market the treatment centre, where would I go? I would go to hospitals, residential facilities, detoxes, and talk to them about my programme and why they should be referring clients there. It's the same thing here. Why should you be reading my books? You get there through interviews like what I'm doing here with you. Other podcasts. You get there by doing Facebook Lives, TikTok. I haven't started TikTok Lives yet, but I actually love that platform. I'm falling in love with it. IG Lives, anything like that where you're talking to people and you're making a connection with those people. Through that, I've gathered so many different types of readers who are like, “Yes, I'll give this book a shot.” And then they read it and they're like, “Hey, this is really good, and I'm going to read another book.” With my books, I have very different books. Golem is my psychological horror novel. It's my slow-burn psychological horror novel, heavily inspired by Frankenstein and the Pygmalion myth. It's my first true horror book that I published. Then there's Jigglyspot and the Zero Intellect, which is inspired by B-rated '80s horror movies and the old grindhouse movies of the '70s, and it's mind manipulation. It's just wild and bizarre. And then The Sleepy Hollow Incident is my Gothic tale—it's like a dark romance mixed in with Gothic horror. So I always try to put something for everyone that's out there. To me, when I'm writing, it's got to be about depth, psychological depth. I always refer to my books to be like peeling layers off a Texas-sized onion. The more you read, the more in-depth you get into not only the characters, but the story. It's just something that comes out of me. It's part of me. That's the way I always have to do it. I always have to put that depth in there. To me, that's good storytelling. When I grew up, I read a lot of classic literature. Yes, Edgar Allan Poe, but also Dante's Inferno, Milton's Paradise Lost, The Hunchback of Notre Dame, the Brontë sisters. Keep going. Ray Bradbury, Ayn Rand, Daphne du Maurier, Shirley Jackson. Those to me are my books that I absolutely love. So there's a sweet science in today's fast-paced, social media type of world in marrying the depth of the old classic literature and the entertainment value that is required today for being an author. There's that sweet science behind it, and I love just hitting that nail on the head every time. Jo: So did you ever pitch traditional publishing, or have you thought about going that way? Because I also find that a lot of horror actually sits very close to literary. Like, I read a lot more literary horror than I do in some of the other genres. PD: Correct. So in the beginning, yes. Not in a long time. I maybe went to a couple of indie publishers, but as far as traditional, the Big Five publishers, I have an aversion to them for a big reason. I know people who have worked in that industry that have told me some pretty bad horror stories about those places. So I haven't sent anything to that type of place in a very, very long time. Maybe close to 20 years. Indie publishers, the small presses, yes, here and there, but even then, I'm always moving at a fast pace. So if I've got a book and I'm sending it out as a query letter, by the time that query letter is even read, I'm almost done publishing. I love that aspect of it. The control of my story, where I know where this character's going. And listen, I've got my beta readers, I've got my ARC readers. They're there to tell me, “Hey, maybe you should change this or change that.” Whether I take that advice or not, of course my editor too, is really up to me. I always put out the book that I know is the one I want to read. And to me, I haven't gone wrong in doing so. I know with traditional publishing, you sometimes get too many thoughts in the pot there. Let's put it that way. Jo: Okay, so coming back to being indie then. You mentioned Amazon earlier, but you have a store where you sell direct. Many authors are doing this now, but it can be a challenge. So what have you found are the pros and cons of your direct store? What's working? Any lessons there? PD: Okay. So I use a place called Big Cartel. They're the platform where the books are on. They're hosting my website, PDAlleva.com. The big challenge was actually just starting it. It was so overwhelming. How do I put this on there? At the time, I've got all these books, so how do I present them? I'm even going to be doing another revamp with it too, because I want better pictures—taking pictures of the books, stuff like that, instead of just having the covers on there. I also have a lot of shirts that I'm selling. So I think the biggest challenge is just getting on there and starting it. Then of course, you've got to learn a whole new platform, and the mechanics, and how people are going to be downloading, and how that's done on an e-book versus a print version of the book. So it's a huge learning curve that you've really got to put your focus on and give it time. What most people like in indie publishing is signed copies. It's a huge part of indie publishing, selling those signed copies. People love a signed copy, and that's primarily what my website is for. You can order signed copies from me. I also use a place called IngramSpark, and they're more like a distributor. They're used by everyone. They've been around for a very long time. Traditional publishing uses them too, and they're just distributing your novel. I'd say about a year ago, maybe two years ago, they started where you can sell your books on discount through them as well. So I have that on my website too, where you're just clicking on the book and you're pretty much going directly to their site and you're buying paperbacks and hardbacks at a discount. That's going well too. For the most part, people are definitely coming to my site because they want the signed copies. A good thing with indie publishing is limited editions, first print copies, special editions. That type of stuff really just takes off. People love to see that, especially in the indie community. You can sell them too. I go to a few different book conventions during the year, and the limited editions are there. Like I said, people love the signed copies. They love being a part of that and getting that signed copy. They treasure it, just like I treasure my books too. I'm not referring to my books that I've written, but books that I have as well. I love my e-reader, don't get me wrong, but I still prefer the physical copy—the paperback, and even more so than the paperback, the hardback. So people love those signed copies, and that's why I created the website, to sell on there for them. Jo: Yes, I mean, we're getting to a point now though where I think some people are questioning the pros and cons of it. For example, you doing the signed copies—I don't do that from my Shopify store because I don't want to hold stock and I don't want to deal with postage. So I only do it when I do a Kickstarter. I've just finished one recently, Bones of the Deep, and I'm going up to the printer, and I'm going to sign a couple of hundred copies and then they do the postage. That's the only way I'm willing to do it because of the pain of getting books to your house, signing them, getting them in the post. So how do you manage that practically? PD: Okay, so the inventory's there. I don't go and sign everything right away. I just keep the inventory. Once somebody buys the book, then I'll pull out the book, log it and all that good fun stuff, sign it, and then ship it out immediately. Here in my country, we get discounts at the United States Post Office because they're books. So they pass that shipping cost over to the reader too, so it's a little bit cheaper for shipping. I'll just take books once or twice a week over to the United States Postal Service and ship those books out. I don't sign them until I actually get that order. Jo: How many do you have in your house? It's the holding stock of all the backlist that is the problem. PD: Ooh, gotcha. All right. That's why I have a two-car garage. But here's the thing, I won't order 500 at a time. I'll order 20 at a time. Jo: Okay. Right. PD: When I see that inventory's getting low, I'll order another 20 at a time. Jo: And you get those from IngramSpark? PD: Correct. When the new one comes out, maybe at that time I'm just selling those, bringing those to conventions that I go to. Or maybe doing a sale on those books at that time to get rid of the inventory so it's not sitting around anymore. Jo: I think that's so important. Then like you mentioned, you do T-shirts or shirts. That is also really hard because of sizing. So is that all print on demand? PD: Yes. So I don't really hold the stock on the shirts. When I get an order, whatever the size is at that time, I go directly to the place and order it. I use a place called Sublimation Station that's here in Orlando. They do great all-over print T-shirts. They're fantastic. I just did one for The Sleepy Hollow Incident. So The Sleepy Hollow Incident is one long story, and it's broken up into four books. Each book has its own. The covers are fantastic. I use a lady named Cherie Foxley. She's a phenomenal cover designer. So the shirts are, like, book one is on the front of one shirt with book two on the back, and then the second shirt is book three on the cover and book four on the back. However, I can customise those. I just did a giveaway in my Facebook group and I let people know I could customise them, and she wanted book one and book four, so I just got that and sent it out to her. Now, if people go ahead and order that on the website, I can just order it right away from them, boom, and that place will get it shipped right then and there. Jo: Right, so they do the shipping. These are all sort of practical things that people need to answer because I feel like sometimes it's like, “Oh, yes, having a direct store is great,” but there's actually quite a lot of work that goes into it, isn't there? PD: There is. There's a lot of work. You're pretty much opening almost like your own brick-and-mortar store at that point. You just don't have walk-in traffic coming in—your traffic is all coming online. So there is a lot to it, but it's worth it. If you're a self-published author or even a small indie press, it's good to have. Because like I said, people love the signed copies. Jo: When you say it's worth it, is it worth it financially or just because you like to serve the customers in that way? PD: Both. Jo: Right. So it is financially worth it for you? PD: Yes. Jo: I was talking to a friend of mine and saying, are you valuing your time in terms of things like taking the books to the post office and stuff like that? Do you find it eats into your writing at all, or do you just manage it all separately? PD: No, I manage it separately. So I'm an early morning riser. I get up at 3:00 in the morning, and that's when I write my books or do editing or brainstorming. I'm about to write a new novella now called The Adam and Eve Story, which is actually based on a little-known CIA shelved book from the 1990s called The Adam and Eve Story as well. So I've been brainstorming that, and I was doing that this morning. I get up at 3:00 a.m. and I do my writing, and by the time the kids are up and by the time the wife is up, it's like 8:00 a.m. is rolling around and I'm pretty much done at that point. Then I have my days. Tuesday I'm completely working from home and I do my thing in the morning, and then the rest of the day is marketing, fulfilling orders, stuff like that. On the days when I'm going to do group facilitation, I'll of course still get up at 3:00 o'clock in the morning, and then I'll plan out the day. I've got an hour between this group and I can go ahead and do that, and I'm already there so it's not a problem. The post office is right around the corner. You kind of figure out all the logistics for yourself. There are some days, like on Monday, I don't facilitate groups until the afternoon, so I've got the whole morning to work on marketing and do other things, and fulfilment. Then of course Saturday's a big day for that too. Jo: Oh, that's good. I feel like people always need to know how to balance their time, but it sounds like you manage, because at 3:00 a.m., as you say, there's not much else to do other than write. You mentioned marketing, and you have a Substack, pdsalternativefiction.substack.com. Talk about that and serialising fiction and how Substack works. Because I feel like a load of people are jumping in but might not necessarily know how it works, especially for fiction. PD: Correct. It is becoming quite popular out there. I think the one before that was Patreon, and Patreon is pretty big for that too, kind of the same thing. I wanted to start something and just get the work out there. I was very interested when Amazon came out a few years ago with what was called Vella. They kind of started that. I was like, “This is kind of cool.” Couple chapters at a time. I'm writing the books anyway, so why don't we kick this off and see how it goes—a type of experiment. I had a lot of fun doing it. I started on October 4th, 2024. I've done four novels so far. One is still going, which is Volume 3 of my Dark Veil serie— that's a sci-fi series. I wrote three other novels. The Hypnotist, which is a thriller, heavy on the sci-fi and a tad of horror in there too. And then I wrote Girl on a Mission, which is my psychological thriller, and then Cat Fight, which is a horror novel—all within that time. I think I finished all three of those novels in January, and then the first week of February they were all pretty much done. Now what I'm doing is, I went paid recently on the Substack. It's like everything else that's out there—chip away, chip away. I fell into that hole where they say, “Hey, we can promote you and get people to sign up for your newsletter.” And I'll be honest with you, don't do it. It's not worth it. You spend money, and what happens is they're what I refer to as dead leads. They don't click. You wind up shuffling them off after three to six months, because they're just not clicking. Everybody gets a star rating, so you know—are they clicking, are they staying on, are they not? So I got rid of pretty much all of those people, and I'll never do that again. It's got to be done organically. That's why when you read my books, especially the new books, towards the end it'll say, “Sign up for my newsletter.” I do more with that newsletter too. If you're on the free tier, every month I do a monthly newsletter, which is just me talking about updates, things going on in the publishing industry, things going on with me. My daughter puts together a weekly Horror and Sci-Fi Chronicles newsletter, which gives what's going on in new releases in the industry—sci-fi, horror, books, movies, television. She does deep dives into industry tropes, historical tidbits, and a weekly quiz. I also do a monthly Terrors and Tales newsletter. I started this last year, and it was a quarterly newsletter. It's other authors who are new, upcoming, never been published before, looking to get published. It's a chance for them to be on the newsletter where they have a flash fiction story or poem or even a short story that I publish for them. It's called the Terrors and Tales newsletter. What happened is I would put out calls for submissions. And a place called Duotrope—I don't even know who these people are, but all of a sudden I got an email from them stating, “Hey, we found that you're looking for submissions, and we posted your link. We hope you don't mind.” I'm like, “No, of course I don't mind.” I got so many submissions from that one link. I'm like, “Okay.” Do I really want to deny people? I'm not like that. I want to help promote other authors. I know what it's like when you're new and upcoming, no matter what age you are, to say, “Hey, here's a platform for you to see your stuff in print.” Obviously, I read through them just to make sure they're up to a certain standard, but for the most part, if you submit, you're getting in there. With Duotrope, I'm like, I have enough here to put out one a month. So in May 2026, the first one goes out, and then I'll have one each month until December, and then who knows? In 2027 I might go back to quarterly. I might get enough submissions to just keep it going once a month. So that's the Terrors and Tales newsletter, and it usually comes out towards the end of the month—the last two weeks. I have nothing to do with it in terms of content. None of my stories are on there. None of my poems are on there. None of my flash fiction. It's all other authors, just for them to see their name in print, see their work in print, share it with their friends, and put something on their resume, and to encourage people to keep reading and keep the craft going. Jo: When you say in print, you don't mean in physical print? PD: Oh, I mean in the newsletter. I'm sorry. Jo: I think that's important, or you're going to get a lot more submissions, and you will need to do publishing contracts and all that kind of thing. I think that's the difficult thing with a Substack newsletter approach—it's difficult to know where to categorise it. Is it marketing? Is it publishing? It's all of these things, I suppose. A bit like this podcast, it's all kinds of things. In terms of Substack actually making money on its own or leading to book sales that make money, do you think it does serve that purpose? PD: I think I've gotten more book sales through it, and also ARC readers who are enjoying the books and giving reviews. As far as the paid tiers, that's kind of a little bit slow, and that's where I'm saying chip away at it. Keep it up there. Keep it going. Over time, you're going to build that type of audience where it's going to be like, “Hey, this is financially feasible for me to continue to do this.” That's the response that I'm getting out there. Jo: Yes. Before, you mentioned you were doing Facebook Lives and you're looking at TikTok, but— Is anything else working for you in book marketing? If people have a few books and they're like, “What is working for book marketing right now?”—what do you recommend? PD: Okay. For me, the thing that has made the most sense is making sure the reader knows the book is out there through some sort of social media. I've had really good success on TikTok since the beginning of this year especially. I started it about a year ago, year and a half ago, but then my father got sick and passed away, and it was a new venture and I put it off to the side. I really got the flavour going at the beginning of this year. February, March of this year. It seems to be going really well, and I've noticed an uptick in sales from just getting the videos out there and getting it in front of people's eyes. There's an event I'm going to in August called ShiverCon, which is a pretty big event. After that event, I'm going to look to see what type of inventory I have left over from the event, and I'm going to start doing TikTok Lives. I'm very comfortable being on camera. So I'm like, “Yeah, that seems like a good way to go.” I know there's a few other horror authors who are doing it and having good success with TikTok Lives as well. A guy named Jason Davis is doing really well with TikTok Lives, and a few other authors too. I'm like, “Yes, I could definitely do that.” I want to get up to a certain number of people, and I want these events. I'm going to one in July, and then ShiverCon in August. Once those are done, I'm going to have more time to do the TikTok Lives. As far as Facebook is concerned, what I've had really great success with on Facebook is being in the groups and meeting other authors. That's not always about my book per se, but whatever books I'm reading, I'm posting my reviews about those books in those groups and meeting readers. Then obviously, they always say the three-to-one rule. Post about three different books and then post about your own book, whether you're doing a sale or a new release or a re-release or whatever. I've found success through that just by interacting with readers. When they post a book, I'll comment, “Hey, I've read that book,” or, “Hey, that book looks really cool. I like the review.” Commenting on it so you start these relationships with people who are out there in these Facebook groups. I've recently started my own Facebook reader group. I kind of go with the same thing. Last night, we did a live reading for another author. I like other authors to be on there. I always like to think, what does the reader need? What do I want to see as a reader? I would love to hear live readings from authors. So I kind of learn about them, learn about the book, and get a live reading. To me, that's a good way to go. So I started that recently, and it seems to be going well. I've got a new folk horror coming out soon, and I put out a call for ARC readers and got a fantastic response from that. That kind of drives the sales anyway, because when you get those reviews, then people see it gives credibility to the book, and then other people see it, and then they're buying it too. So that comes from the groups. There's so many wheels to spin in this industry as an indie author when you're doing this, especially when you're doing 99% of it on your own. You've got to get out there. No one's going to know your book exists if you don't get out there and tell somebody about it. Jo: Brilliant. Well, tell us— Where can people find you and your books online? PD: All right. Perfect. So obviously I'm on Amazon like everyone. Most of my books are worldwide, so you'll find them in Barnes & Noble as well. And of course, if you want the signed copies or discount print books, I always lead people straight to my website, PDAlleva.com. Then, of course, if you go to my Substack, you'll get all the updates, and you'll get all the links to purchase or find out where they are on Amazon and Barnes & Noble and things like that too. Jo: Brilliant. Well, thanks so much for your time, Paul. That was great. PD: Thank you very much for having me. It was great chatting with you. The post Writing Cross-Genre, Selling Direct, And Serialising On SubStack With P.D. Alleva first appeared on The Creative Penn.

When AI gets the right answer, how do we know it got there the right way? Why do we assume that fluent language means intelligence? What do infants and chatbots have in common? What do AI’s mistakes teach us about our own minds? And what does any of this have to do with Frankenstein’s creature, why some people wear a stop sign on their T-shirt, or smiling monkeys? Join Eagleman today with computer scientist Melanie Mitchell, a professor at the Santa Fe Institute who’s working to bridge AI and cognitive science.

This conversation between host BT and returning guest Eleanor, delves into the intricate relationship between gothic literature, supernatural themes, and cultural anxieties, particularly focusing on the evolution of monsters as reflections of societal fears. The discussion spans various topics, including the Victorian obsession with death, the moral implications of creation as seen in Frankenstein, and the portrayal of women in gothic narratives. The conversation also touches on the impact of the industrial revolution on human identity and the ongoing struggle between faith and progress.(Ghostbuster movie reference was Revelation 6:12, this was an error that made it into the final script, but was fixed in Ghostbuster's Afterlife)Eleanor's Website

This week on Classic Vinyl Podcast, Justin and Tyler listen to and review The Edgar Winter Group and Frankenstein. "Frankenstein" by The Edgar Winter Group is a groundbreaking 1973 instrumental rock single famous for its synthesizer riff and innovative tape-splicing construction. It was originally an extended jam session before being tightened into a 45 RPM edit that hit No. 1 on the Billboard Hot 100. Give it a listen and let us know what you think. 

We look at the time when Hammer decided to do what we now call a reboot - The Horror Of Frankenstein.

Summary In this solo episode, Mike Brevik picks up where "The Death of Average" left off and gets into the real work behind brand differentiation. If every business has access to the same tools, templates, and tactics, what actually separates one brand from another? Mike walks through a practical framework for uncovering your authentic point of view, communicating it without sounding corporate, and embedding it into your team, your client experience, and your culture. He also pulls back the curtain on Cyberdogz's own brand calibration, a six-month process still in progress, and the costly lessons learned from taking their eye off the brand for nearly three years. Key Takeaways Authenticity isn't invented, it's extracted. Your differentiators are already there. You just have to surface them. Three questions to start: What frustrates you about your industry that nobody says out loud? What should be true that isn't? Who is this perspective actually for? Don't polish your beliefs into a mission statement. The more corporate it sounds, the less authentic it is. Your point of view has to trickle all the way through, from messaging to team culture to client experience. Consistency and cadence matter. A great brand identity without follow-through is just noise. Links and Resources cyberdogzmarketing.com brandretro.com Keywords brand authenticity, brand differentiation, brand identity, competitive advantage, brand positioning, brand strategy, authentic marketing, business branding, brand calibration, brand point of view, brand voice, brand messaging, company culture and brand, client experience, death of average, Brand Retro podcast, Cyberdogz, Mike Brevik, stand out from competition, brand retro mindset Episode Highlights [00:00:45 - 00:01:20] Mike explains why authenticity feels cliche and how to make it concrete by identifying what actually sets you apart. [00:03:34 - 00:05:00] Introduction to the three-question framework for uncovering your real brand differentiators. [00:08:12 - 00:09:10] How most businesses kill their authentic message by over-polishing it into corporate language. [00:09:38 - 00:10:28] Why you don't need to convince people of your beliefs, and why client validation is the real proof point. [00:14:30 - 00:16:25] Common failure pattern: copying competitors instead of finding your own path, and why that's white noise. [00:20:54 - 00:22:44] Mike opens up about Cyberdogz's own brand calibration, the Frankenstein effect of adding layers over time. [00:25:52 - 00:27:14] The three-year gap where Cyberdogz ignored their own brand and what it cost them in clients and momentum. [00:32:32 - 00:33:33] Closing argument: brands that win know exactly who they are, and they stick with it even when it's hard.  

Join Chris and Gerry as we take a closer look at Young Frankenstein (1974), the beloved horror-comedy classi from director Mel Brooks. Starring Gene Wilder as Dr. Frederick Frankenstein, this affectionate parody pays tribute to the classic Universal monster films while delivering some of the funniest moments in movie history. We'll explore the film's production, memorable performances, iconic scenes, black-and-white cinematography, and its lasting impact on both comedy and horror cinema. Featuring unforgettable performances from Marty Feldman, Peter Boyle, Cloris Leachman, and Teri Garr, Young Frankenstein remains one of the most celebrated comedy films ever made. Is this Mel Brooks' finest film? How does it compare to the classic Frankenstein movies that inspired it? Join the discussion and share your favorite moments from this timeless comedy classic. Like, Subscribe, and Ring the Bell for more classic horror and movie retrospectives.

Tonight we're talking about one of the most comprehensive Hammer releases in a while — Sangster Directs Hammer, a seven-disc box set from Severin Films featuring the three films director Jimmy Sangster made for Hammer at the turn of the 70s: The Horror of Frankenstein, Lust for a Vampire, and Fear in the Night. All three are now in their North American UHD premiere, scanned in 4K from original camera negatives — plus nineteen hours of special features and a brand new 312-page book, Horror! Lust! Fear! Sangster. The set releases June 30th and is available for pre-order right now at SeverinFilms.com.Become a supporter of this podcast: https://www.spreaker.com/podcast/castle-of-horror-podcast--4268760/support.

A cold, dark summer in 1816 brought an extraordinary group of young writers together on the shores of Lake Geneva—including an eighteen-year-old Mary Shelley. Andrew Stauffer tells the story of that summer and the conversations, dreams, and climate catastrophe that created Frankenstein's magic. Later in the show: Goliath might be the most famous giant from the Bible, but he's not the only one. Paul Thomas takes us on a deep dive into the monsters of biblical stories. And: Greek and Roman mythology is filled with sea monsters. Georgia Irby explains how ancient relationships with the ocean brought these monsters to life.

The teases for Daredevil Born Again SEASON 3 gave us goosebumps! !! Coy Jandreau & Greg Alba sit down with the legendary Vincent D'Onofrio for an in-depth Daredevil: Born Again interview about Wilson Fisk / Kingpin, Charlie Cox's Daredevil, Marvel Studios, Kevin Feige, the creative overhaul behind the series, and what may be ahead for Daredevil Season 3. Vincent D'Onofrio (Daredevil, Full Metal Jacket, Men in Black, Law & Order: Criminal Intent, The Cell) reflects on returning as Wilson Fisk / Kingpin, breaking down the psychology, physicality, voice inspiration, and emotional foundation behind one of Marvel's most intimidating villains. The conversation explores Fisk's loneliness, rage, dark sense of humor, spirituality, and the Kingpin improvised “boo” scene, along with how comic book artists like David Mack helped shape his performance. Plus, Vincent drops a surprise, passionate casting pitch to join James Gunn's DC Universe as Swamp Thing! The interview also dives into the Daredevil: Born Again creative overhaul, with D'Onofrio discussing how he, Charlie Cox, and the creative team pushed to make the series feel more like a true Daredevil story. He talks about Marvel Studios' creative support, Kevin Feige, why Marvel reshot portions of Daredevil, and how the team had to “Frankenstein” what had already been shot to build a stronger version of the show. D'Onofrio also teases Daredevil Season 3, including more action, emotional journeys, and new territory involving Kingpin's childhood backstory, size, trauma, and the darkness that shaped Wilson Fisk. Based on the iconic Marvel Comics characters, Daredevil: Born Again continues the story of Matt Murdock / Daredevil (Charlie Cox — Stardust, Boardwalk Empire, The Theory of Everything) and Wilson Fisk / Kingpin as their mirrored obsessions with justice, control, morality, and the soul of New York City pull them deeper into conflict. The conversation also heads into DC territory as D'Onofrio opens up about his dream of playing Swamp Thing, why Alec Holland speaks to him emotionally, and what he would bring to James Gunn's DCU if given the chance. From Vincent D'Onofrio's Swamp Thing pitch to Marvel behind-the-scenes stories, Marvel snipers, Kingpin's dark psychology, and the future of Daredevil Season 3, this Reel Rejects interview offers a rare look inside one of the MCU's most unforgettable comic book performances. Follow Greg Alba:  Instagram: https://www.instagram.com/thegregalba/ Twitter:  https://x.com/thegregalba Follow Coy Jandreau:  Tik Tok: https://www.tiktok.com/@coyjandreau?l... Instagram: https://www.instagram.com/coyjandreau/?hl=en Twitter:  https://twitter.com/CoyJandreau YouTube: https://www.youtube.com/channel/UCwYH2szDTuU9ImFZ9gBRH8w Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

“If there's kind of a squeamishness about forum shopping in the US, there's a little...it's just overseas, there's none at all,” observed Harvard Law Professor Jared Ellias. “There's a great deal of pride and interest in building...an insolvency system that is equal and in some ways more useful than what they have in the United States.” Ellias sat down with Bloomberg Intelligence analysts Negisa Balluku and Phil Brendel to discuss his new paper, “The Global Law of Debt,” co-authored with Narine Lalafaryan. Ellias traces how the historical entanglement of the New York and London debt markets has evolved into a highly competitive, globalized ecosystem where borrowers now forum-shop across borders to maximize flexibility and bypass traditional constraints like Chapter 11's absolute-priority rule. The conversation dives into the export of aggressive liability management exercises (LMEs), the implementation of hybrid “Frankenstein” debt documents and how foreign-court systems relish taking market share from the US. The podcast concludes (1:05:40) with BI's Noel Hebert joining Negisa and Phil to discuss the latest developments in First Brands Group, Optimum Communications, QVC Group and Trinseo. Link to referenced paper: https://bankruptcyroundtable.law.harvard.edu/2026/03/24/the-global-law-of-debt/

This week, the boys grab some beers and head to post-WWII America to watch nobody give AF about our war heroes in William Wyler's “The Best Years of Our Lives”. The highest-grossing movie since “Gone With The Wind”, this moving account follows several soldiers re-acclimating to civilian life in a world that has moved on without them. Thankless bastards. This movie rules. It's long, but it's awesome. John also talks about “Backrooms”. Grab a beer and join us!  linktr.ee/theloveofcinema - Check out our YouTube page!  Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro; 7:15 “Backrooms” mini-review; 16:39 1946 Year in Review; 36:06 “The Best Years of Our Lives”: Films of 1946; 01:24:42 What You Been Watching?; 1:40:49 Next Week's Episode Teaser Additional Cast/Crew: Robert E Sherwood, MacKinlay Kantor, Hugo Friedhofer, Dana Andrews, Gregg Toland, Sharaff, Fredric March, Myrna Loy, Teresa Wright, Virginia Mayo, Cathy O'Donnell, Hoagy Carmichael, Harold Rossell, Gladys George, Roman Bohnen, Kan Parsons, Chiwetel Ejiofor, Will Soodik, Renate Reinsve, Mark Duplass. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Recommendations: Widow's Bay, The Lord of The Flies, The Boroughss, The Cloverfield Paradox, Spider Noir, Everybody Wants Some, Bernie, Last Flags Flying, The Worst Person In The World, Oslo October 31st, Out of the Past, Is This Thing On, Song Sung Blue, John Adams Mini Series, NY Knicks, Casablanca,  Additional Tags: Bryan Cranston, Kate Hudson, Bradley Cooper, Will Arnett, Jack /black, Joachim Trier, Richard Linklater, The Duffer Brothers, Focus Features, A24, Curry Barker, Robert Duvall, Sports Documentary, Bowling, Bette Davis, SZA, Keke Palmer, Amazon Studios, Warner Discovery, Paramount Skydance, Conan O'Brien, Weapons, Sinners, One Battle After Another, Frankenstein, Annapurna Films, Old Man Marley, Home Alone, Shawshenk Redemption, Gordon Ramsay, Thelma Schoonmaker, Stephen King's It, The Tenant, Rosemary's Baby, The Pianist, Cul-de-Sac, AI, The New York City Marathon, Apartments, Tenants, Rent Prices, Zohran Mamdani, Andrew Cuomo, Curtis Sliwa, Amazon, Robotics, AMC, IMAX Issues, Tron, The Dallas Cowboys, Short-term memory loss, Warner Brothers, Paramount, Netflix, AMC Times Square, Tom Cruise, George Clooney, MGM, Amazon Prime, Marvel, Sony, Conclave, Here, Venom: The Last Dance, Casablanca, The Wizard of Oz, Oscars 2026, Academy Awards, BFI, BAFTA, BAFTAS, British Cinema. England, Vienna, Leopoldstadt, The Golden Globes, Past Lives, Apple Podcasts, West Side Story, Adelaide, Australia, Queensland, New South Wales, Melbourne, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, plague, HBO Max, Amazon Prime, casket maker, Seven Samurai, Roshomon, Sergio Leone, Clint Eastwood, Stellan Skarsgard, the matt and mark movie show.The Southern District's Waratah Championship, Night of a Thousand Stars, The Pan Pacific Grand Prix (The Pan Pacifics), Jeff Bezos, Rupert Murdoch, Larry Ellison, David Ellison, Elon Musk, Mark Zuckerberg.       

Catch the Latest Episode Now!Get ready to rock your horror-loving socks off on this episode of the ImVibes Podcast!This week, we are diving deep into the dark, high-octane world of horrorpunk and psychobilly with the legendary 4 Barrel Frankenstein. Known for their monster-movie aesthetics, heavy riffs, and infectious energy, the band joins us to share the stories behind their music, their creative process, and what drives their signature sound. Whether you are a die-hard fan of the genre or looking for your next favorite rock band, this conversation is packed with big laughs, backstage secrets, and pure rock 'n' roll energy.What We Cover:The Origin Story: How the band formed and created their unique monster-rock identity.Behind the Music: A deep dive into the lyrical inspiration from classic horror cinema.Live Show Chaos: What goes down during their high-energy onstage performances.Future Projects: Exclusive updates on upcoming music, tours, and merch.Tune In and Connect:Listen: Available on Spotify, Apple Podcasts, and all major audio platforms.Watch: Check out the full video version on Spotify andYouTube.Follow: Grab official merch and track updates via the band's official channels.Don't forget to subscribe, rate, and leave a review if you vibe with the episode!

Through her multifaceted work, the Bulgarian-born, Brooklyn-based writer, reader, and researcher Maria Popova, founder of the “free, ad-free, A.I.-free, fully human” website and newsletter The Marginalian, braids together literature, science, philosophy, poetry, and art in beautiful, alchemical ways. Traversing centuries, she approaches various ideas and thinkers, living and dead, as active references in the expansive, ongoing project of learning what it means to be human. Now, nearly 20 years since the site's founding, she continues to cultivate a singular space on the internet—one devoted not so much to information but to illumination. Her latest book, Traversal, which links figures such as Mary Shelley and Walt Whitman, alongside other writers, poets, physicists, and philosophers, serves as an intellectual journey and an across-time meditation on creativity, consciousness, and interconnectedness. On this episode of Time Sensitive, Popova discusses the idea of “spiritual ancestors,” why today's A.I. debates are fundamentally modern versions of age-old questions about the soul, and the mystery of being alive. Show notes:  Maria Popova [4:58] Traversal (2026) [5:43] René Descartes [6:50] Aristotle [6:50] Susan Sontag [7:03] Alan Lightman [8:16] Mary Shelley [8:16] Walt Whitman [9:42] Frankenstein (1818) [14:08] Frances “Fanny” Wright [17:13] Freeman Dyson [17:13] Maker of Patterns: An Autobiography Through Letters (2018) [16:04] Rube Goldberg [22:26] Nina Simone [23:28] Dan Frank [23:29] Figuring (2019) [34:24] The Marginalian [43:18] T.S. Elliot's “The Love Song of J. Alfred Prufrock” (1915) [55:00] Dacher Keltner's Awe (2023) [45:17] Iris Murdoch [45:33] The Universe in Verse (2024) [45:55] Patti Smith [45:57] Rebecca Elson [45:58] Vera Rubin [47:23] “Urns for Living” [48:54] Sylvia Plath [59:35] Leaves of Grass (1855)

The Pear Bears are having a day. They've been pollen'ed in the Spring. But, they've got at least 3 more seasons to survive! Will they be able to handle the onslaught of attacks from above and even... below? If you're enjoying ddfruits, consider supporting us by joining our Patreon: ⁠patreon.com/dungeonsanddragonfruits⁠ With a $1 and $5 tiers, we've got you covered for a lowkey way to support this creative effort! www.dungeonsanddragonfruits.com Learn more about your ad choices. Visit megaphone.fm/adchoices

The Fly (1958), Return of the Fly (1959), and Curse of the Fly (1965) Among the many films in which deviant mad scientists pay the price for meddling with forces beyond human understanding, The Fly stands apart. Released in 1958, it presents a scientist whose intentions are genuinely noble: someone striving to create something that could benefit humanity. Unfortunately, an unforeseen accident turns his dream into a nightmare, and tragedy soon follows. While the film ultimately becomes a monster story, it offers far more than a typical 1950s creature feature. And, of course, when a film succeeds at the box office, sequels are inevitable. In this case, two followed, even if the third took six years to arrive. Across all three films, the Delambre family's experiments—and mistakes—continue, once again exacting a terrible toll in life, sanity, and suffering. Fans often disagree about which entry is the strongest, which is underrated, and which falls short, so we decided to take a deep dive into the entire trilogy. Along the way, we may give you a few new things to think about the next time you watch these films. And if you hear any buzzing while listening to the show, I'm sure it's nothing. Films mentioned in this episode: The Black Cat (1989), The Black Room (1935), Blood Feast (1963), The Blues Brothers (1980), Bride of Frankenstein (1935), Curse of the Fly (1965), The Death Dealers aka Psychomania (1973), Demonia (1990), The Devil's Honey (1986), The Exorcist (1973), The Face of Fu Manchu (1965), The Fly (1958), The Fly (1986), Frankenstein (1931), The Ghost of Frankenstein (1942), Kiss of the Vampire (1963), Mark of the Vampire (1935), Murders in the Rue Morgue (1932), The Phantom of the Opera (1925), Psycho (1960), Rasputin the Mad Monk (1966), Return of the Fly (1959), Space Master X-7 (1958), Touch of Death (1988), To the Devil a Daughter (1976), The Vampire (1957), Witchcraft (1964)

Our story comes to an end as Vic and Frankie get some sleep and Walton heads back to his sister.This reading of Mary Shelley's Frankenstein has been sleepified as much as possible, but there are unavoidable references to the Big Farm, religion, and mental health. These topics may not be sleepy for all listeners.This episode originally aired on Sleep With Me Plus. If you'd like to hear more bonus episodes (and get episodes without ads), you can start a free trial at sleepwithmepodcast.com/plusBe sure to check out Orlando Parkstop's STOP HATE fundraiser for the Trevor Project! Let me know if you donate or purchase something from an auction, and you'll have the chance to win some SWM swag and a LEGO kit!Get your Sleep With Me SleepPhones. Use "sleepwithme" for $5 off!!Are you looking for Story Only versions or two more nights of Sleep With Me a week? Then check out Bedtime Stories from Sleep With MeThis episode is produced by Rusty Biscuit aka Russell Sperberg.Show Artwork by Emily TatGoing through a hard time? You can find support at the Crisis Textline and see more global helplines here.HELIX SLEEP - Take the 2-minute sleep quiz and they'll match you to a customized mattress that'll give you the best sleep of your life. Visit helixsleep.com/sleep and get a special deal exclusive for SWM listeners!ZOCDOC - With Zocdoc, you can search for local doctors who take your insurance, read verified patient reviews and book an appointment, in-person or video chat. Download the Zocdoc app to sign-up for FREE at zocdoc.com/sleepAQUATRU - AquaTru is a countertop water purifier tested & certified to remove 84 contaminants, including chlorine, lead, forever chemicals, and microplastics! Get 20% off your water purifier by going to AquaTru.com and using promo code SLEEP Learn about your ad choices: dovetail.prx.org/ad-choices

In this episode of The Folklore Podcast, host Mark Norman is joined by special guest Bar Fridman-Tell about her debut novel 'Honeysuckle'.Part horror, part fantasy, part magic but completely engaging, the story in an unholy alliance between the flower woman of Welsh mythology and a creation of Victor Frankenstein!Bar talks about her inspirations, the treatment of the original story and the ways in which she combines real-world folklore with her own imagination. You can also hear a short extract from the audiobook, courtesy of the publisher.You can find Honeysuckle wherever books are sold, and visit Bar on the web at https://www.barfridmantell.com/To support The Folklore Podcast on Patreon (for free or for a small donation) and get access to extra content, please visit www.patreon.com/thefolklorepodcast

Message us ANONYMOUSLYGuest cohost David Parke is seated and present to debate his pick “Class Act” (1992 d. Randall Miller). We name our hills to die on, talk about the granddaddies of movies that look “made for streaming,” style vs. substance making this more similar to “Frankenstein,” and “Oppenheimer,” than some may think, and the wildest movie ending in the history of The Review Review so far. All that, and Paul pays full and proper respect to the fine gentleman from Oakland, California. #pleasehammerdonthurtem 6/9!Support the show**All episodes contain explicit language**Main Artwork - Ben McFadden'Review Review Intro/Outro' Themes - Jamie Henwood"What Are We Watching?" & "Whatcha Been Doin'?" Themes - Matthew Fosket"Fun Facts" Theme - Chris Olds/Paul RootLead-Ins Edited/Conceptualized by - Ben McFaddenProduced by - Ben McFadden & Paul Root ("Shelf Help" - Paul Root)Podcast/Program Concept - Paul Root

All things competitive in the world of Warhammer 40,000. This week, Robert and Eric look through the latest changes coming in 11th, and Robert goes over how his latest Frankenstein game brought new ideas to the future meta

This week on Our Taste is Trash, our hosts Josh and Jade review The Bride! This 2026 film was written and directed by Maggie Gyllenhaal and stars Jessie Buckley, Christian Bale, Peter Sarsgaard, Annette Bening, Jake Gyllenhaal, and Penélope Cruz. The film draws inspiration from the 1935 film Bride of Frankenstein, which was based on Mary Shelley's 1818 novel Frankenstein.Inside the episode our hosts discuss the film's feminist themes, set design, costuming, and - more importantly - what was trash and treasure in the movie. Hit play and hear the full review. It's okay to listen at 1.25 speed if you want to.

Will, Jasone, Eric and their guest, English Literature scholar and librarian, Laura Braunstein, continue their discussion of Hallmark's adaptation of Frankenstein. 

Hoy estrenamos por fin el último relato de la saga de Los Hombres Hiena; un viaje a través del tiempo y el espacio en el que Lucas Buchel e Ignacio Pillonetto, tras una ardua tarea de investigación, han compilado un combo blasfematorio de entidades primigenias asociadas con el mito del vampiro. Un homenaje a la literatura pulp, desde la catástrofe del Deméter a los desiertos insondables de África, para conocer los secretos de Drácula, Víctor Frankenstein, el profesor Van Helsing y otros personajes arquetípicos de la mitología y el Penny dreadful... Aquí les dejamos los episodios previos: I - "Drácula y la Maldición de los hombres hiena" https://go.ivoox.com/rf/114945420 II - "Drácula y la Sangre de los Hombres Hiena" https://go.ivoox.com/rf/133286490 III - "Drácula y el Origen de los Hombres Hiena" https://go.ivoox.com/rf/156608554 Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Melissa Barrera and Jenna Ortega have integrity, or maybe they knew how bad this script could potentially be? Is this film as bad as the Frankenstein mess many fans of the franchise were afraid it'd be, or is it a shockingly great addition to the Scream franchise?  The Reel Pineapple is your one-stop shop for the latest movie reviews, trailer breakdowns, and more! Subscribe to the show on YouTube at https://www.youtube.com/thereelpineapple Follow me on BlueSky at reelpineapple.bsky.social Follow me on TikTok & Instagram @jhunterreelpineapple Follow me on Letterboxd at BlackShazam Follow me on Twitch at www.twitch.tv/thereelpineapple Subscribe & give the show five stars at The Reel Pineapple to us wherever you listen to podcasts!

A forest lookout sits alone in a glass tower at 2AM and spots flames crowning two distant pines — a fire only he can see. By dawn there's no smoke, no ash, no scorched earth... and no fire at all. From phantom flames that burn and vanish to the burned Bigfoot pulled from a Nevada blaze and the UFOs caught streaking through wildfire smoke, tonight we wander into the strange and unsettling things that appear when the forests burn.EPISODE BLOG PAGE (includes sources and full transcript): https://weirddarkness.com/ghostflamesREAD or DOWNLOAD the full transcript of this episode: https://weirddarkness.tiny.us/yjwtx7awFEATURED STORIES IN THIS EPISODE: The author of Frankenstein always saw love and death as connected. She visited the cemetery to commune with her dead mother. And with her lover. (Mary Shelley's Obsession With The Cemetery) *** A girl moves into a new apartment and discovers that a haunting doesn't necessarily have to be frightening. (Ghostly Happenings In My Old Apartment) *** The July 1886 murder at the Shawmut Avenue laundry was so shrouded in mystery that even the victim's name was uncertain. (The Wash-House Murder) *** Ghosts, high strangeness, and even Bigfoot – it appears they may all have something in common, and that would be forest fires. (Forest Fires and the Paranormal) *** How do you explain an experienced lookout reporting a blazing forest fire, only for it to disappear less than an hour later – leaving no trace? (Phantom Flames)CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = The Foreboding00:03:57.045 = Show Open00:05:40.844 = Phantom Flames00:21:25.265 = Forest Fires and the Paranormal00:35:10.279 = Mary Shelley's Obsession With The Cemetery ***0048:57.368 = Ghostly Happenings In My Old Apartment00:52:28.197 = The Wash-House Murder ***01:01:09.811 = Show Close*** = Begins immediately after inserted ad breakLISTEN ON PODCAST APPS: Look for this podcast on Apple Podcasts, Spotify, iHeart Radio, Amazon Music, Pandora, TuneIn Radio, and other podcast apps. Get a list of free listening apps here: https://weirddarkness.com/wdapps*No AI Voices Are Used In The Narration Of This Podcast*SOURCES and RESOURCES:“Phantom Flames” by F.A.Loomis from Idaho Magazine: http://ow.ly/beq730nL94u“Forest Fires and the Paranormal” by Brent Swancer for Mysterious Universe: http://ow.ly/ROYC30nL8n1“Mary Shelley's Obsession With The Cemetery” by Bess Lovejoy for the JSTOR Daily: https://tinyurl.com/y9cgd29w“Ghostly Happenings In My Old Apartment” by Cassie D, posted at MyHauntedLifeToo,com: https://tinyurl.com/ycexszvm
“The Wash-House Murder” by Robert Wilhelm, from the book “Wicked Victorian Boston”: https://amzn.to/2BGJOO0(Over time links may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)WeirdDarkness® is a registered trademark. Copyright ©2026, Weird Darkness.Originally aired: March, 2021Weird Darkness opens a fire-themed descent that runs from a vanished forest blaze in 1976 Idaho through ghosts, Bigfoot, and UFOs born of wildfires, into Mary Shelley's graveyard education, a gentle apartment haunting, and an unsolved 1886 Boston murder.It opens with a U.S. Forest Service lookout stationed atop Pilot Peak in the Payette National Forest near Warren, high above the South Fork of the Salmon River, who woke sleepless at two a.m. in July 1976 and saw a bright orange triangle near a distant crest, then confirmed through binoculars two huge trees crowning out with flame. He calculated an azimuth with his fire-finder, radioed a two- to four-acre fire to the station fifteen air miles away, and watched it recede and vanish completely within forty minutes, leaving no smoke, no flame, and no charred ground at dawn six air miles out. Supervisors dubbed it the Pilot Peak phantom fire and sent smokejumper aircraft and hotshot crews to circle the ridge for nearly a week without finding a trace, until two months later a thousand-acre blaze on Zena Creek burned in roughly the same location he had reported.From there the episode widens into wildfires laced with the paranormal, beginning with the Curve Fire that struck South Mount Hawkins in the San Gabriel Mountains of California's Angeles National Forest on September 1, 2002, traced to a brittle 1935 wooden lookout tower and rumored to follow a cult ritual, after which hikers reported eyeless animals with hardened flesh and tall shadow figures akin to the Dark Watchers. It moves to the Battle Mountain Complex Fire near Battle Mountain, Nevada on August 6, 1999, where a letter forwarded to the Bigfoot Field Research Organization and a later call to investigator Thom Powell described firefighters capturing a burned, roughly seven-and-a-half-foot creature with a strong equine odor and near-human features. It closes with a July 2014 wildfire at West Kelowna near Vancouver, Canada, where a Castanet news video appeared to show an object shooting from a cloud, and a 2017 sighting by Arthur Frenette in New Hampshire's White Mountains, who watched a ball of fire plunge into Kinsman Ridge ahead of an out-of-control blaze.Next the episode turns to Mary Shelley, who in her 1831 introduction to Frankenstein traced her writing to her literary parents, though her mother, A Vindication of the Rights of Woman author Mary Wollstonecraft, died of puerperal fever days after her birth when Dr. Poignand removed the placenta with unwashed hands. Raised partly at her mother's grave in the St. Pancras churchyard, where she read her mother's work and escaped a strained home after father William Godwin remarried, the teenage Mary met Percy Shelley through the household and, at sixteen, declared love and reportedly first had sex among the tombstones. That fusion of reading, death, and forbidden knowledge surfaces in Victor Frankenstein's graveyard study of decay and in Godwin's 1809 Essay on Sepulchres, which framed visiting the illustrious dead as a form of communion the daughter carried into her novel of a creature assembled from corpses.From there the tone softens with a benign haunting recounted by a woman named Cassie, who moved into a larger, better-kept apartment over Christmas 2018 and lived there three months before moving in with her boyfriend. The internet blinked off repeatedly, cell reception failed in parts of the unit, electrical sockets quit working, bulbs burned out fast, and the shower switched itself on while she was away at classes. One night around one a.m. she and her boyfriend both heard the pitter-patter of bare feet in the kitchen, yet she never felt threatened, and when she left she said goodbye to whatever shared the space with her.The episode closes with the Wash-House Murder, the July 1886 killing of a Chinese laundryman found stabbed fourteen times in his Shawmut Avenue laundry in Boston's South End, his braided queue cut off and the five hundred dollars he had saved for a return to China gone. The victim's name was never certain, printed variously as Bin Chong, Ding Chong, and Wong Kong, and the case drew the Boston Police into a Chinatown governed by rival companies named Moy, Ching, Lee, and Sing. Detectives questioned the violent Moy company leader Ah Moy Chong and brought in New York interpreter Warry S. Charles, but the murder was never solved, and Charles himself was convicted of first-degree murder in 1908 after importing hatchet-armed assassins as a tong leader, leaving four dead in Chinatown.

Contemporary French and Francophone Futuristic Novels: The Longing to be Written and Its Refusal (Palgrave Macmillan, 2022) sheds a new light on the metafictional aspects of futuristic and science fiction novels, at the crossroads of information and media studies, possible worlds theories applied to cognitive narratology, questions related to the criticism of post-humanity, and, more broadly, contemporary French and Francophone literature. It examines the fictional minds of characters and their conceptions of resistance to the anticipated worlds they inhabit, particularly in novels by Pierre Bordage, Marie Darrieussecq, Michel Houellebecq, Amin Maalouf, Jean-Christophe Rufin, Antoine Volodine, and Élisabeth Vonarburg. It also explores how corporal postures serve as a matrix for philosophical quests in novels by Amélie Nothomb, Alain Damasio, and Romain Lucazeau. More specifically, from the fictional readers' points of view, it provides a critical approach to the mythologies of writing, in the wake of the French philosophical tales by authors including Cyrano de Bergerac and Voltaire, to question the traditionally expressed formulations of the mythologies of writing, that is, of the metaphors of the book (the book of life, nature, and the world), to rethink the idea of a humanity within its limits. Guest Emmanuel Buzay is currently working as an international technical expert for the Modern Language Association and the French Embassy in the US, having previously held appointments at UMass Amherst and the University of Connecticut. In addition to this monograph, he has published book chapters on topics from Frankenstein to Michel Houellebecq, and his articles have appeared in Nouvelles Études Francophones, Res Futurae, and Contemporary French and Francophone Studies. Host Gina Stamm is Associate Professor of French at The University of Alabama, with research concentrated on the environmental humanities and speculative literatures of the 20th and 21st centuries, from Surrealism to contemporary science fiction and feminist utopias, in Metropolitan France and the francophone Caribbean, with a book manuscript under review on posthumanist ecological engagement in the surrealist movement. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Boris Karloff's portrayal of Frankenstein's Monster remains one of the most iconic performances in horror history. In this episode, we explore how the character evolves across three classic Universal monster films: Frankenstein, Bride of Frankenstein, and Son of Frankenstein. Beginning as a misunderstood creation driven by instinct and fear in Frankenstein, the Monster develops emotional depth and self-awareness in Bride of Frankenstein, before becoming a weary and tragic figure manipulated by others in Son of Frankenstein. We'll examine how Karloff's performance, makeup, body language, and character development helped transform the Monster from a cinematic villain into one of horror's most sympathetic characters. Join us as we analyze the complete arc of Frankenstein's Monster and discuss why Boris Karloff's interpretation continues to influence horror films more that 90 years later.

Back in 1818, the same year *Frankenstein* hit the shelves, a Scottish professor named Andrew Ure decided to see if electricity could actually bring a dead body back to life—so he hooked up a freshly executed murderer to a current and watched in fascination as the corpse twitched, "breathed," and even made terrifying expressions that sent witnesses into a panic.EPISODE BLOG PAGE (includes sources and full transcript): https://weirddarkness.com/AndrewUreREAD or DOWNLOAD the full transcript of this episode:https://weirddarkness.tiny.us/58czndx7FEATURED STORIES IN THIS EPISODE: In 1800s numerous scientists were trying to find the reason for life in the hopes of staving off death or even bringing the recently dead back to life. But in 1818 one scientist named Andrew Ure attempted to do even more – to bring the brain of dead human back into the living. And ironically, his experiments took place the very same year the novel “Frankenstein” was published. (The Real-Life Dr. Frankenstein) *** They say the family that plays together stays together… but does that also mean that the family that crimes together does time together? We'll look at a few true cases of parents committing crimes – and getting help from their children in doing so. (The Family That Preys Together) *** A hunter comes across a wild man in the woods… but what he hears from the humanoid doesn't sound like a man at all. (The Man I Saw Through My Night Vision Scope) *** What would you do if you showed up to work one morning and your employer asked you to help dispose of a dead body? Don't be so quick to say that would never happen. That's just one part of the story of one of the most notorious crimes of 19th century America – the murder of John Parkman. (Dr. Coolidge Settles a Debt) *** Skipping church to go fishing might get you more than just a guilty conscience – especially if you believe the strange story of the Lambton Worm. (The Legend of the Lambton Worm)CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Excerpt from Mary Shelley's “Frankenstein”00:00:49.707 = Show Open00:03:06.456 = The Real-Life Dr. Frankenstein00:11:54.238 = The Family That Preys Together ***00:31:59.759 = The Man I Saw Through My Night-Vision Scope ***00:40:02.958 = Dr. Coolidge Settles a Debt00:50:44.058 = Legend of the Lambton Worm ***00:59:16.928 = Show Close*** = Begins immediately after inserted ad breakLISTEN ON PODCAST APPS: Look for this podcast on Apple Podcasts, Spotify, iHeart Radio, Amazon Music, Pandora, TuneIn Radio, and other podcast apps. Get a list of free listening apps here: https://weirddarkness.com/wdapps*No AI Voices Are Used In The Narration Of This Podcast*SOURCES and RESOURCES:“The Family That Preys Together” by Chrys for ListVerse: https://weirddarkness.tiny.us/2sv76asj“The Real-Life Dr. Frankenstein” by Rachel Souerbry for Weird History: https://weirddarkness.tiny.us/4pevzd6e“Dr. Coolidge Settles a Debt” from Strange Company: https://weirddarkness.tiny.us/7tpj8wmv“The Man I Saw Through My Night Vision Scope” from PerpetualConnection: https://weirddarkness.tiny.us/4e6nrd3h“The Legend of the Lambton Worm” by Brent Swancer for Mysterious Universe: https://weirddarkness.tiny.us/52t8cfnc(Over time links may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)WeirdDarkness® is a registered trademark. Copyright ©2026, Weird Darkness.Originally aired: November 09, 2021

Most physicians spend more time fighting their software than seeing patients, and piling on new tools has not fixed it. Grace E. Terrell, a physician executive, argues that decades of layering electronic health records, population health tools, remote patient monitoring, and now AI onto sixty-year-old billing infrastructure has produced a Frankenstein stack that burns out clinicians and harms patients. This episode is based on her article "Connected health care workflows: From chore to core patient care," published on KevinMD. You will hear why layering new tools on old infrastructure keeps failing, how prior authorization became an arms race, and what a genuinely connected workflow would feel like for a clinician evaluating a patient with suspected spinal abscess. You will also learn the one question to ask any vendor pitching a new tool, and why her company's CIO believes EHRs themselves may not survive the next five years. Listen for a concrete path from chore to core patient care. Partner with me on the KevinMD platform. With over three million monthly readers and half a million social media followers, I give you direct access to the doctors and patients who matter most. Whether you need a sponsored article, email campaign, video interview, or a spot right here on the podcast, I offer the trusted space your brand deserves to be heard. Let's work together to tell your story. PARTNER WITH KEVINMD → https://kevinmd.com/influencer SUBSCRIBE TO THE PODCAST → https://www.kevinmd.com/podcast RECOMMENDED BY KEVINMD → https://www.kevinmd.com/recommended

The Boys is over — but did it actually answer the questions it spent five seasons raising? Matthew is joined by returning guest Ocean Murff, podcast host and movie theory enthusiast, to dig into the finale and wrestle with what the show chose to resolve and what it quietly left on the table.They work through the biggest choices of the final season: Homelander's death, Butcher's suicide-by-Huey, Ryan's rejection of both potential father figures, and Stan Edgar walking back into power as though nothing really changed. The conversation keeps returning to the show's deepest tension;  was Homelander ever really the villain, or was he always just Vought's monster, with Vought as the true Dr. Frankenstein? Matthew and Ocean explore whether the show knew it was delivering a dystopian ending even as it dressed the finale up as a victory.They also mourn what was lost when Gen V was canceled, arguing that the spinoff was quietly becoming the space where the harder ethical questions about coexistence, identity, the ethics of power removal, and whether “good supes” can even exist in a world built by Vought,  were finally getting room to breathe. **************************************************************************This episode is a production of Superhero Ethics, an Ethical Panda podcast and part of the TruStory FM Entertainment Podcast Network. Check out our website to find out more about this show and our sister podcast Star Wars Generations.We want to hear from you! Keep up with our latest news and send us feedback, questions, or comments via social media or email.TikTok · Twitter/X · Instagram · Facebook · EmailJoin the conversation in the Star Wars Generations and Superhero Ethics channels on the TruStory FM Discord.Want even more content while supporting the podcast? Become a member! For $5 a month or $55 a year you get access to bonus episodes and bonus content at the end of most episodes — and you can even give membership as a gift. Sign up here.You can also support us through our sponsors:Purchase a lightsaber from Level Up Sabers, run by friend of the podcast Neighborhood Master Alan.Use Audible for audiobooks. Sign up for a one-year membership or gift one through this link.Purchase any media discussed this week through our sponsored links.

Welcome to Episode 261! It looks like our first quarter readalong title, FRANKENSTEIN by Mary Shelley, has not lost its grip on us. We both finally watched and in this episode discuss The Bride!, written and directed by Maggie Gyllenhaal. Wow. It is a wild ride of a movie and, much like the original novel, not for the faint of heart. Emily watched Remarkably Bright Creatures, based on the novel of the same name by Shelby Van Pelt, and Chris saw The Devil Wears Prada 2, inspired by the novels by Lauren Weisberger What a great year for page-to-screen adaptations 2026 is shaping up to be! Two forthcoming adaptations that we're looking forward to are a mini-series of East of Eden by John Steinbeck and a series called Anna Pigeon based on Nevada Barr's series that starts with TRACK OF THE CAT. Books we've Just Read include FIVE by Ilona Bannister, FROM POTTERS FIELD: Scarpetta #6 by Patricia Cornwell, and THE ACCIDENTAL TOURIST by Anne Tyler. It is now officially #BigBookSummer, and we're ready to dive into some books that are 400+ pages. Emily plans on starting with the BEARTOWN trilogy by Fredrik Backman, and Chris's first big book will be 11/22/63 by Stephen King. We'd love to hear about your summer reading plans. Leave a comment or send us an email (hello@bookcougars.com). Happy Listening and Happy Reading! https://www.bookcougars.com/blog-1/2026/episode261

Read this Question of the Week Here: https://www.reasonablefaith.org/writings/question-answer/can-frankenstein-be-saved